s3e78 electronic arts in printmaking with Myles Calvert

Platemark: prints and the printmaking ecosystem

https://blog.alfred.edu/iea/

57:36

When Katharine Graham took over the Washington Post in 1963, she was a shy socialite who'd never run anything. By retirement, she'd taken down a president, ended the most violent strike in a generation, and built one of the best-performing companies in American history. Graham had no training, no experience, not even confidence. Just a newspaper bleeding money and a government that expected her to fall in line. When her editors brought her stolen classified documents, her lawyers begged her not to publish. They said it would destroy the company. She published them anyway. Nixon came after her, attacking her with the full force of the executive. Then Watergate. For nearly a year she was ridiculed and isolated while pursuing the story that would eventually bring down the president. Graham proved that you can grow into a job that initially seems impossible and no amount of training can substitute for having the right values and the courage to act on them. Approximate timestamps: Subject to variation due to dynamically inserted ads: (02:19) The Making of an Unlikely Heiress (10:15) The Education of a Publisher’s Wife (22:16) Learning to Lead (30:46) Becoming a Media Titan (44:12) Legacy (47:59) Reflections + Lessons This episode is for informational purposes only and is full of practical lessons I learned reading her memoir, Personal History and watching Becoming Katharine Graham. Check out highlights from this book in our repository, and find key lessons from Graham here: ⁠⁠ https://fs.blog/knowledge-project-podcast/outliers-katharine-graham/ Thanks to ReMarkable for sponsoring this episode. Get your paper tablet at reMarkable.com today Upgrade—If you want to hear my thoughts and reflections at the end of all episodes, join our membership: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠fs.blog/membership⁠⁠⁠⁠⁠⁠⁠ ⁠⁠ and get your own private feed. Newsletter—The Brain Food newsletter delivers actionable insights and thoughtful ideas every Sunday. It takes 5 minutes to read, and it’s completely free. Learn more and sign up at ⁠⁠⁠⁠⁠⁠⁠fs.blog/newsletter⁠⁠⁠⁠ Follow me on X at: ⁠⁠⁠⁠x.com/ShaneAParrish Check out our website for all stock video and photo credits. Episode photo sourced from: iwmf.org/community/katharine-graham/ Learn more about your ad choices. Visit megaphone.fm/adchoices…

about a year ago 1:12:04

MP3•Episode home

https://blog.alfred.edu/iea/2024/07/01/new-director-appointed-myles-calvert/

https://www.instagram.com/alfred_iea/

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Myles Calvert at the China Exhibition AIPA, Xi’an Academy of Art.

Myles Calvert with IEA interns Veronica, Gigi, and Mary. Institute of Electronic Arts, Alfred University.

Jessica Reisch and Tyson Houseman check out Sandin new media equipment. Institute of Electronic Arts, Alfred University.

Visiting artist Kathryn Polk with students. Institute of Electronic Arts, Alfred University.

Rita MacDonald at the offset press with a laser-cut woodblock. Institute of Electronic Arts, Alfred University.

142 episodes

#Fine Arts #Arts #Mica #Arthistory #Baltimoremuseumofart #Curatorial #Marylandinstitutecollegeofart #Printfair #Printmaking #Printpublishing #History #Ann Shafer #Print evangelist #Curators #BMA #Draw #Museum #Photographers #Print

Platemark: prints and the printmaking ecosystem

s3e78 electronic arts in printmaking with Myles Calvert

Platemark: prints and the printmaking ecosystem

published about a year ago

MP3•Episode home

https://blog.alfred.edu/iea/

https://blog.alfred.edu/iea/2024/07/01/new-director-appointed-myles-calvert/

https://www.instagram.com/alfred_iea/

https://www.instagram.com/squirrelpigeonfish/

Myles Calvert at the China Exhibition AIPA, Xi’an Academy of Art.

Myles Calvert with IEA interns Veronica, Gigi, and Mary. Institute of Electronic Arts, Alfred University.

Jessica Reisch and Tyson Houseman check out Sandin new media equipment. Institute of Electronic Arts, Alfred University.

Visiting artist Kathryn Polk with students. Institute of Electronic Arts, Alfred University.

Rita MacDonald at the offset press with a laser-cut woodblock. Institute of Electronic Arts, Alfred University.

142 episodes

All episodes

Platemark: prints and the printmaking ecosystem

1
s3e86 opening a printshop in Chiang Mai with Miranda Metcalf and Tim Pauszek 1:14:03

8 days ago1:14:03

1:14:03

In this episode of Platemark, Ann speaks with Miranda Metcalf and Tim Pauszek about their new venture, Hello, Print Friend Studios in Chiang Mai, Thailand. Listeners will recall Miranda hosts our sister pod, Hello, Print Friend. In addition to the podcast, she also is producing documentaries about printmaking hotspots, beginning with Oaxaca and Puerto Rico (with more to come). Together, Miranda and master printer Tim have settled in Chiang Mai, Thailand, where they have founded a new printmaking studio. They talk about the challenges and joys of setting up a printmaking residency and studio in their adopted city while giving credit to their friend, artist Kitikong Tilokwattanotai and to the local community for supporting the new studio. They talk about the welcoming nature of the Thai people, the rich art and culture to be found in Chiang Mai (particularly among its 12 printmaking studios), and the unique opportunities for artists in their residency program. Miranda and Tim also expand on their future plans for the studio and invite artists and enthusiasts to join them in Chiang Mai. Follow Miranda and Tim here: helloprintfriend.com @helloprintfriend @mirandakielland @timpauszek_studio Show me the images !!…

Platemark: prints and the printmaking ecosystem

1
s3e85 printing vintage semiconductors with artist Deb Puretz 1:04:26

22 days ago1:04:26

1:04:26

In this episode of Platemark, Deb Puretz, an IT professional and artist, discusses her journey into the art world and navigating it as an outlier. Deb, originally from California and now based in South Carolina, shares her experiences of making connections, leveraging business skills, and adapting to new technologies in art. She talks about her early career in Hong Kong, the pivotal moments in her art practice, and working with semiconductors to create unique prints. Deb emphasizes the importance of connections, perseverance, and aiding fellow artists. She also touches on the evolving landscape of computer technology's impact on art. Throughout the discussion, Deb highlights key moments and influential people in her career while offering advice on maintaining motivation and seeking opportunities. Get in touch with Deb here: www.purepuretz.com . Also, Jennifer Roberts’ talk about circuitry in prints is here: https://www.youtube.com/@yaleartgallery/videos . Show me the images!!…

Platemark: prints and the printmaking ecosystem

1
s3e84 printing in plaster with artist Jonathan Beaumont Thomas 1:16:56

5 weeks ago1:16:56

1:16:56

In this episode of Platemark, Ann talks with artist and teacher Jonathan Thomas who shares insights from his time at the Maryland Institute College of Art (MICA), the printmaking program he chairs, and his personal studio in Baltimore. We take a deep dive into his exploration of printing in plaster, detailing the technical process, historical context, and the challenges it presents compared to traditional intaglio printmaking. We talk about his shift from multi-plate color works to black and white, emphasizing the joy and struggle of achieving precise visual results. We talk about his thematic focus on narrative imagery, spirit companions, and the emotional nuances of life and death. We also talk about his educational approach, the critical role of experiential learning, and the impact of collaborative projects like those facilitated by MICA’s Dolphin Press. The conversation concludes with insights into the critique process in art education, emphasizing the balance between constructive feedback and understanding the student's sensitivity. Show me the images !…

Platemark: prints and the printmaking ecosystem

1
s3e83 solarplate etching with Dan Welden 1:10:10

7 weeks ago1:10:10

1:10:10

In this episode of Platemark, Ann sits down with the legendary artist and printmaker Dan Welden. The artist is known for his pioneering work in solarplate etching, a revolutionary, chemical-free printmaking process. Welden recounts his experiences and collaborations with significant artists like Eric Fischl and Elaine and Willem de Kooning. He also delves into his personal creative struggles, preferences for classical music, and tales of his distinctive handmade house filled with artist tiles and unique craftsmanship. The episode is a compelling insight into Welden's artistic journey and contributions to the printmaking world. Show me the images!!…

Platemark: prints and the printmaking ecosystem

1
s3e82 topology- and philosophy-imbued domestic scenes with Ellen Heck 1:01:04

9 weeks ago1:01:04

1:01:04

In this episode of Platemark, I talk with Ellen Heck about her artistic journey and work. We talk about the intricacies of printmaking techniques, Ellen's various portrait series, and the conceptual ideas behind her work. Ellen shares her journey from studying philosophy at Brown, to printmaking at the School of the Art Institute of Chicago, and finally working at the Kala Art Institute in Berkeley. They also explore topics like the influence of Mary Cassatt, the use of color wheels in organizing compositions, and Ellen's fascination with topology in her artwork. Our insightful conversation about the roles within the art ecosystem concludes with the philosophical underpinnings of Ellen's creative process. Starting with this episode, the images are moving to a blog post (it's a long story). Link to the images is below. Show me the images!…

Platemark: prints and the printmaking ecosystem

1
s3e81 building and fixing presses with Mike Stark 1:03:10

11 weeks ago1:03:10

1:03:10

In this episode of the Platemark, I interview Mike Stark, the co-founder and owner of Stark Press Company. The New Jersey-based company, run by Mike and his brother Tom, builds new presses, services old presses, and aids in moving them. They often collaborate with Perry Tymeson, a legendary press repairman. Mike shares insights into designing new presses, managing a small business, and balancing creative work. We talk about studying print media at SAIC in Chicago and establishing Stark Press. We talk about his experiences in moving heavy presses, sometimes in challenging conditions, and the special bonds within the printmaking ecosystem. www.starkpressco.com @iammikestark @pinklinepress @starkpressco Images for Mike Stark's episode are in the blog post you will find here: SHOW ME THE IMAGES!…

Platemark: prints and the printmaking ecosystem

1
s3e80 melding printing and publishing with curatorial work with Mae Shore 1:02:37

13 weeks ago1:02:37

1:02:37

In this episode of Platemark, I talk with Mae Shore, a collaborative printer and owner of Shore Publishing in Tuxedo Park, New York. Mae shares her experiences working at Pace Editions with notable artists like Jim Dine and Chuck Close. She discusses the history and evolution of her gallery and print shop, which she established to merge her love for printmaking and curating exhibitions. Mae touches upon specific projects, such as her collaborations with artists like Amy Bennett, Kamrooz Aram, and Katia Santibañez and James Siena, detailing the unique processes and challenges in creating prints. The conversation also highlights the importance of print fairs, the nuances of printmaking, and Mae's backstory growing up in New York City's SOHO and Tribeca neighborhoods. Mae's reflections offer a compelling glimpse into the meticulous, collaborative, and often experimental world of printmaking. Episode image: Greg Dohler Images for Mae Shore's episode are in this blog post, as all images will be moving forward: SHOW ME THE IMAGES!…

Platemark: prints and the printmaking ecosystem

1
s3e79 contemporary Japanese prints with Michael Verne 1:08:53

15 weeks ago1:08:53

1:08:53

In this episode of Platemark, I talk with Michael Verne, the owner of the Verne Collection in Cleveland, Ohio. Mike's gallery specializes in contemporary Japanese art and works by American artists residing in Japan. We talk about the challenges and rewards of running a small gallery amid larger competitors, and the importance of finding and promoting new artists. Mike shares insights about his journey in the art world, from his childhood surrounded by art to becoming a successful gallerist without a formal art education. He recounts various personal anecdotes, including his experiences at art fairs and his unorthodox methods for discovering and showcasing artists. Mike also highlights the significance of personal relationships and passion in his business. Listeners are encouraged to visit the Verne Collection and explore the fascinating world of contemporary Japanese art. Daniel Kelly (American, born 1947). Crackpot , 2022. Woodblock print and gold leaf with chine collé. 64 x 88 cm. Courtesy of the Artist. Sarah Brayer (American, born 1957). Luminous Moon . Aquatint and chine collé with phosphorescent pigment on indigo-dyed Mulberry paper. 24 x 33 in. The Verne Collection. Yuko Kimura (Japanese, born 1968). Map of the World: Yochishiriyaku . Etching, monotype, thread, antique Japanese geography textbook pages (Yochishiriyaku) from the Meiji period. 8 ¾ x 6 3/4 in. The Verne Collection. Photo: Will Slabaugh. Katsunori Haminishi (Japanese, born 1949). Canola Flowers Field , 2022. Mezzotint triptych. Sheet: 30 x 59 in.; image: 27 x 53 in. Verne Collection. Joel Stewart (American, born 1959). Inside Out , 2003. Aquatint. Sheet: 42 ½ x 34 ½ in. Tolman Collection.…

Platemark: prints and the printmaking ecosystem

1
s3e78 electronic arts in printmaking with Myles Calvert 1:12:04

17 weeks ago1:12:04

1:12:04

In this episode of Platemark, Myles Calvert, a printmaker and professor, shares his extensive journey from growing up in Ontario, Canada, to studying and working in the UK, and eventually returning to Alfred University in New York, to become director of the Institute of Electronic Arts. Myles discusses his experiences working at prestigious galleries in London, giving up a tenure-track position, and the pivotal moments that shaped his career. He delves into his role as the Director of IEA at Alfred, including the intricacies of managing residencies, the use of technology in printmaking, and the importance of community engagement. Myles also reflects on the challenges of academia, the value of traditional and new media in art, and his approach to student critiques. The conversation highlights Myles' passion for printmaking, his commitment to education, and his vision for the future of the IEA. https://blog.alfred.edu/iea/ https://blog.alfred.edu/iea/2024/07/01/new-director-appointed-myles-calvert/ https://www.instagram.com/alfred_iea/ https://www.instagram.com/squirrelpigeonfish/ Myles Calvert at the China Exhibition AIPA, Xi’an Academy of Art. Myles Calvert with IEA interns Veronica, Gigi, and Mary. Institute of Electronic Arts, Alfred University. Jessica Reisch and Tyson Houseman check out Sandin new media equipment. Institute of Electronic Arts, Alfred University. Visiting artist Kathryn Polk with students. Institute of Electronic Arts, Alfred University. Rita MacDonald at the offset press with a laser-cut woodblock. Institute of Electronic Arts, Alfred University.…

Platemark: prints and the printmaking ecosystem

1
s3e77 documenting the printmaking ecosystem with Susan Goldman 1:06:24

19 weeks ago1:06:24

1:06:24

In this interview with the director and founder of Lily Press and the Printmaking Legacy Project, Susan Goldman shares her passion for printmaking and documentary film making. Susan discusses her journey from discovering printmaking at Indiana University, Bloomington, to founding Lily Press and creating impactful documentaries like Midwest Matrix . She highlights her educational experiences, mentors, and the vibrant printmaking community she's built over time. Goldman also delves into her personal work, her love for screenprinting, and the balance of managing a studio while collaborating with renowned artists like Sam Gilliam. Her current projects include documentaries on Lloyd Menard and Rochelle Toner and exploring the evolution and impact of digital printmaking. Susan's reflections on the importance of documenting printmaking history and incorporating community and teaching into her work provide a comprehensive view of her dedication to the art form. Episode image: Erwin Thamm Midwest Matrix film: https://www.midwestmatrix.info/index.html Printmaking Legacy Project: https://printmakinglegacyproject.org/index.html IG: lily_press_studio IG: goldmansusan Spread from Journal of the Print World on Midwest Matrix. Rudy Pozzatti. Tracey Templeton, Wendy Calman, and Susan Goldman at Indiana University, Bloomington. John Whitesell. Circus , 1981. Three-color lithograph. 19 x 25 in. Published by Normal Editions. Susan Goldman. Squaring the Flower II, #15 . Screenprint. 30 x 30 in. Printed and published by Lily Press, Rockville, MD. Installation shot of Susan Goldman’s Squaring the Flower , McLean Project for the Arts, McLean, VA. Cory Oberndorfer inspects proofs of Six Frozen Treats (after Dine) at Lily Press, Rockville, MD. Elizabeth Martin Brown working on a Sam Gilliam edition at Lily Press, Rockville, MD. Renee Stout. The Secret Keeper , 2010. Etching. Plate: 7 x 5 in.; sheet: 15 x 11 in. Printed and published by Lily Press, Rockville, MD. Renee Stout working at Lily Press, Rockville, MD. Viktor Ekpuk. Hip Sista , 2027. Screenprint. 30 x 22 in. Printed and published by Lily Press, Rockville, MD. Victor Ekpuk and Susan Goldman at Lily Press, Rockville, MD. Susan Goldman and Sam Gilliam at Lily Press, Rockville, MD. Dennis O’Neill in the shop at the Corcoran College of Art and Design, Washington, D.C. Lily Press booth at the Baltimore Fine Art Print Fair, 2023. Cory Oberndorfer. Six Frozen Treats (after Dine) , 2023. Intaglio. Plate: 10 ¼ x 14 ½ in.; sheet: 21 x 15 in. Printed and published by Lily Press, Rockville, MD. Eve Stockton. Woodland Skyscape . Woodcut with watercolor. Sheet: 36 x 36 in. Printed and published by Lily Press, Rockville, MD. Eve Stockton working at Lily Press, Rockville, MD. Percy B. Martin at Lily Press, Rockville, MD. Photo: Duane Winfield. Lloyd Menard, founder of Frogman’s Print Workshops. Rochelle Toner. Boost , 2009. Etching. 12 x 16. Courtesy of the Artist. Rochelle Toner and Susan Goldman filming their interview. Enrique Chagoya. Life at the Border of Language , 2023. Color lithograph. 21 ½ x 36 in. Published by Sharks Ink. Garo Antreasian. Y’es Em , 1991. Four-color lithograph. Sheet: 30 1/8 x 26 ¼ in. Published by Tamarind Institute, University of New Mexico. Leonard Lehrer. Powis , 1972. Lithograph. Sheet: 24 x 18 in. ArtworkArchive.com. Sam Gilliam (American, 1933–2022). 3 PM School Bus , 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD. Sam Gilliam (American, 1933–2022). 4 PM School Bus , 2018. Screenprint. 18 ½ x 51 ½. Printed and published by Lily Press, Rockville, MD. Sangmi Yoo. Common Ground , 2025. Aluminum etching. 20 x 15 in. Courtesy of the Artist. Keiko O’Hara at Lily Press, Rockville, MD.…

Platemark: prints and the printmaking ecosystem

1
s3e76 the print studio as sanctuary with Bryan Raymundo 1:05:08

21 weeks ago1:05:08

1:05:08

In this episode, Ann talks with Bryan Raymundo, owner of the Black Fragment Press. They discuss their meeting at the Mid America Print Council conference and Bryan’s background, from growing up in Mexico and Kansas to his love for Black Sabbath and printmaking. Bryan reveals his journey into art, inspired by comforting his sick grandmother with drawings, and his challenges in balancing his family’s immigrant expectations with his artistic aspirations. They delve deeply into his evolving art practice, the importance of mentors like Marco Hernandez and Jason Scuilla, and his passion for printmaking. Bryan shares his pedagogical philosophy, experiences teaching at the University of Nebraska at Omaha, and future plans to establish a collaborative art studio. The episode encompasses Bryan’s personal anecdotes, his admiration for influential artists, and the profound impact printmaking has had on his life and career. Episode image by Ann Shafer www.bryanraymundo.com IG @raymundo_printmaker Bryan Raymundo (American, born 1993). Home Ain’t Home , 2024. Woodcut. 14 x 16 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). The Hare that Met God , 2024. Woodcut. 14 x 16 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). X Sin Nombre , 2023. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). My Manic and I , 2023. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Only the Strong , 2023. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Cold Heavens , 2023. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Russian Roulette , 2021. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Snuffed , 2017. Etching. 9 x 12 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Birds Calling , 2024. Woodcut. 22 x 30 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Beware of the Rhino Throne , 2024. Woodcut. 18 x 24 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Barking , 2022. Woodcut. 24 x 24 in. Courtesy of the Artist.…

Platemark: prints and the printmaking ecosystem

1
s3e75 posters vs prints with Angelina Lippert 1:00:18

23 weeks ago1:00:18

1:00:18

In this episode of Platemark, Ann sits down with Angelina Lippert, a poster historian and the curator and director of Poster House, to discuss the inception and growth of the first museum in the U.S. dedicated exclusively to the art and history of posters. They talk about what makes posters and fine art prints the same and different. And they discuss the challenges and processes of acquiring, preserving, and showcasing posters, the historical and cultural significance of early advertising posters, and the often-overlooked artistry involved in their creation. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Poster House website https://posterhouse.org/ Poster House IG @posterhousenyc Poster House façade on 23rd Street. Courtesy of Poster House. Poster House’s lobby/café. Photo by Elizabeth Berger. Max Beckmann (German, 1884–1950). Actors , 1941–42. Oil on canvas. Overall: 207.3 × 341.9 × 6.4 cm. (81 5/8 × 134 5/8 × 2 1/2 in.). Harvard Art Museums, Cambridge. Henri de Toulouse Lautrec (French, 1864–1901). The Jockey , 1899. Lithograph. Sheet: 51.7 × 36.3 cm. (20 3/8 × 14 5/16 in.). National Gallery of Art, Washington, D.C. Posters from Maîtres de l’Affiche , 1895–1900. Lithographs. Inter-Antiquariaat Mefferdt & De Jonge, Amsterdam. Pierre Bonnard (French, 1867–1947). L’Estampe et l’affiche , 1897. Lithograph. Sheet: 32 11/16 × 24 3/16 in. (83 × 61.5 cm.). Metropolitan Museum of Art, New York. Pierre Bonnard (French, 1867–1947). France-Champagn e, 1891. Lithograph. Image 78 x 57.8 cm.; sheet 79.4 x 58.8 cm. National Gallery of Australia, Canberra. Dawn Baillie (American, born 1964). Movie poster for The Silence of the Lambs , 1991. Lithograph. Poster House, New York. Henri de Toulouse Lautrec (French, 1864–1901). Moulin Rouge: La Goulue , 1891. Lithograph. sheet: 74 13/16 x 45 7/8 in. (190 x 116.5 cm.). Metropolitan Museum of Art, New York. A.M. Cassandre (French, born Ukraine, 1901–1968). Nord Express , 1927. Lithograph. 41 3/8 x 29 1/2 in. (105.09 x 74.93 cm.). Minneapolis Institute of Arts, Minneapolis. Paula Scher (American, born 1948). The Diva is Dismissed , 1994. Lithograph. 46 x 30 1/8 in. (116.8 x 76.5 cm.). Museum of Modern Art, New York. Dafi Kühne (Swiss, born 1982). Tunnel III , 2023. Letterpress and linocut. 70 x 100 cm. Typographic Posters. Winston Tseng. Kamala , 2024. Lithograph. Courtesy of Winston Tseng’s IG account. Nike. The Best on Earth/The Best on Mars , 1989. Lithograph. Courtesy of Poster House. Boris Bućan (Croatian, born Yugoslavia, born 1947). Voltaire: Candide , 1983. Lithograph. Courtesy of Poster House. Lester Beall (American, 1903–1969). Light/Rural Electrification Administration , 1937. Lithograph. Courtesy of Poster House.…

Platemark: prints and the printmaking ecosystem

1
s3e74 Dürer's connection to the Islamic East with Susan Dackerman 1:03:40

25 weeks ago1:03:40

1:03:40

In this episode of Platemark, Ann talks with Susan Dackerman, a curator and art historian specializing in Northern European print culture. They discuss Susan's recent book, Dürer's Knots: Early European Print and the Islamic East, which looks at the artist's relationship to the Islamic world, revealing groundbreaking insights about the intersection of early modern printmaking and contemporary history. Susan's book covers three of Dürer's prints or print series. The first section looks at The Sea Monster (Das Meerwunder) , c. 1498, and postulates that it chronicles the return to Venice of Caterina Cornado following her forced abdication as the last queen of Cyprus in 1489. Susan pieces together the narrative, which often claims to be about the abduction of a woman on the fins of Neptune. The second section looks at a series of six woodcuts Dürer made to mimic the designs of silver inlay found in Mamluk brass bowls. Susan has an intriguing theory about the Knots 's connection to a set of engravings by none other than Leonardo da Vinci. The final section looks at the iron etching Landscape with a Cannon , 1518, and answers the question why make this image as an etching rather than an engraving. The book challenges traditional narratives and recasts Dürer's prints that reference the Islamic East as much more nuanced and reflective of contemporaneous history. Susan's book is clear, concise, and thoughtful, and well worth the read. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Susan's IG https://www.instagram.com/susanmdackerman/ Susan Dackerman. Dürer’s Knots: Early European Print and the Islamic East . Princeton, NJ: Princeton University Press, 2024. https://press.princeton.edu/books/hardcover/9780691250441/durers-knots?srsltid=AfmBOoo2o2yjJJeOlkdsXIURAOdx595jWpEKkUllE8jpzXRidPeYLEG8 Susan Dackerman. The Painted Print: The Revelation of Color . University Park, PA: Penn State University Press, 2002. https://www.psupress.org/books/titles/0-271-02234-5.html Albrecht Dürer (German, 1471–1528). Sea Monster (Das Meerwunder) , c. 1498. Engraving. Sheet (trimmed to platemark): 24.7 x 18.8 cm. (9 3/4 x 7 3/8 in.). National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). The First Knot (with a heart-shaped shield) , probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). The Third Knot (with a black circle on a white medallion) , probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). The Sixth Knot (combining seven small systems of knots with black centers) , probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C. Attributed to Leonardo da Vinci (Italian 1452–1519). The Fifth Knot (Interlaced Roundel with Seven Six-pointed Stars) , c. 1498. Engraving. Plate: 10 3/8 × 7 13/16 in. (26.4 × 19.8 cm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Landscape with the Cannon , 1518. Etching (iron). Sheet (trimmed to image): 21.9 × 32.2 cm. (8 5/8 × 12 11/16 in.). National Gallery of Art, Washington, D.C.…

Platemark: prints and the printmaking ecosystem

1
s3e73 seeking a higher meaning in art with artist-activist Art Hazelwood 1:08:10

27 weeks ago1:08:10

1:08:10

In this interview I talk with artist and activist Art Hazelwood about art as political action versus politics as a subject. We start with his journey as a printmaker in San Francisco in the early 90s, where he engaged in political art through the Street Sheet newspaper. He elaborates on the distinction between social commentary and political action, emphasizing his active role in various causes including homelessness and union support. We also talk about his work with the San Francisco Poster Syndicate and teaching drawing at San Quentin prison, highlighting the importance of art as a transformative tool within the prison system. Additionally, we talk about his involvement in Mission Gráfica, a print studio, and his efforts in cataloging artists' estates. The conversation touches on the evolving role of artists, the value of ephemeral art, and the challenges and opportunities within the art world today. Episode image by James Hazelwood https://www.arthazelwood.com/ https://www.arthazelwood.com/impresario/publications/mission-grafica-book.html https://www.arthazelwood.com/impresario/publications/hobos-to-street-book.html Bainbridge Island Museum of Art video on Tipping Point by Art Hazelwood https://www.youtube.com/watch?v=Yx7VNp6sBoo Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Art Hazelwood (American, born 1961). Strike! , 2023. Screenprint. 19 x 12 ¾ in. San Francisco State University California Faculty Association Strike poster. Courtesy of the Artist. Installation shot of Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present . The California Historical Society, February 19–August 15, 2009. Installation shot of Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present . The California Historical Society, February 19–August 15, 2009. Installation shot of Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present . The California Historical Society, February 19–August 15, 2009. Art Hazelwood (American, born 1961). Hobos to Street People: Artist’ Responses to Homelessness from the New Deal to the Present . San Francisco: California Historical Society, 2008. Art Hazelwood (American, born 1961). Mission Gráfica: Reflecting a Community in Print . San Francisco: Pacific View PR, 2022. Art Hazelwood (American, born 1961). Die Aktion #70, Grimmiger Jäger / Grim Hunter, 500,000 , 2021. Screenprint. 16 3/4 x 11 in. Marking the grim milestone of 500,000 dead of Covid in the US. Courtesy of the Artist. Art Hazelwood (American, born 1961). New Masses #64, Last Tango, January 6, 2020 , 2021. Screenprint. 17 x 12 in. Marking the attempted coup on January 6, 2020. Courtesy of the Artist. Art Hazelwood (American, born 1961). The Road to Fascism: It’s No Game , 2024. Screenprint. 17 1/2 x 21 ½ in. Courtesy of the Artist. Art Hazelwood (American, born 1961). Iraqopoly , 2006. Screenprint. 20 1/2 x 28 1/2 in. Courtesy of the Artist. Art Hazelwood (American, born 1961). Fascist Mix ’N Match , 2024. Screenprint. 9 x 10 ¾ in. Courtesy of the Artist. Art Hazelwood (American, born 1961). Le Charivari #76, July 19, 2024, Candidat a la Presidentielle 2016–2024 , 2024. Screenprint. 17 x 11 1/4. Courtesy of the Artist. Art Hazelwood (American, born 1961). A Sea of Blood , 2022. Woodcut. 19 ¾ x 14 in. Courtesy of the Artist. Art Hazelwood (American, born 1961). Culture Street / Gentrification Lane , 2016. Woodcut. Each panel: 36 x 24. Courtesy of the Artist. Art Hazelwood (American, born 1961). Must We Always Have This? Why Not Housing? , 2023. Screenprint. 16 3/4 x 11 ½ in. Created for Western Regional Advocacy Project's director Paul Boden and his 40 years of activism. Text is from a WPA poster from New York 1930s. Courtesy of the Artist. Art Hazelwood (American, born 1961). Tipping Point , 2021. Artist’s book with screenprints (binding and design by Asa Nakata). Overall: 12 x 9 x 1 3/8. Courtesy of the Artist. Art Hazelwood (American, born 1961). Tipping Point , 2021. Artist’s book with screenprints (binding and design by Asa Nakata). Overall: 12 x 9 x 1 3/8. Courtesy of the Artist. Art Hazelwood street printing with San Francisco Poster Syndicate, 2023. Photo courtesy of David Bacon. Steamroller, six formerly incarcerated men and three of their teachers created a 3-foot square linocut print and printed it with a steamroller at Diablo Valley College, CA, in March 2024. Photo courtesy of Peter Merts. Steamroller, six formerly incarcerated men and three of their teachers created a 3-foot square linocut print and printed it with a steamroller at Diablo Valley College, CA, in March 2024. Photo courtesy of Peter Merts. Art Hazelwood (American, born 1961). Ayudantes Animales del Sudoeste: Un Guía Para Viajeros Jóvenes / Animal Helpers of the Southwest: A Guide For Young Travelers , 2015. Artist’s book with 12 woodcuts with screenprint borders and text. Sheet: 18 x 18 in. Courtesy of the Artist. Art Hazelwood (American, born 1961). End Overdose Now , 2023. Screenprint. 18 1/2 x 11 1/8 in. Created for SF AIDS Foundation, HIV Advocacy Network and city budget fight. Courtesy of the Artist. Art Hazelwood (American, born 1961). Support Our Libraries , 2023. Woodcut. 19 1/4 x 12 1/2. Courtesy of the Artist.…

Platemark: prints and the printmaking ecosystem

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s3e72 on color and abstraction with Jonathan Higgins, owner of Manneken Press 1:11:01

29 weeks ago1:11:01

1:11:01

In this episode of Platemark, Jonathan Higgins discusses his journey as the owner and master printer of Manneken Press, established in 2000 in Bloomington, Illinois. We talk about his early life in Berkeley, California, his initial interest in art and ceramics, and his transition to printmaking. After exploring lithography and working for various artists and print workshops in New York, including at Galamander Press with Randy Hemminghaus, he eventually founded Manneken Press. Jonathan shares insights into the operational strategies, collaborative projects with artists, challenges with photogravure, and his approach to publishing and curating prints. He also touches on the impact of COVID-19 on his work processes and future projects, while emphasizing the importance of selecting artists whose work resonates with him. The interview concludes with a reflection on the evolution of Manneken Press and Jonathan's current focus and achievements. Episode photo by: Matt Shrier https://mannekenpress.com/ Blog: https://mannekenpress.com/news-the-manneken-press-blog/ Artsy: https://www.artsy.net/partner/manneken-press Printed Editions: https://www.printed-editions.com/gallery/manneken-press/ IG: @mannekenpress IG: jonathiggins Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Philip Van Keuren (American, born 1948). Snowstorm , 2016. Photogravure. 14 x 18 in. Published by Manneken Press. Courtesy of Manneken Press. Philip Van Keuren (American, born 1948). Tulips , 2019. Photogravure. 18 x 14 in. Published by Manneken Press. Courtesy of Manneken Press. Manneken Pis, Brussels, Belgium. Manneken Pis, Brussels, Belgium. Shrine to Manneken Pis at Manneken Press. Courtesy of Manneken Press. Rupert Deese (American, born 1952). Array 1000/Dark Blue , 2011. Woodcut. 45 x 45. Published by Manneken Press. Courtesy of Manneken Press. Ted Kincaid (American, born 1966). Nest 920 , 2008. Etching. Plate: 20 x 16 in.; sheet: 25 x 21 in. Published by Manneken Press. Courtesy of Manneken Press. Matt Magee (American, born France, 1961). (L–R) Bugs , Drugs , Plugs , 2021. Set of three aquatints. Each: 21 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press. Matt Magee (American, born France, 1961). Lunar Lantern , 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press. Matt Magee (American, born France, 1961). Mind Gap , 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press. Matt Magee (American, born France, 1961). Winter Pool , 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press. Preparing to print the plate for the watercolor monotype Foursquare Foresworn by Judy Ledgerwood (American, born 1959) at Manneken Press. Courtesy of Manneken Press. Judy Ledgerwood (American, born 1959). Foursquare Foresworn , 2020. Watercolor monotype. 22 x 30 in. Published by Manneken Press. Courtesy of Manneken Press. Judy Ledgerwood (American, born 1959). Detail of watercolor monotype Old Glory , right after printing. Published by Manneken Press. Courtesy of Manneken Press. Judy Ledgerwood (American, born 1959). Old Glory , 2020. Watercolor monotype. 22 x 30 in. Published by Manneken Press. Courtesy of Manneken Press. Judy Ledgerwood (American, born 1959). Inner Vision , 2020. Suite of 9 watercolor monotypes. Published by Manneken Press. Courtesy of Manneken Press. Jill Moser (American, born 1956) working on the plates for Chroma Six in her Long Island City studio. Courtesy of Manneken Press. Jill Moser (American, born 1956). Chroma Six , 2019. Suite of six color aquatints. Each: 23 1/2 x 20 in. Published by Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974) stopping out a copper plate with asphaltum at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974). Detail of a plate with soap ground applied prior to etching at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974) plates with soap ground applied prior to etching at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974). The first plate of Prospect inked and ready to print at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974). The second plate of Prospect inked and ready to print at Manneken Press. Courtesy of Manneken Press. Jonathan Higgins pulling a color proof of Prospect , an etching by Jason Karolak (American, born 1974) at Manneken Press. Courtesy of Manneken Press. Jonathan Higgins pulling a color proof of Prospect with all 10 colors, an etching by Jason Karolak (American, born 1974) at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974). Working proof of Prospect , 2024. 2-plate aquatint. Plate: 21 x 18 in.; sheet: 26 1/2 x 23 in. Published by Manneken Press. Courtesy of Manneken Press.…

Platemark: prints and the printmaking ecosystem

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s3e71 double-drop printing with artist Art Werger 1:17:16

31 weeks ago1:17:16

1:17:16

In this episode of Platemark, I interview Art Werger, a renowned printmaker and retired professor from Ohio University. We discuss Art’s extensive experience and techniques in printmaking, focusing on his work in etching and mezzotint. Art shares his innovative approaches to color experimentation and his use of unique methods like double dropping, cut plates, and à la poupée inking. We also talk about Art’s artistic journey, his teaching experiences, working with litho crayon and white ground techniques, and his projects, including a series of circus-related prints and illustrations for 'The Godfather.' The episode concludes with Art offering to donate prints to educators reflecting his generous spirit and commitment to the printmaking community and highlighting the importance of supporting printmaking in an era dominated by digital techniques. Episode photo by Karla Hackenmiller https://artwerger.com/ IG @artwerger https://www.etsy.com/market/art_werger Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Art Werger (American, born 1955). Still Pictures , from a 2020 Instagram post. 99 mezzotints with mouse bites. Courtesy of the Artist. Art Werger (American, born 1955). Still Pictures , 2005. 99 mezzotints with mouse bites. 25 ½ x 25 ½ in. Courtesy of the Artist. Art Werger (American, born 1955). Exposure , 2023. 1-plate color etching and aquatint, sugar lift, white ground, and softground etching, printed twice (warm and cool colors—double drop method). Courtesy of the Artist. https://www.youtube.com/watch?v=V7P_Q9hqVuY&t=401s Carding on cool colors on Exposure , 2023. Carding on cool colors on Exposure , 2023. Art Werger (American, born 1955). The Fool , 2024. 2-plate color etching. Courtesy of the Artist. https://www.instagram.com/reel/C3LqKuhRTnd/ Art Werger (American, born 1955). The Fool , 2024. 2-plate color etching (grid inked in warm colors for color tests). Courtesy of the Artist. Art Werger (American, born 1955). The Fool , 2024. 2-plate color etching (grid inked in cool colors for color tests). Courtesy of the Artist. Art Werger (American, born 1955). The Staggering Shambonys , 1981. Color etching and aquatint. Courtesy of the Artist. Art Werger (American, born 1955). Don’t Invite the Ringlings to Dinner , 2024. Color etching. 22 x 17 in. Courtesy of the Artist. Art Werger (American, born 1955). Binge and Purge from The Godfather , 2024. Mezzotint. 9 ½ x 6 ¼ in. Courtesy of the Artist. Art Werger (American, born 1955). Circus , 2024. Color etching (6 cut plates). 18 x 22 in. Courtesy of the Artist. A la poupée inking cut plate for Circus , 2024. Courtesy of the Artist. Stencil inking cut plate for Circus , 2024. Courtesy of the Artist. Art Werger (American, born 1955). Balance , 2024. Color etching. 20 x 13 in. Courtesy of the Artist. Jonathan Beaumont Thomas (American, born 1973). Hibiscus , 2021/22. Color etching and aquatint. Courtesy of the Artist. Art Werger (American, born 1955). Montauk drawings, 2023. Prismacolor pencils on black paper. Courtesy of the Artist. Art Werger (American, born 1955). Nocturnal , 2024. Etching. 29 x 22 in. Courtesy of the Artist. Art Werger (American, born 1955). McMansions , 2019. Aquatint. 18 x 16 in. Courtesy of the Artist. Art Werger (American, born 1955). The Godfather , 2024. Portfolio of 16 mezzotints. Courtesy of the Artist.…

Platemark: prints and the printmaking ecosystem

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s3e70 deep deep dive on screenprinting with Leslie Diuguid 1:32:54

33 weeks ago1:32:54

1:32:54

In this episode Platemark, I talk with Leslie Diuguid, owner and founder of Do-Good Press in Bed-Stuy, Brooklyn. Leslie shares her journey as a screenprinter and discusses the intricacies of screenprinting, including processes, challenges, and the nuances of halftone and moiré patterns. We talk about how much math comes into the enterprise, especially about the relationship of mesh counts of screens and the frequency modulation of dot patterns. We explore Leslie's deep connection with her community, her unique approach to remembering names by sketching neighborhood visitors, and her experiences moving from a bedroom workshop to a storefront space. Leslie also details various projects, such as printing on glass, working with unique materials, and producing one-off prints in collaboration with artists like Selena Kimball and Rose Salane. We touch on the importance of sharing knowledge, community engagement, and the future of printmaking. This enriching conversation highlights Leslie's passion for her craft and her innovative contributions to the printmaking world. https://du-goodpress.com/ IG @dugoodpress IG @little_mouse_diuguid Article in Bomb Magazine about Selena Kimball: https://bombmagazine.org/articles/2023/09/20/selena-kimball-interviewed/ Leslie's Omaha show: https://www.u-ca.org/exhibition/meet-me-at-the-fence-ok-bye Nyssa Chow information: https://www.tellinghistories.com/trace Du-Good Press published Simon Benjamin's Crown and Anchor , which was acquired by the Perez Art Museum: https://www.instagram.com/p/DDNPhswRslT/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Leslie Diuguid priming canvas with open mesh at Du-Good Press, Brooklyn, NY. One-off set up for artist Simon Benjamin at Du-Good Press, Brooklyn, NY. Shepard Fairey. Tribal Anniversary , 2024. Screenprint. 24 x 18 in. Signari Gallery, Temecula, CA. Selena Kimball standing on screenprinting table getting ready to work with Andrea “Nina” Knoll in the background. Selena Kimball inspecting work in progress. Andrea “Nina” Knoll pouring ink as Selena Kimball holds the squeegee and prepares to print. Selena Kimball with Leslie Diuguid pointing out details in Selena's work in progress. Installation shot of Leslie Diuguid’s exhibition, Meet me at the fence ok bye . February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist. Leslie Diuguid (American, born 1986). Eduardo , Chanel , and Jessica , 2024. Screenprints on canvas (12 x 12 in. each) installed in Leslie Diuguid’s exhibition, Meet me at the fence ok bye . February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist. Installation shot of Leslie Diuguid’s exhibition, Meet me at the fence ok bye . February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist. Leslie Diuguid (American, born 1986). 12,528 , 2024. Screenprint on canvas. 30 x 40 in. Courtesy of the Artist. Installation shot of Leslie Diuguid’s exhibition, Meet me at the fence ok bye . February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist. Leslie Diuguid (American, born 1986). These Are Leslie’s Hands , 2024. Screenprint on canvas. 30 x 40 in. Courtesy of the Artist. Leslie Diuguid (American, born 1986). Screamie , 2024. Screenprint. 30 x 40 in. Courtesy of the Artist. Leslie Diuguid (American, born 1986). Emily , 2024. Screenprint. 30 x 40 in. Courtesy of the Artist. Leslie Diuguid (American, born 1986). 942-0733 , 2024. Screenprint. 30 x 40 in. Courtesy of the Artist. Rose Salane. 64,000 Attempts at Circulation , 2022. Five screenprints, counterfeit metal coins, and steel tables. Overall: 106 13/16 × 232 × 131 in. Whitney Museum of American Art, New York. Tiona Nekkia McClodden. Black Insanity on the Ledge of a Death Star , 2022. 2-color screenprint. 18 x 24 in. Printed by Du-Good Press; published by 52 Walker. Alake Schilling (American, born 1993). Spotty Dotty Dog House , 2023. Color screenprint. 16 x 16 in. Published by Printed Matter; printed by Du-Good Press, Brooklyn. Printed Matter Char Jeré. The Periodic Table of Black Revolutionaries , 2021. 10-color screenprint. 18 x 24 in. Printed and published by Du-Good Press, Brooklyn. Kai Jenrette (American, born 2001). I’m Perfect Life’s Perfect I Love Being Me , 2024. 2-color screenprinted zine. Unfolded: 16 x 20 in. Printed and published by Du-Good Press, Brooklyn.…

Platemark: prints and the printmaking ecosystem

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s3e69 on establishing non-and for-profit printmaking workshops with Cole Rogers 1:00:52

35 weeks ago1:00:52

1:00:52

In this episode of Platemark, I interview Cole Rogers, a master printmaker who recently co-founded C&C Editions after his long tenure at Highpoint Center for Printmaking in Minneapolis. Cole talks about his journey into printmaking, his approach to the creative process, and the importance of experimental collaboration with artists. We talk about the mission-driven establishment of Highpoint Center, which he co-founded with Carla McGrath, and which aims to support all stages of an artist's career. We talk about the transition to C&C Editions and establishing a new shop and publishing program. We cover a range of topics from the technical aspects of printmaking to the broader art ecosystem, emphasizing the importance of creativity and exploration in the art world. Episode photo by Joseph D.R. O’Leary Mungo Thompson (American, born 1969). Pocket Universe (Copper) #16 , 2016. Copper blind embossment. 24 x 20 in. Printed and published by Highpoint Center for Printmaking, Minneapolis. Willie Cole (American, born 1955). Five Beauties , 2012. Five intaglio and relief prints. Each: 63 ½ x 22 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis. Julie Mehretu (American, born Ethiopia, 1970). Entropia: Construction , 2005. Lithograph with Gampi chine collé. Image: 29 ½ x 39 ½ in.; sheet: 40 x 49 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis. Mungo Thompson (American, born 1969). Between Projects , 2011. Handmade pencils. Site-specific installation at Walker Art Center, Minneapolis. Mungo Thompson (American, born 1969). Coat Check Chimes , 2008. Nickel-plated aluminum and steel, 1200 pieces. Site-specific installation at the 2008 Whitney Biennial, New York. Photo: Joanne Kim. James Turrell (American, born 1943). Dividing the Light , 2007. Granite and steel. Pomona College, Claremont, CA. Studio shot, C&C Editions, Minneapolis. USEFUL LINKS www.candceditions.com IG @candceditions IG @cole.rogers.5836 FB https://www.facebook.com/candceditions…

Platemark: prints and the printmaking ecosystem

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s2e34 History of Prints William Hogarth (part two) 1:47:40

36 weeks ago1:47:40

1:47:40

In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art. We look at and pick apart three series: Industry and Idleness , The Four Stages of Cruelty , and Humours of an Election . Timely, no? Hogarth continues to point out society’s faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment. Episode image: William Hogarth (British, 1697–1764). Gin Lane , 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. Useful Links Harlot’s Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ Harlot’s Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY After Allan Ramsay (British, 1713–1784). Portrait of William Hunter , 1760. Engraving. Wellcome Collection. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace , c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride , 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris. Inigo Jones (British, 1573–1652). Banqueting House, 1622. London. William Hogarth (British, 1697–1764). The South Sea Scheme , 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot’s Progress , 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake’s Progress , 1735. Series of 8 paintings. Sir John Soane’s Museum, London. William Hogarth (British, 1697–1764). A Rake’s Progress , 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Marriage A-la-Mode , c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London. After William Hogarth (British, 1697–1764). Marriage A-la-Mode , 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III , 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste . London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste . London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste . London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste . London: J. Reeves, 1743. William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms , plate 1 from the series Industry and Idleness , 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian , plate 2 from the series Industry and Idleness , 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard , plate 3 from the series Industry and Idleness , 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master , plate 4 from the series Industry and Idleness , 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea , plate 5 from the series Industry and Idleness , 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master’s Daughter , plate 6 from the series Industry and Idleness , 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute , plate 7 from the series Industry and Idleness , 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London , plate 8 from the series Industry and Idleness , 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices , plate 9 from the series Industry and Idleness , 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices , plate 10 from the series Industry and Idleness , 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn , plate 11 from the series Industry and Idleness , 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London , plate 12 from the series Industry and Idleness , 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane , 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street , 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The First Stage of Cruelty , 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Second Stage of Cruelty , 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Cruelty in Perfection , 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Reward of Cruelty , 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment , 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane’s Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes , 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane’s Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling , 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane’s Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member , 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane’s Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment , 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes , 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling , 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member , 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. George Caleb Bingham (American, 1811–1879). The Verdict of the People , 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). Stump Speaking , 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). The County Election , 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis. William Hogarth (British, 1697–1764). Tailpiece, or the Bathos , 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.…

Platemark: prints and the printmaking ecosystem

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s3e68 editioning digital embroidery with printer Judith Solodkin 1:09:46

37 weeks ago1:09:46

1:09:46

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith’s passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss , 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I , 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip , 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile , from the A. I. R. Print Portfolio , 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room , 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont , 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror , 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin , 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair , 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues , 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli , 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring , 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden , 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883 , 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost , 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye , 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl , 2006. Digital embroidery and thread on paper. 22 x 17 ½ in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight , 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night , 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal , 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne , 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4 , 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled , 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight , from the series Zenobia , 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald , from the series Oxygems , 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World? , 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time , 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver’s Notation – Variation 1 ,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette , 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.…

Platemark: prints and the printmaking ecosystem

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s2e33 History of Prints William Hogarth (part one) 2:01:44

38 weeks ago2:01:44

2:01:44

In this History of Western Prints (HoP) episode, Tru and I begin to explore the life and work of William Hogarth, the first British artist featured on Platemark’s HoP series. Hogarth, renowned as the father of Western sequential art, is discussed through detailed analyses of three of his best known series: A Harlot's Progress , A Rake's Progress , and Marriage A-la-Mode . The episode delves into 18th-century London's morality, capturing the societal and artistic context of Hogarth's work. Highlights include discussions on the intricacies of Hogarth's prints, his depiction of social issues, the impact of his work on English law (copyright laws finally established!), and his mixed successes in various art forms. This first of two episodes on Hogarth sets the stage for part two when we look at his images around elections in Enlightenment England. Harlot’s Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ Harlot’s Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF Beer Street and Gin Lane video from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook After Anton von Maron (Austrian, 1733–1808). Johann Winkelmann , after 1768. Engraving. After Allan Ramsay (British, 1713–1784). Portrait of William Hunter , 1760. Engraving. Wellcome Collection. William Hogarth (British, 1697–1764). The Painter and his Pug , 1745. Oil on canvas. 35.4 x 27.5 cm. Tate Britain, London. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace , c. 1740. Oil on canvas. 49.5 × 38.5 cm. (19.5 in × 15.2 in.). Louvre, Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride , 1761. Oil on canvas. 92 x 117 cm. Louvre, Paris. The Banqueting House, London. Saint Paul’s Church, London. William Hogarth (British, 1697–1764). Self-Portrait , c. 1735. Oil on canvas. 21 1/2 x 20 in. (54.6 x 50.8 cm.). Yale Center for British Art, New Haven. William Hogarth (British, 1697–1764). An Emblematic Print on the South Sea , late 18th century. Engraving and Etching. Plate: 10 13/16 x 13 3/8 in. (27.4 x 33.9 cm.); sheet: 11 5/16 x 14 in. (28.7 x 35.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 1 , 1732 or before. Etching and engraving. Sheet: 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. Chart identifying elements in Harlot’s Progress Plate 1 . William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 2 , 1732 or before. Etching and engraving. Sheet: 12 3/8 x 14 13/16 in. (31.4 x 37.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 3 , 1732 or before. Etching and engraving. Sheet: 12 11/16 x 15 3/8 in. (32.2 x 39 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 4 , 1732 or before. Etching and engraving. Sheet: 13 1/8 x 15 3/16 in. (33.3 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 5 , 1732 or before. Etching and engraving. Sheet: 13 3/8 x 16 3/16 in. (34 x 41.1 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 6 , 1732 or before. Etching and engraving. Sheet: 12 1/2 x 15 3/16 in. (31.7 x 38.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 1 , 1735. Etching and engraving. Sheet: 15 13/16 x 19 1/16 in. (40.2 x 48.4 cm.). Metropolitan Museum of Art, New York. Gérard Jean-Baptiste Scotin (French, Paris 1698–after 1755), after William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 2 , 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 3 , 1735. Etching and engraving. Sheet: 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 4 , 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36.1 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 5 , 1735. Etching and engraving. Sheet: 15 5/8 x 18 13/16 in. (39.7 x 47.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 6 , 1735. Etching and engraving. Sheet: 14 x 16 in. (35.5 x 40.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 7 , 1735. Etching and engraving. Sheet: 15 5/8 x 18 3/4 in. (39.7 x 47.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 8 , 1735. Etching and engraving. Sheet: 15 9/16 x 18 13/16 in. (39.6 x 47.8 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake’s Progress , 1735. Eight oil on canvas paintings. Sir John Soane’s Museum, London. Louis-François Roubiliac (French, 1702–1762). William Hogarth , c. 1741. Terracotta bust. Overall: 28 1/2 x 17 3/4 in. (72.4 x 45.2 cm.). National Portrait Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 1, The Marriage Settlement , c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 2, The T ête-à-Tête , c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 3, The Inspection , c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 4, The Toilette , c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 5, The Bagnio , c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 6, The Lady’s Death , c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. Gérard Jean-Baptiste Scotin (French, 1698–after 1755), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 1 , 1745. Etching and engraving. Sheet: 15 3/16 x 18 5/16 in. (38.5 x 46.5 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 2 , 1745. Etching and engraving. Sheet: 15 1/16 x 18 1/4 in. (38.3 x 46.3 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 3 , 1745. Etching and engraving. Plate: 15 3/8 x 18 1/2 in. (39 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 4 , 1745. Etching and engraving. Plate: 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 5 , 1745. Etching and engraving. Plate: 15 1/4 x 18 7/16 in. (38.8 x 46.9 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 6 , 1745. Engraving. Plate: 15 3/16 x 18 3/8 in. (38.6 x 46.7 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street , 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane , 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.…

Platemark: prints and the printmaking ecosystem

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s3e67 on being artist and curator with Amy N. Worthen 1:02:50

39 weeks ago1:02:50

1:02:50

In s3e67 of Platemark, I talk with Amy Namowitz Worthen, a distinguished engraver and curator, about her lifelong journey in printmaking. Influenced early by her artist mother, she pursued art education at Smith College and the University of Iowa, honing her artistic skills under Leonard Baskin and Mauricio Lasansky. Amy's career is marked by multi-faceted contributions to printmaking, including prestigious curatorial positions at Des Moines Art Center, along with helping to establish its Print Club. Her work bridges historical and contemporary practices, with publications and collaborations spanning across the globe, notably in Venice. Personal experiences, including significant tragedies, deeply influenced her art, shaping unique series and projects. Amy's legacy is celebrated through her continued involvement in the art community and her influential prints, which are showcased and valued internationally. Useful links FB https://www.facebook.com/amy.worthen IG @amynamowitzworthen Link to Hayter film: https://www.youtube.com/watch?v=wUIM9ZiMqzw Platemark links Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Leonard Baskin (American, 1922–2000). Man of Peace , 1952. Woodcut. Image: 59 5/8 x 30 7/8 in. (151.5 x 78.5 cm.). Metropolitan Museum of Art, New York. Amy N. Worthen at the Scuola Internazionale de Grafica di Venezia, 1989. Courtesy of the Artist. View from Amy N. Worthen’s Venice apartment. Courtesy of the Artist. Amy N. Worthen (American, born 1946). My Wisteria 25 , 2023. India ink on Seichosen Tosa Kozo paper. 55 x 29 ½ in. Olson Larsen Gallery, Des Moines. Amy N. Worthen (American, born 1946). My Wisteria, Venice: Summer Shadows and Sunlight. View from my terrace looking towards Palazzo Zane Collalto, Ponte sant’Agostin, and Palazzo Morosini degli Spezieri (W. japonica floribunda macrobotrys) , 2022/2023. India ink on Seichosen Tosa Kozo paper. 55 x 29 ½ in. Olson Larsen Gallery, Des Moines. Amy N. Worthen (American, born 1946). My Wisteria,Venice: Last year’s seed pods, budding and flowering racemes, a falling blossom, terrace view towards Ponte sant’Agostin (W. japonica floribunda macrobotrys) , 2023. India ink and watercolor. 30 x 22 in. Olson Larsen Gallery, Des Moines. Jacques Bellange (French, c. 1575–1616). Pietà , 1615. Etching with stippling and engraving. Sheet (trimmed): 12 3/16 × 7 13/16 in. (31 × 19.8 cm). Metropolitan Museum of Art, New York. Giorgio Morandi (Italian, 1890–1964). Natura morta a grandi segni , 1931. Etching. Plate: 9 5/8 x 12 1/2 in. (24.4 x 31.8 cm.); sheet: 15 1/8 x 20 in. (38.4 x 50.8 cm.). Metropolitan Museum of Art, New York. Amy N. Worthen (American, born 1946). Strumenti d’Incisione (Engraving Tools) , 1995. Engraving, roulette, and mezzotint. Plate: 7 3/8 x 6 in. (18.9 x 15.6 cm.). Courtesy of the Artist. Amy N. Worthen in her home studio, Des Moines. Courtesy of the Artist. Amy N. Worthen (American, born 1946). The Law Library , from the series Real and Imagined Aspects of the Iowa State Capitol , 1977. Etching. Plate: 17 ½ x 14 ½ in. (44.5 x 36.8 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Terrace Hill with Peacock , 2008. Engraving. Plate: 13 7/8 x 16 ½ in. (35 x 42 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Sotoportego Pisano , from the series Sotoporteghi Veneziani , 1994. Engraving. 9 x 7 7/8 in. (22.7 x 20 cm.). Olson Larsen Gallery, Des Moines. Antonio del Pollaiuolo (Italian, 1431/32–1498). Battle of the Nudes , 1470s–80s. Engraving. Sheet: 42.4 x 60.9 cm. (16 11/16 x 24 in.); plate: 42 x 60.4 cm. (16 9/16 x 23 3/4 in.). The Cleveland Museum of Art. Amy N. Worthen (American, born 1946). House in Ruins , 1986. Engraving. Plate: 16 ¾ x 13 7/8 in. (42.5 x 35.3 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). House of Emblems , 1988. Engraving, roulette, and mezzotint. Plate: 24 x 18 in. (61 x 45.7 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Vanitas , 1987. Engraving. Plate: 14 ¾ x 11 7/8 in. (37 x 30.4 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). A Sphinx Fountain , 1971. Engraving. Plate: 14 1/8 x 12 ½ in. (36 x 31.7 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Melancolia II , 1973. Engraving. Plate: 8 1/8 x 14 7/8 in. (20.5 x 38 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). The Supreme Court , from the series Real and Imagined Aspects of the Iowa State Capitol , 1977. Engraving and etching. Plate: 13 7/8 x 16 ¾ in. (35.2 x 42.5 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). An Iowa Valentine , 1990. Engraving with hand coloring. Plate: 6 7/8 x 5 in. (17.5 x 12.7 cm.). Olson Larsen Gallery, Des Moines. Amy N. Worthen (American, born 1946). Iowa Alphabet , 1990. 25 engravings with watercolor. Overall: 19 7/8 x 15 in. (50.1 x 38.1 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Iowa Alphabet: VOTE , 2020. Engraving printed in blue. Courtesy of the Artist. Amy N. Worthen (American, born 1946). Iowa Alphabet: VOTE , 2020. Engraving printed in blue with watercolor. Courtesy of the Artist. Amy N. Worthen (American, born 1946). Billboard with Iowa Alphabet: VOTE , 2020. Courtesy of the Artist. Get-Out-The-Vote postcards featuring Amy N. Worthen’s Iowa Alphabet: VOTE , 2020. Courtesy of the Artist. Amy N. Worthen speaks in front of her Wisteria drawings at Olson Larsen Gallery, Des Moines, 2023. Courtesy of the Artist.…

Platemark: prints and the printmaking ecosystem

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s3e66 Contact: Art and the Pull of Print with Jennifer Roberts 1:12:26

41 weeks ago1:12:26

1:12:26

In s3e66 of Platemark, host Ann Shafer talks with Jennifer Roberts, an art historian and professor at Harvard, about her latest book, Contact: Art and the Pull of Print , which explores the intersection of intellectual and technical richness in print. Jennifer's book offers a fresh perspective on printmaking, synthesizing simple maneuvers like reversal and pressure to account for the medium's expansive influence. Based on her acclaimed Mellon Lectures delivered during the pandemic, the book is both conversational and accessible, aiming to engage a wide audience beyond the traditional confines of print expertise. They also talk about Jennifer's journey into the world of print, which began during her research into the movement and dissemination of images within the Anglo-American world during the 18th and 19th centuries. Initially focused on the path of oil paintings, she inadvertently found herself immersed in the world of prints, specifically currency engraving—an intricate craft demanding the production of unreplicable reproductive objects to combat counterfeiting. Jennifer shares insights from her 20+ years of teaching where she emphasizes long looking at objects (3 hours!) and integrates studio and theoretical learning. Additionally, Jennifer discusses an exciting collaboration with artist Dario Robleto. Their joint work delves into the fascinating realm of printed sound, specifically examining the Golden Record—a phonographic record sent into space on the Voyager probes. This project exemplifies Jennifer's penchant for exploring the intersections of materiality, meaning, and communication within both earthly and cosmic contexts, as well as the intersections of art, science, and the evolution of visual culture. Cover photo: Sharona Jacobs. USEFUL LINKS Bio https://haa.fas.harvard.edu/people/jennifer-roberts IG @jenniferrrrrroberts Jennifer Roberts’s books and lectures Contact: Art and the Pull of Print , 2024 https://press.princeton.edu/books/paperback/9780691255859/contact-art-and-the-pull-of-print?srsltid=AfmBOoq_6iSOwrkK9suakEqQRn7TWwBvOj4zyh0Gf3zLcw4gvTpA2uC3 Mellon Lectures, National Gallery of Art https://www.nga.gov/research/casva/meetings/mellon-lectures-in-the-fine-arts/roberts-2021.html Transporting Visions: The Movement of Images in Early America , 2014 https://www.ucpress.edu/books/transporting-visions/hardcover Jasper Johns/In Press: The Crosshatch Works and the Logic of Print , 2012 https://shop.harvardartmuseums.org/products/jasper-johns-in-press-the-crosshatch-works-and-the-logic-of-print The Metamorphic Press: Jasper Johns and the Monotype, 2017 https://www.academia.edu/35947545/The_Metamorphic_Press_Jasper_Johns_and_the_Monotype_2017_ Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook…

Platemark: prints and the printmaking ecosystem

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History of Prints Bonus Episode Our Art Origins 37:45

43 weeks ago37:45

37:45

We're replaying a past bonus episode in which History of Prints SME Tru and Platemark host Ann talk about their art origins. They come from pretty different backgrounds, but they are in complete alignment about art, art history, prints, and print history. So, listen in as they talk about how they got to where they are.…

Platemark: prints and the printmaking ecosystem

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s3e65 behind the scenes with conservator Alison Luxner 1:11:52

45 weeks ago1:11:52

1:11:52

In this episode, go behind the scenes at the museum with Alison Luxner, a paper conservator at the Museum of Fine Arts in Boston. Alison shares her journey to becoming a conservator, the lengthy education and training process, and her diverse experiences working in various conservation roles. They also delve into the specifics of handling and conserving works on paper, the pros and cons of using gloves, and share some adventures in couriering artwork all over the world. Furthermore, they discuss different career paths within the field. Ann and Alison's conversation underscores the complexities of art conservation and the passion required to excel in this meticulous profession. Paper Conservator Alison Luxner treating a large Jules Cheret poster, La Loïe Fuller , 1893. Museum of Fine Arts, Boston. Paper Conservator Alison Luxner treating a group of hand-colored linoleum cuts by Allan Rohan Crite. Museum of Fine Arts, Boston. Paper Conservator Alison Luxner treating a wood engraving by Edwin Holgate, Nude by a Lake , c. 1932. Museum of Fine Arts, Boston. Paper Conservator Alison Luxner looking closely with a microscope at Martin Schongauer’s engraving Temptation of Saint Anthony , 1470-74. Museum of Fine Arts, Boston. Host Ann Shafer with Alison Luxner’s mother, Joan Kaskell, and Ann’s father, Don MacNary.…

Platemark: prints and the printmaking ecosystem

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s2e32 History of Prints Maria Sibylla Merian 1:30:27

46 weeks ago1:30:27

1:30:27

In this History of Prints episode of Platemark, host Ann Shafer and subject matter expert Tru Ludwig explore the extraordinary life and legacy of Maria Sibylla Merian. Celebrated for her pioneering work on insect metamorphosis and her detailed illustrations of flora and fauna, Merian's journey took her to Suriname where she documented local species with the help of native people and slaves. Despite the societal constraints of the 17th century, she made significant contributions to both science and art, influencing future generations. The discussion also situates her achievements within the broader context of the Enlightenment and printmaking evolution, drawing comparisons with other naturalists like Audubon. The episode concludes with a teaser for an upcoming feature on William Hogarth, noted for his political satire. George Peabody Library, Baltimore, MD. Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy , 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust. Maria Sibylla Merian (Dutch, 1647–1717) on the 500 Deutsche Mark. Maria Sibylla Merian (Dutch, 1647–1717) on a German postage stamp. Jacob Marrel (German, 1613–1681). Portrait of Maria Sibylla Merian , 1679. Oil on canvas. 59 x 50.5 cm. Kunstmuseum Basel. [DETAIL] Joachim von Sandrart I (German, 1606–1688) and Philipp Kilian (German, 1628–1693). Detail of Portraits of Michel le Blond, Aegidius Sadeler, Georg Petele, Matthaus Merian, Renbrant a Rhen, Carol Screta , c. 1683. Engraving. Plate: 12 1/4 × 7 7/8 in. (31.1 × 20 cm.); sheet: 12 3/4 × 8 3/8 in. (32.4 × 21.3 cm.). Detroit Institute of Arts, Detroit. Wenceslaus Hollar (Flemish, 1607–1677). Muff with a band of brocade , 1647. Etching. Plate: 11.3 x 8.3 cm. Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand. Matthäus Merian (Swiss, 1593–1650). Todten-Tantz Wie derselbe in der Weitberümbten Statt Basel als ein Spiegel Menschlicher beschaffenheit gantz Künstlich mit Lebendigen Farben Gemahlet, nicht ohne nutzliche Verwunderung zusehen ist . Basel: Mieg, 1621. Thüringer Landesmuseum Heidecksburg. Jacob Marrel (German, 1613–1681). Four Tulips: (Boterman, Joncker, Grote geplumaceerde, and Voorwint) , c. 1635–45. Watercolor on vellum. 13 3/8 x 17 11/16 in. Metropolitan Museum of Art, New York. Rachel Ruysch (Dutch, 1664–1750). Festoon with Flowers and Fruit , 1682. Oil on canvas. 38 x 33 cm. National Gallery of Prague. Maria Sibylla Merian (Dutch, 1647–1717 ). Plate 5 from volume 1 of Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food) . Germany: self-published, 1679. Jan Goedaert (German, 1617–1668). Study for and engraving of metamorphosis of a moth. Tru Ludwig (American, born 1959). Dumb Luck , 2009. Two-plate etching, printed à la poupée. Plate: 37 ½ x 27 in.; sheet (42 x 30 in.). Courtesy of the Artist. Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian . Engraving with hand coloring, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word . Amsterdam: self-published, 1717. Maria Sibylla Merian (Dutch, 1647–1717). Neues Blumenbuch . Nuremberg: self-published, 1680. Maria Sibylla Merian (Dutch, 1647–1717). Blumenbuch . Nuremberg: Johann Andreas Graff, 1675. Maria Sibylla Merian (Dutch, 1647–1717). Illustration of a Turk's cap lily ( Lilium superbum ) from Merian's New Book of Flowers, 1680. Maria Sibylla Merian (Dutch, 1647–1717). Titlepage from Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food) . Germany: self-published, 1679. Jim Dine (American, born 1935). The Temple of Flora , 1984. San Francisco, Arion Press, 1984. Maria Sibylla Merian (Dutch, 1647–1717). A Pineapple Surrounded by Cockroaches , c. 1701–05. Watercolor and gouache on vellum. British Museum, London. Maria Sibylla Merian (Dutch, 1647–1717). Merian's 'forest rat' or opossum ( Didelphimorphia ) carrying her young. Detail from plate 66 of Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (frog) from Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly , 1702–03. Watercolor and gouache with gum arabic over lightly etched outlines on vellum. 43.5 x 28.8 cm. Royal Collection Trust, London. Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly , from the book, Metamorphosis Insectorum Surinamensis . Amsterdam: Johannes Oosterwyk, 1718. Maria Sibylla Merian (Dutch, 1647–1717). Plate (praying mantes) from Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (snake) from Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. [DETAIL] Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (croc eating snake) from Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (pineapple and cockroaches) from Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Watercolor study of Toucan for Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten . Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (black tegu) from Metamorphosis Insectorum Surinamensium . Amsterdam: self-published, 1705. Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian . Engraving, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word . Amsterdam: self-published, 1717. Thomas Bewick (British, 1753–1828). Title page from History of British Birds . Newcastle: Beilby & Bewick, 1797. Thomas Bewick (British, 1753–1828). Title page from The Supplement to the History of British Birds . London: Longman and Co., 1821. Dr. Robert Thorton (British). Flowering Cereus from The Temple of Flora , 1807. Color mezzotint. London: self-published, 1812. John James Audobon (French-American, 1785–1851). Flamingo fron The Birds of America . London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Carolina Parakeets from The Birds of America . London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Hawks eating dinner from The Birds of America . London: self-published, 1827–38.…

Platemark: prints and the printmaking ecosystem

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s3e64 starting a printshop with Jenny Robinson 1:18:21

47 weeks ago1:18:21

1:18:21

In this episode of Platemark, host Ann Shafer talks with renowned printmaker Jenny Robinson who recently opened up her eponymous print shop in Sydney, Australia. Jenny shares her experiences moving from America to Slovenia during the Trump era, integrating into Slovenia's printmaking community, and ultimately relocating to Sydney, Australia, to establish her print atelier. We talk about the challenges of getting different materials and the cultural contrasts in the art scenes of America, Europe, and Australia, backing and seaming prints with gampi (thanks to Paul Mullowney’s tutelage), flying with rolled prints in golf bags (for free!), and the Mario Avati Prize, which led to a one-person exhibition in the Institut de France in Paris, across the river from the Louvre. The episode also touches upon the extensive network and collaborative spirit of printmakers and Jenny's summer residency at Flatbed Press in Austin, TX. Throughout the conversation, Jenny emphasizes the significance of artist visits, educational resources in art, and her ambitions for large-scale prints and workshops in her new Sydney studio. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook International Center of Graphic Arts (Mednarodni grafični likovni center), Ljubljana, Slovenia. Photo by Jaka Babnik. Jenny Robinson (British, born 1957). Architectural Anomalies Series #2: Cornerstone . Drypoint on Gampi. 40 x 60 in. Courtesy of the Artist. Jenny Robinson (British, born 1957). Palm House Series #2: The Glass House . Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist. Jenny Robinson pinning up Palm House Series #2: The Glass House . Jenny Robinson (British, born 1957). Palm House #1 , 2021. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist. Jenny Robinson (British, born 1957). Paradigm . Drypoint on Gampi, backed with Sekishu. 60 x 80 in. Courtesy of the Artist. Jenny Robinson (British, born 1957). Above L.A . Drypoint and monoprint. Sheet: 51 x 34 in. Courtesy of the Artist. Jenny Robinson (British, born 1957). Hidden Lines, Fragile Frameworks , 2021, Drypoint on Gampi and Mulberry paper. Each: 150 x 98 cm. Courtesy of the Artist. Jenny Robinson’s converted warehouse home, Sydney. Jenny Robinson was awarded the Mario Avati Prix de Gravure in 2019. Solo exhibition took place at Le Pavillion comtesse de Caen, Academie des Beaux Arts, September 2021. Installation shot of Jenny Robinson’s exhibition for the Mario Avati Prix de Gravure, Le Pavillion comtesse de Caen, Academie des Beaux Arts, Paris, September 2021. Institut de France, Paris, 2021. Installation shot of Jenny Robinson (British, born 1957). Structures , 2019. Drypoint on Gampi. Courtesy of the Artist. Jenny Robinson Print Studio, Sydney. Jenny Robinson Print Studio, Sydney.…

Platemark: prints and the printmaking ecosystem

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s3e63 multi-plate color etching with printer Peter Pettengill 1:35:55

49 weeks ago1:35:55

1:35:55

In s3e63 of Platemark, podcast host Ann Shafer talks with collaborative printer Peter Pettengill. Peter founded Wingate Studio in 1985 on his family’s dairy farm in Hinsdale, NH. Originally trained at Crown Point Press, Peter specializes in multi-plate color etchings. Now semi-retired, Peter’s son James has taken over the operating of the shop, though Peter lends a hand when requested. They talk about Peter's early experiences at Crown Point Press, his work with celebrated artists such as John Cage, Sol LeWitt, and Walton Ford, and the technical and creative complexities of creating fine art prints. Peter reflects on his transition to semi-retirement, the passing of his studio to his son James, and the historical and artistic significance of their family farm turned artist residency. This episode offers listeners an insightful look into the dedication required in printmaking, the balance between creativity and technical skill, and the supportive community that underpins the art world. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Robert Mapplethorpe (American, 1946–1989). Plate from the portfolio A Season in Hell , 1986. Photogravure printed with relief roll. Published by Limited Editions Club, photogravures by Jon Goodman and printed by Wingate Studio, text printed by Wild Carrot Press. Sol LeWitt (American, 1928–2007). Crown Point , 1980. Bound volume with photoetchings. Plate (each) 2 ½ x 2 ½ in.; sheet (each) 11 x 11 in. Published by Crown Point Press, printed by Kevin Parker. Joan Jonas (American, born 1936). Double Wheel , 1982. Color aquatint. Plate and sheet: 24 x 36 in. Published by Crown Point Press, printed by Peter Pettengill. Sol LeWitt (American, 1928–2007). Complex Forms , 1990. Hard ground etching. Sheet: 36 x 36 in.; plate: 30 x 30 in. Printed by Wingate Studio. John Cage (American, 1912–1992). Ryoku No. 4 , 1985. Color drypoint. Plate: 18 x 24 in.; sheet: 18 x 24 in. Published by Crown Point Press, printed by Marcia Bartholme. John Cage (American, 1912–1992). EninKa , 1986. One of 50 smoked paper monotypes with branding on gampi paper chine collé. Sheet: 18 ½ x 24 ½ in. Published by Crown Point Press, printed by Marcia Bartholme. Walton Ford (American, born 1960). Swadeshi-cide , 1998–99. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 36 x 24 in.; sheet: 44 x 31 in. Published by Blue Heron Press, printed by Wingate Studio. Walton Ford (American, born 1960). Baba–B.G. , 1997. Mixed media. 105 x 74 cm. Paul Kasmin Gallery. Walton Ford (American, born 1960). Bangalore , 2004. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 12 x 9 in.; sheet: 21 1/2 x 16 in. Published by Kasmin Gallery, printed by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East , 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East , 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East , 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Xylor Jane (American, born 1963). Plate from Cat Hearts , 2023. Four-plate aquatint etching with sugar lift. Plate: 23 3/4 x 27 1/4 in.; sheet: 28 5/8 x 32 1/4 in. Printed and published by Wingate Studio. Xylor Jane (American, born 1963). Third Order Magic Square for Deep Sleep , 2014. Three-plate aquatint etching. Plate: 17 3/4 x 15 1/2 in.; sheet: 24 1/2 x 21 3/4 in. Published by Wingate Studio. Walton Ford (American, born 1960). Nantes , 2009. Two-plate aquatint etching with dry point, hard ground, and spit bite. Plate: 40 x 30 in.; sheet: 48 x 37 in. Published by Kasmin Gallery, printed by Wingate Studio. Daniel Rios Rodriguez (American, born 1978). South Parish , 2017. Single-plate aquatint etching with burnishing, dry point, electric engraving, hard ground and soft ground. Plate: 20 x 17 in. (oval); sheet: 22 x 30 1/2 in. Published by Wingate Studio. Gideon Bok (American, born 1966). Wingate Studio with Aldo’s Press, Threnody for R.L. Burnside , 2005. Three-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky. Gideon Bok (American, born 1966). Wingate Studio with Aldo’s Press, No Sleep ’Til Hinsdale , 2008. Five-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky. Louise Bourgeois (American, born France, 1911–2010). Les Fleurs, 2007. Soft ground etching, with selective wiping. Plate (in 2 vertical parts) (overall): 59 5/8 × 35 ¼ in.; sheet: 59 5/8 x 36 1/8. Published by Osiris, New York, printed by Wingate Studio. Louise Bourgeois working on I See You!!! . Louise Bourgeois (American, born France, 1911–2010). I See You!!!, 2007. Soft ground etching, with selective wiping. Plate: 55 1/2 x 21 5/8 in.; sheet: 59 1/8 x 24 1/8 in. Published by Osiris, New York, printed by Wingate Studio. Sebastian Black (American, born 1985). Composition with Registration Marks and Other Marks , 2017. Five-plate aquatint etching with burnishing, soap ground and spit bite. Plate: 24 x 18 in.; sheet: 31 ¾ x 24 1/2 in. Published and printed by Wingate Studio. L–R: Paul Singdahlsen, Peter Pettengill, Nanacy Anello, Kathan Brown, and Vito Acconci at Crown Point Press. L–R: Peter Pettengill, Ed Ruscha, Marcia Bartholme at Crown Point Press. Peter Pettengill (left) and James Pettengill working on a Sebastian Black print at Wingate Studio. Peter Pettengill working at Wingate Studio. Peter Pettengill (left) and Walton Ford working at Wingate Studio. Wingate’s website: https://wingatestudio.com/ Wingate’s FB page: https://www.facebook.com/search/top?q=wingate%20studio Instagram: @wingatestudio…

Platemark: prints and the printmaking ecosystem

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s3e62 the humanness of pattern with Teresa Cole 1:00:04

51 weeks ago1:00:04

1:00:04

In this five-part mini-series, Ann is talking to five artists who were selected to be included in an exhibition called 5X5, that was part of Print Austin's winter festival this year in 2024. The juror of the show is Mysczka Lewis, who is a curator at Tandem Press. Next up is Teresa Cole, an artist and printmaker from New Orleans. She has taught at Tulane University for nearly thirty years. Teresa’s interest in the humanness of pattern has been a throughline in her work and she incorporates different cultures’ methods of patternmaking and storytelling in beautiful installations. In their conversation, they talk about orizome (a Japanese method of folding and dyeing paper), commissioning printed fabric for saris in India, printing on aluminum mesh, and Tulane’s tuition-free master’s program. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Teresa Cole (American, born 1961). Exchange . Installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans. Photo: Neil Alexander. Teresa Cole (American, born 1961). Exchange . Pre-installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans. Teresa Cole (American, born 1961). Cosmati , 2021. Hand-cut Washi. 26 x 18 in. Courtesy of the Artist. Teresa Cole (American, born 1961). Tessellation Entanglement , 2021. Screenprinted porcelain. 4 x 8 feet. Courtesy of the Artist. Teresa Cole (American, born 1961). Redeem , 2023. Puff paint screenprinted on digital velvet. Installation view at WhiteSpace Gallery, January–February 2023. Teresa Cole (American, born 1961). Bee Pattern , 2014. Screenprint. 25 x 16 in. Courtesy of the Artist. Teresa Cole (American, born 1961). Infusion , 2017. Dyed relief printed Washi with bamboo. 48 x 117 in. Courtesy of the Artist. Teresa Cole (American, born 1961). Saturate 2.0 , 2017. Dyed relief printed Washi with bamboo. Courtesy of the Artist. Printing fabric at Kanishka, India. Hand-carved printing blocks carved for the artist at Kanishka, India. Teresa Cole (American, born 1961). Seep , 2015. Process shot. Courtesy of the Artist. Teresa Cole (American, born 1961). Seep , 2015. Relief printed and dyed Japanese paper with bamboo sticks. Installation at Artfields. Courtesy of the Artist. Teresa Cole (American, born 1961). Seep , 2015 (left). Relief printed and dyed Japanese paper with bamboo sticks. Installation at Callan Contemporary, 2025. Courtesy of the Artist. Teresa Cole (American, born 1961). Tangled Conquest , 2015. Relief printed on folded and dyed paper with sumi and walnut. 65 x 77 x 25 in. Courtesy of the Artist.…

Platemark: prints and the printmaking ecosystem

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s3e61 artist Annalise Gratovich on chine collé 1:12:25

1 year ago1:12:25

1:12:25

Wondering how far you can take chine collé in a project? Listen in as Annalise Gratovich tells us all about this method of adding thin pieces of hand-dyed papers to giant woodcuts. In s3e61 of Platemark, podcast host Ann Shafer continues talking to artists included in Print Austin’s 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Next up is artist Annalise Gratovich. Annalise works in woodcut primarily (and etching), and is best known for her monumental woodcuts with multiple dyed papers glued down by chine collé. We take a deep dive into the ins and outs of chine collé, her Ukranian heritage and inherited trauma, cuteness as a means to help viewers access difficult subjects, and her recent battle with a mystery autoimmune disease. § Platemark website § Sign-up for Platemark emails § Leave a 5-star review § Support the show § Get your Platemark merch § Check out Platemark on Instagram § Join our Platemark group on Facebook Annalise Gratovich (American, born 1989). The Healer , from the series Villagers Carrying Things from Home , 2023. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Mariner , from the series Villagers Carrying Things from Home , 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Mother , from the series Villagers Carrying Things from Home , 2019. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Undertaker , from the series Villagers Carrying Things from Home , 2021. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Builder , from the series Villagers Carrying Things from Home , 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Hunter , from the series Villagers Carrying Things from Home , 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Musician , from the series Villagers Carrying Things from Home , 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Installation view, Flatbed Press, Austin, TX, 2024. Installation view, Plains Art Museum, Fargo, North Dakota, 2023. Annalise Gratovich pulling The Healer at Flatbed Press, Austin, TX. USEFUL LINKS IG: @annalisegratovich FB: https://www.facebook.com/annagratovich Website: https://annalisegratovich.com/ Mesh Art Gallery: https://meshartgallery.com/collections/annalise-gratovich Flatbed Press: https://flatbed-press.myshopify.com/collections/annalise-gratovich…

Platemark: prints and the printmaking ecosystem

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s2e31 History of Prints The Enlightenment (part two) 1:59:52

1 year ago1:59:52

1:59:52

Enlightenment publications on human anatomy changed the way artists understood their place in the world. Check out these examples of life-changing images brought to you by prints in books! In s2e31 of Platemark’s History of Prints series, Tru and Ann continue their discussion of the Enlightenment. This time they look at several publications that put forward new discoveries about human anatomy: William Hunter’s The Anatomy of the Human Gravid Uterus , Bernhard Siegfried Albinus’ Tabulae sceleti et musculorum corporis humani , and Jacques Fabien Gautier d’Agoty’s Myologie complette en couleur et grandeur naturelle . They conclude with Denis Diderot’s Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers , a 17-volume tome that attempted to define and codify all of human knowledge. At the end of the episode, Ann and Tru wax philosophical about how incredible this blossoming of human knowledge is, and how talking about it makes each of them think about our place as humans on the planet. It gets a bit deep, but worthwhile. A. Hadamart. Exhibition of the Royal Academy of Painting and Sculpture in the Grande Galerie of the Louvre , 1699. Engraving. Gabriel de Saint-Aubin (French, 1724–1780). Vue du Louvre en l’année 1753 , 1753. Etching. Plate: 5 13/16 x 7 1/8 in. (14.8 x 18.1 cm.); sheet: 6 ¼ x 7 5/8 in. (15.8 x 19.3 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1785 , 1785. Etching. Plate: 10 7/8 x 19 1/8 in. (27.6 x 48.6 cm.); sheet: 14 1/4 x 20 3/4 in. (36.2 x 52.7 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1787 , 1787. Etching. Plate: 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). The Exhibition of the Royal Academy 1787 , 1787. Engraving. Plate: 36.1 x 49.9 cm. British Museum, London. Jacques-Louis David (French, 1748–1825). The Oath of the Horatii , 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris. Sir Joshua Reynolds (British, 1723–1792). Lady Sarah Bunbury Sacrificing to Graces , 1765. Oil on canvas. 242.6 × 151.5 cm. (95 1/2 × 59 3/4 in.). Art Institute of Chicago. Sir Joshua Reynolds (British, 1723–1792). Lord Heathfield of Gibraltar , 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London. Pietro Antonio Martini (Italian, 1738–1797). Salon de 1787: view of the Salon Carre at the Louvre during the painting exhibition in Paris , 1852. Engraving. From Frank Leslie’s Popular Monthly . Jean-Antoine Houdon (French, 1741–1828). Voltaire Seated , 1781. Terra-cotta. 120 cm. tall. Musée Fabre, Montpellier. Jean Honoré Fragonard (French, 1732–1806). Les hasards heureux de l’escarpolette (The Swing) , c. 1767–68. Oil on canvas. 81 x 64.2 cm. The Wallace Collection, London. Jean-Antoine Houdon (French, 1741–1828). Benjamin Franklin , 1778. Marble. 23 1/8 × 14 1/2 × 11 1/4 in. Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp , 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague. William Hunter (British, 1718–1783). Title page from The Anatomy of the Human Gravid Uterus . Birmingham: John Baskerville, 1774. Jan van Rymsdyk (Dutch, c. 1730–1790). Plate VI from The Anatomy of the Human Gravid Uterus . London: S. Baker & G. Leigh, 1774. Engraving. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the fetus in the womb , c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the female genetalia and fetus in the womb , c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Johann Zoffany (German, 1733–1810). William Hunter Lecturing , 1770–72. Oil on canvas. Royal College of Physicians, London. Roman copy of Greek marble. The Dying Gaul , late 3rd century BCE. Marble. Capitoline Museums, Rome. William Pink (British, 1809–1857), after Agostini Carlini (British, born Italy, c. 1718–1790). Smugglerius , c. 1834. Plaster. Royal Academy of Arts, London. Thomas Banks (British, 1735–1805). Anatomical Crucifixion (James Legg) , 1801. Plaster cast. Royal Academy of Arts, London. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Title page from Tabulae sceleti et musculorum corporis humani . London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani . London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani . London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani . London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani . London: H. Woodfall, 1749. Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle . Paris: Gautier, Quillau, Lamesle, 1746. Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle . Paris: Gautier, Quillau, Lamesle, 1746. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page , c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects , 1748. Wellcome Library Collection, London. Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens . Paris: Demonville, 1775. Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens . Paris: Demonville, 1775. Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie générale des viscères . Paris: 1752. Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects , 1748. Wellcome Library Collection, London. Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie des parties de la génération de l'homme et de la femme . Paris, 1773.' Pregnant Woman Jean-Antoine Houdon (French, 1741–1828). Denis Diderot (1713–1784) , 1773. Marble. Height (bust): 15 3/4 in. (40 cm.); height (stand): 4 11/16 in. (11.9 cm.). Metropolitan Museum of Art, New York. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Anatomy pages from the Encyclopedia Britannia , 1963. Flags pages from the Encyclopedia Britannia , 1963. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos) , 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.…

Platemark: prints and the printmaking ecosystem

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s2e30 History of Prints The Enlightenment (part one) 1:38:24

1 year ago1:38:24

1:38:24

In Platemark’s History of Prints series, we are leaving the Baroque behind and are turning to the Enlightenment. The late seventeenth and eighteenth century is a fascinating time when social ideas focused on the value of knowledge in all sectors. Rationalism and empiricism led to the scientific revolution, the separation of church and state, literary salons, and for the purposes of this episode, art academies. The era saw the establishment of taxonomies, dictionaries, encyclopedias, and studies of foreign cultures. The results of all of these studies led to both good and bad, leading Tru and I to discuss alternate terms for the era beyond the Enlightenment: the Endarkenment and the Enwhitenment. Listen in as we parse out this fascinating moment in history. You can listen to Platemark or watch a video version. Links to all the possibilities are on the episode page at www.platemarkpodcast.com. George Peabody Library, Johns Hopkins University, Baltimore. Hyacinth Rigaud (French, 1659–1743). Louis VIX , 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Aerial view of Versailles. Nicolas Poussin (French, 1594–1665). Et in Arcadia ego , 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris. Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV , 1665. Marble. Palace of Versailles. Façade of the Louvre Museum. Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos , 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago. Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy , 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust. Raphael (Italian, 1483–1520). School of Athens , 1509–11. Stanza della Segnatura, Apostolic Palace, Vatican. Roman. Laocoön and His Sons , 27 BCE–68 CE. Marble. 208 × 163 × 112 cm. (82 × 64 × 44 in.). Museo Pio-Clementino, Vatican City. Wax ecorché figure. Science Museum, London. Johann Zoffany (German, 1733–1810). William Hunter Lecturing , 1770–72. Oil on canvas. Royal College of Physicians, London. Anton von Maron (German, 1733–1808). Portrait of Johann Joachim Winkelmann , 1767. Oil on canvas. 136 x 99 cm. (53 ½ x 38 7/8 in.). Collection of Schloss Weimar, Weimar, Germany. Jacques-Louis David (French, 1748–1825). The Oath of the Horatii , 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris. Jan van Riemsdyck, Plate VI from The Anatomy of the Human Gravid Uterus . London: S. Baker & G. Leigh, 1774. Engraving. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos) , 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York. Denis Diderot (French, 1713–1784). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers . Paris : André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.…

Platemark: prints and the printmaking ecosystem

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s3e60 deep dive on Dox Thrash with dealer Ron Rumford 1:07:49

1 year ago1:07:49

1:07:49

African-American artist Dox Thrash is in the spotlight on s3e60 of Platemark. Podcast host Ann Shafer speaks with Ron Rumford, director of Dolan/Maxwell, a private gallery in Philadelphia, which has a particular specialty in the prints of Stanley William Hayter and the associated artists of Atelier 17, as well as Black artists of the same era, such as Dox Thrash, Bob Blackburn, Norma Morgan, Elizabeth Catlett, Ed Clark, and more. Ron was eager to highlight an exhibition focused on Dox Thrash, which is on view at the African American Museum of Philadelphia through August 4, 2024. They talk about Thrash and his invention of the carborundum mezzotint, Bob Blackburn’s Printmaking Workshop and its relationship to Atelier 17 and Hayter, the monumental importance of the WPA printmaking division, and Ballinglen, an artist residency and gallery founded by Peter Maxwell and Margo Dolan in Ballycastle, a tiny farming town in County Mayo, Ireland. Dox Thrash (American, 1893–1965). Sunday Morning , c. 1939. Etching. Sheet: 12 5/8 x 10 5/8 in.; plate: 8 7/8 x 7 7/8 in. Metropolitan Museum of Art, New York. L-R: Krishna Reddy, Stanley William Hayter, Robert Blackburn, and friend, 1980s, at Reddy’s studio. Hayter at the press with lithography press behind him, Atelier 17 in New York. Photo of Pennerton West with fellow artists including Augusta Savage and Norman Lewis. Pennerton West (American, 1913–1965). Troll in the Grain , 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Pennerton West (American, 1913–1965). Troll in the Grain , 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Georgia Cotton Crop , c. 1944–45. Carborundum mezzotint. Plate: 8 7/16 x 9 7/8 in.; sheet: 11 ¼ x 11 3/4. in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Ebony Joe , c. 1939. Lithograph. Sheet: 10 5/8 x 8 7/8 in. Saint Louis Art Museum, St. Louis. Dox Thrash (American, 1893–1965). Octoroon (Study for a Lithograph) , c. 1939. Brush and ink wash over graphite. Sheet: 16 7/8 x 12 ¼ in. Philadelphia Museum of Art, Philadelphia. Dox Thrash (American, 1893–1965). Octoroon , c. 1939. Lithograph. Sheet: 22 13/16 x 11 9/16 in. Collection of John Warren, Philadelphia. Dox Thrash (American, 1893–1965). Charlot , c. 1938–39. Carborundum mezzotint. Plate: 8 15/16 x 6 15/16 in. Dolan/Maxwell, Philadelphia. Michael Gallagher (American, 1895–1965). Lackawanna Valley , 1938. Carborundum mezzotint. Plate: 7 3/8 x 12 11/16 in.; sheet: 9 3/8 x 14 in. Philadelphia Museum of Art, Philadelphia. Hugh Mesibov (American, 1916–2016). Homeless , 1938. Carborundum mezzotint. Plate: 5 3/8 x 10 3/8 in. Pennsylvania Academy of Fine Arts, Philadelphia. Dox Thrash (American, 1893–1965). One Horse Farmer , c. 1944–48. Carborundum mezzotint. 9 x 6 in. National Museum of American History, Smithsonian Institution, Washington, D.C. John Ruskin (British, 1819–1900). The Garden of San Miniato near Florence , 1845. Watercolor and pen and black ink, heightened with whie gouache, over graphite. Sheet: 13 7/16 x 19 3/8 in. National Gallery of Art, Washington, D.C. Stanley William Hayter (English, 1901–1988). Cinq personnages , 1946. Engraving, softground etching, and scorper; printed in black (intaglio). Sheet: 495 x 647 mm. (19 1/2 x 25 1/2 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages , 1946. Engraving, softground etching, and scorper; printed in black (intaglio), and green (screen, relief). Sheet: 460 x 660 mm. (18 1/8 x 26 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages , 1946. Engraving and softground etching; printed in black (intaglio), orange (screen, relief), and purple (screen, relief). Sheet: 510 x 666 mm. (20 1/16 x 26 1/4 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages , 1946. Engraving, softground etching, and scorper; printed in black (intaglio), green (screen, relief), orange (screen, relief), and purple (screen, relief). Sheet: 488 x 668 mm. (19 3/16 x 26 5/16 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland. USEFUL LINKS Imprint: Dox Thrash, Black Life, and American Culture . African American Museum in Philadelphia, March 23–August 4, 2024. https://www.aampmuseum.org/current-exhibitions.html John Ittmann. Dox Thrash: An African American Master Printmaker Rediscovered . Philadelphia: Philadelphia Museum of Art, 2001. https://archive.org/details/doxthrashafrican00ittm Dox Thrash House, Philadelphia: https://doxthrashhouse.wordpress.com/ Ballinglen Arts Foundation: https://www.ballinglenartsfoundation.org/fellowship/ Dolan/Maxwell’s IG: @dolan.maxwell Ron’s IG account: @ron.rumford Ron’s artist website: www.ronrumford.com…

Platemark: prints and the printmaking ecosystem

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s3e59 satirical etchings with artist David Avery 56:06

1 year ago56:06

56:06

In s3e59, Platemark host Ann Shafer sits down with David Avery to talk shop. David is an etcher, who restrains his work in both size and palette, but manages to tackle big topics. His social commentary is stinging and remarkable in that it comes in such a small package. These etchings pack a punch. Ann and David talk about absurdist literature, standing on the shoulders of giants (Dürer, Max Klinger, Della Bella), how prescient Goltzius’s Disgracers are, and how we could never have imagined the state of our politics—reality is outstripping our imaginations. Cover image: Patricia Avery Max Klinger (German, 1857–1920). Abduction (plate 9 from Paraphrase on the Finding of a Glove ), 1881. Etching, drypoint, and aquatint on chine collé. Sheet: 18 15/16 x 26 in. Metropolitan Museum of Art, New York. David Avery (American, born 1952). Obeliscolycny , 2013. Etching. Plate: 27 ¾ x 5 in.; sheet: 33 5/8 x 10 in. Courtesy of the Artist. David Avery (American, born 1952). Safe, Clean, Cheap: Phaethon in the 21st Century , 2011. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist. David Avery (American, born 1952). Too Close to the Sun , 2013. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist. David Avery (American, born 1952). Running on Empty , 2016. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist. David Avery (American, born 1952). Mendacia Ridicula (The Wheel of Ixion) , 2018. Etching. Plate: 6 x 6 in.; sheet: 12 x 11 in. Courtesy of the Artist. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). The Four Disgracers , 1588. Engraving. Metropolitan Museum of Art, New York. David Avery (American, born 1952). Ship of Fools (Das Narrenschiff) , 2018.Etching. Plate: 14 ¼ x 7 ½ in. Courtesy of the Artist. David Avery (American, born 1952). After the Deluge , 2022. Etching. Plate: 10 ½ x 7 ¾ in. Courtesy of the Artist. David Avery (American, born 1952). Becalmed , 2023. Etching. Plate: 6 x 15 ¾ in.; sheet: 10 x 18 ¾ in. Courtesy of the Artist. David Avery (American, born 1952). Concerning The Great Ship MOUR-DE-ZENCLE , 2016. Etching. Plate: 12 ¾ x 6 ¼ in.; sheet: 18 ¼ x 11 in. Courtesy of the Artist. David’s galleries https://www.inclusionsgallery.com/ https://www.warnockfinearts.com/david-avery https://childsgallery.com/artist/david-avery/…

Platemark: prints and the printmaking ecosystem

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s3e58 marble lithography with artist Anna Trojanowska 55:39

1 year ago55:39

55:39

In s3e59, Platemark host Ann Shafer continues talking to artists included in Print Austin’s 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Second up is Anna Trojanowska, an artist and lithographer from Wroclaw, Poland. Anna creates collages made from lithographs, which she creates on a single marble slab in her garage studio. The works included in 5x5 seek to give the feeling of echolalia, a form of autism in which words and phrases are repeated over and over. That repetition is a central part of the collages and gives the feeling of uncontrolled reverberation. Ann and Anna talk about falling in love with lithography, what it’s like to use marble instead of limestone, how the veins in marble wander as the stone is ground down, how to transfer sound into images, and the surprise technique she would turn to if she had to give up lithography. Cover image by Marcin Simonides Anna Trojanowska (Polish, born 1978). Echolalia_12 , 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna Trojanowska (Polish, born 1978). Echolalia_14 , 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna Trojanowska (Polish, born 1978). Echolalia_16 , 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna Trojanowska (Polish, born 1978). Echolalia_19 , 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna Trojanowska (Polish, born 1978). Echolalia_20 , 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna's website: https://litografia.pl/en/authors/…

Platemark: prints and the printmaking ecosystem

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s3e57 unique reduction woodcuts with artist Karen Kunc 1:01:38

1 year ago1:01:38

1:01:38

In s3e57, Platemark host Ann Shafer speaks with Karen Kunc, an artist who manipulates reduction woodcuts in an amazing and unique way. Karen is a retired professor from the University of Nebraska, and is owner of Constellation Studios in downtown Lincoln. At the studio, which opened ten years ago, Karen offers workshops, curates exhibitions, and makes her own work. The studio includes equipment for papermaking, book arts, letterpress, and other means of creating prints. Karen’s work includes relief prints and artist books reflecting her signature nature-based lyrical abstraction. These images could be macro or micro: the biomorphic shapes could be aerial images of her native Nebraska, or the wiggles and squiggles could be forms held within our cells. Each print becomes a portal to an alternate reality, where the boundaries between the tangible and the intangible blur, inviting us to explore the complexities of our earthly domain. This all sounds simple, but Karen’s process is anything but. She uses stencils, fingers, hands, brushes and any other tool to gain amazing transitions between forms. Plus, she intuitively solves compositional challenges as she goes. Karen is an artist's artist whose groundbreaking woodcuts will amaze and delight you. Karen Kunc (American, born 1952). Array of Raressence , 2018. Woodcut. 72 x 26 in. Courtesy of the artist. Karen Kunc (American, born 1952). Coral Sanctuary , 2019. Woodcut. 72 x 26 in. Courtesy of the artist. Karen Kunc (American, born 1952). Blue Cascade , 2020. Woodcut. 14 1/2 x 42 in. Courtesy of the artist. Karen Kunc (American, born 1952). Gatherings , 2021. Woodcut. 14 x 29 in. Courtesy of the artist. Karen Kunc (American, born 1952). Distillation , 2018. Woodcut, etching, pochoir, and watercolor. 12 x 24 in. Courtesy of the artist. Karen Kunc (American, born 1952). Sacred Allegori , 2018. Woodcut, etching, pochoir, and watercolor. 24 x 24 in. Courtesy of the artist. Karen Kunc (American, born 1952). Drifts of Ice & Gold , 2022. Woodcut. 17 x 56 in. Courtesy of the artist. Karen Kunc (American, born 1952). Blooms of the Present Moment , 2023. Woodcut. 17 x 56 in. Courtesy of the artist. Karen Kunc (American, born 1952). Waves of Riches , 2016. Woodcut and pochoir. 13 1/2 x 57 in. Courtesy of the artist. Karen Kunc (American, born 1952). Panoply , 2016. Woodcut and pochoir. 13 1/2 x 57. Courtesy of the artist. Karen Kunc (American, born 1952). Verse from Macrocosmica , 2010. Woodcut. 29 x 24 in. Courtesy of the artist. Karen Kunc (American, born 1952). Release , 2020–21. Accordion-folded volume with etching, woodcut, and letterpress on various Japanese Nishinouchi papers. Closed: 7 x 4 in.; open: 7 x 56 in. Published by Blue Heron Press at Constellation Studios, Lincoln, Nebraska. Courtesy of the artist. Karen Kunc (American, born 1952). The Way of Water , 2024. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 7 1/2 in.; open: 11 x 45 in. Courtesy of the artist. Karen Kunc (American, born 1952). Incessant White Noise , 2013. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 5 in; open: 11 x 35 in. Courtesy of the artist. Constellation Studios, Lincoln, NE.…

Platemark: prints and the printmaking ecosystem

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s3e56 word-salad screenprints with artist Briar Craig 59:57

1 year ago59:57

59:57

In s3e56, Platemark host Ann Shafer introduces a five-part miniseries with the artists in 5X5, an exhibition that was part of PrintAustin 2024. First up is Briar Craig, one of five artists selected for inclusion in 5X5 by juror J. Myszka Lewis, curator at Tandem Press, University of Wisconsin–Madison. Briar is an artist and professor at University of British Columbia, Kelowna. He primarily works in screenprint, using found text and surprising juxtapositions. Ann and Briar talk about words and their unlikely combinations, Dada poetry, UV screenprints, his favorite color, and the only text-based tattoo that has tempted him so far. Briar Craig (Canadian, born 1961). UTOPIAN VACUUM , 2017. UV screenprint. 40 x 28 in. Courtesy of the Artist. Briar Craig (Canadian, born 1961). An Uncomfortable Situation Will Soon be Eased , UV screenprint. 40 x 28 in. Courtesy of the Artist. Installation view of Briar Craig: README . January 29–April 17, 2022. Kelowna Art Gallery, Kelowna, BC, Canada. Briar Craig (Canadian, born 1961). White Wash Privilege , 2014. UV screenprint. 40 x 28 in. Courtesy of the Artist. Sam Gilliam (American, 1933–2022). 3 PM School Bus , 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD. All rights reserved. Courtesy of Lily Press. Sam Gilliam (American, 1933–2022). 4 PM School Bus , 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD. All rights reserved. Courtesy of Lily Press. Briar Craig (Canadian, born 1961). There Is Nothing You Can’t Do , 2017. Neon. 120 x 38 x 5 in. (305 x 97 x 12.5 cm.). Courtesy of the Artist. USEFUL LINKS Briar’s website www.briarcraig.com Briar’s video about printing White Wash Privilege https://youtu.be/o-NCS2IwSGc?si=0b_PoHveHf98RvFN…

Platemark: prints and the printmaking ecosystem

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s3e54 domesticity and wallpaper with artist/engraver Andrew Raftery 1:14:45

1 year ago1:14:45

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In s3e54, Platemark host Ann Shafer talks with Andrew Raftery, artist, professor, scholar, and wallpaper designer. Andrew works in several modes, most notably in engraving. The through line in the work is domesticity. An early print featured a young man suit shopping. Next was a portfolio of engravings detailing rooms during a real estate open house. Then engravings representing each month in the life of a garden were transferred to twelve dinnerplates and sold as a set. His latest show included watercolors depicting historical interior rooms that feature French and Chinese wallpapers. He also produces letterpress wallpapers himself. Ann and Andrew talk about how engraving shows itself completely—there is no secret to how it is made, the inscrutability of Vermeer’s paintings, the importance of understanding the history of prints, how the transfer process works with ceramic dinnerware, how French and Chinese wallpapers were made (some were hand painted!), and hatboxes. Images of Andrew's art are by Erik Gould; Andrew's headshot is by Ned Lochaya. Andrew is represented by Mary Ryan Gallery. Andrew Raftery (American, born 1962). Human Resources , 1990s. Engraving (unfinished). Courtesy of the artist. Andrew Raftery (American, born 1962). Cosmetic Counter , 1990s. Exterior of folding triptych. Courtesy of the artist. Andrew Raftery (American, born 1962). Cosmetic Counter , 1990s. Interior of folding triptych. Courtesy of the artist. Andrew Raftery (American, born 1962). Suit Shopping: An Engraved Narrative , 2002. Diptych, engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Suit Shopping: An Engraved Narrative , 2002. Triptych, engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 1 (living room) from the portfolio Open House , 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 2 (dining room) from the portfolio Open House , 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 3 (kitchen) from the portfolio Open House , 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 4 (hallway) from the portfolio Open House , 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 5 (bedroom) from the portfolio Open House , 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). January (recto) from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). January (verso) from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). February from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). March from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). April from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). May from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). June from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). July from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). August from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Study for August from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Pen and ink. Courtesy of the artist. Andrew Raftery (American, born 1962). September from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). October from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Figure model for October from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Courtesy of the artist. Andrew Raftery (American, born 1962). November from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). December from the set Autobiography of a Garden on Twelve Engraved Plates , 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Installation shot of Autobiography of a Garden on Twelve Engraved Plates , 2009–16, at Mary Ryan Gallery. Courtesy of the artist. Clare Leighton (American, 1898–1989). New England Industries , c. 1952. Set of twelve dinner plates. Live Auctioneers. Paul Scott (British, born 1953). Gardens of Lyra , 2020. Set of dinnerware produced for Fortnum and Mason. Andrew Raftery (American, born 1962). Winter: Weeds , 2019. Letterpress printed wallpaper. Courtesy of the artist. Installed Winter wallpaper. Andrew Raftery (American, born 1962). Spring: Irises , 2019. Letterpress printed wallpaper. Courtesy of the artist. Installed Spring wallpaper. Andrew Raftery (American, born 1962). Summer: Scutellarioides , 2019. Letterpress printed wallpaper. Courtesy of the artist. Andrew Raftery (American, born 1962). Autumn: Amaranths , 2019. Letterpress printed wallpaper. Courtesy of the artist. Installed Autumn wallpaper. Andrew Raftery (American, born 1962). Green Wall , 2019. Letterpress printed wallpaper. Courtesy of the artist. Installed Green Wall wallpaper. Andrew Raftery and Dan Wood printing wallpaper. Working materials for wallpaper. Working materials for wallpaper. Andrew Raftery’s studio. Winterthur, Garden & Library, Delaware. Andrew Raftery (American, born 1962). Winterthur, Baltimore Drinking Room with Chinese hand-painted paper, artists unknown , 2022. Watercolor over lithograph. Courtesy of the artist. And the artist working in situ . Corliss-Carrington House, Providence. Andrew Raftery (American, born 1962). Corliss-Carrington House, Providence, East Parlor with Chinese hand-painted paper, artists unknown , 2023. Watercolor over lithograph. Courtesy of the artist. Andrew Raftery (American, born 1962). Corliss-Carrington House, Providence, Telemachus on the Island of Calypso by Dufour: Garden of Calypso , 2022. Watercolor over lithograph. Courtesy of the artist. Andrew Raftery (American, born 1962). Winterthur, Philadelphia Bedroom with Chinese hand-painted paper, artists unknown , 2022. Watercolor over lithograph. Courtesy of the artist. Andrew Raftery (American, born 1962). Private Residence, Delaware, Zuber’s View of North America , 2023. Watercolor over lithograph. Courtesy of the artist. Handicraft Club, Providence. Andrew Raftery (American, born 1962). Handicraft Club, Providence, Great Tiger Hunt of India , 2023. Watercolor over lithograph. Courtesy of the artist. Andrew Raftery (American, born 1962). Handicraft Club, Providence, Great Tiger Hunt of India , 2023. Watercolor over lithograph. Courtesy of the artist. Redwood Library, Newport. Andrew Raftery (American, born 1962). Studies for Redwood Library, Newport, commission, 2024. Courtesy of the artist. Andrew Raftery (American, born 1962). Studies for Redwood Library, Newport, commission, 2024. Courtesy of the artist. Andrew Raftery (American, born 1962). Studies for Redwood Library, Newport, commission, 2024. Courtesy of the artist. Andrew Raftery (American, born 1962). Powderhouse Bandbox , 2024. Courtesy of the artist. Andrew Raftery (American, born 1962). Powderhouse Bandbox with open lid, 2024. Courtesy of the artist. Andrew Raftery (American, born 1962). Monogrammist ASR’s Hatbox , 2024. Courtesy of the artist.…

Platemark: prints and the printmaking ecosystem

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s3e53 mezzotint technique and history with artist and author Carol Wax (part two) 52:36

1 year ago52:36

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In s3e53 of Platemark, hosts Ann Shafer and Tru Ludwig conclude their conversation with Carol Wax, artist and author of The Mezzotint: History and Technique . Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints. They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol’s dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts. Carol Wax (American, born 1953). Singer I , 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II , but totally different experience and different result). Carol Wax (American, born 1953). Singer II , 1985. Mezzotint. 14 ½ x 7 3/4 in. Courtesy of the artist. This was a brittle copper – two of several state proofs illustrating process of solving technical problem and the finished state. This process led directly to historical research that resulted in my writing The Mezzotint: History and Technique . John Martin (British, 1789–1854). Belshazzar’s Feast , 1826. Mezzotint. Plate: 23 ½ x 32 in. Metropolitan Museum of Art, New York. Martin’s large plate was printed with up to eight different inks to enhance the tonal range and compensate for the peculiarities of mezzotints engraved on steel. Richard Earlom (British, 1743–1822), after Frans Snyder (Flemish, 1579–1657). A Game Market , 1783. Mezzotint and etching. Plate: 16 ½ x 22 ¾ in. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece , 1778. Etching (early state before mezzotint). Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Yale Center for British Art, New Haven. [Right] Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece , 1778. Mezzotint and etching. Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Baltimore Museum of Art, Baltimore. J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4) , 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago. [DETAIL] J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4) , 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago. Thomas Goff Lupton (British, 1791–1873), after Thomas Girtin (British, 1775–1802). Chelsea Reach, Looking toward Battersea , from the series Gems of Art , 1825. Mezzotint and engraving. Sheet: 260 x 341 mm. (10 1/4 x 13 7/16 in.); plate: 168 x 252 mm. (6 5/8 x 9 15/16 in.). Baltimore Museum of Art, Baltimore. Carol Wax (American, born 1953). The Old Clothesline , 1983. Mezzotint. 11 x 11 in. Courtesy of the artist. Carol Wax (American, born 1953). Fanfare , 1983. Mezzotint. 16 x 11 in. Courtesy of the artist. This was the first image I did with a mechanical subject and the first time I subtracted so much of the background. Carol Wax (American, born 1953). Singer I , 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II , but totally different experience and different result). Carol Wax (American, born 1953). Under Wraps , 2008. Mezzotint. 16 x 20 in. Courtesy of the artist. One of many images of animate/inanimate objects. This series turns the table and uses fabric to objectify a living subject. This project is also an example of how different grounds can be used creatively: the plate was ground with an 85-gauge rocker, but the dog parts were scraped down and reground with a 120-gauge roulette to differentiate textures between fabric and fur. The whiskers were engraved with a burin. Carol’s wall of inspiration. [Left] Carol Wax (American, born 1953). Remington Noiseless , 1986. Mezzotint. 20 x 16 in. Courtesy of the artist. Remington Noiseless illustrates stylized shadows before working for Philip Pearlstein. [Right] Carol Wax (American, born 1953). Remington Return , 1993. Mezzotint. 18 ½ x 24 1/2 in. Courtesy of the artist. Reflects Pearlstein’s influence as well as more sophisticated technique and confidence acquired while writing the book. Carol Wax (American, born 1953). Glad Tidings , 1993. Two relief intaglio holiday cards. Each: 3 x 2 9/10 in. Courtesy of the artist. Carol Wax (American, born 1953). Missing Peace , 2001. Relief intaglio. 5 x 1 1/2 in. Courtesy of the artist. Carol Wax (American, born 1953). Fortune’s Fool, 2020. G ouache. 8 ¼ x 9 1/4 inches. Courtesy of the artist. This clown puppet represents Trump, seen here being devoured for lunch by the Chinese, and while he thinks he’s sticking it to their butt (the pencil sharpener from Chinatown), he’s only sharpening their strategies. Carol Wax (American, born 1953). Butterfly Effect , 2018. Gouache. 22 x 14 in. Courtesy of the artist. The pulley is a commentary on our convoluted election system that is subject to all kinds of whims. Carol Wax (American, born 1953). Rigged , 2018. Gouache. 20 x 24 in. Courtesy of the artist. This image is about how the system is rigged. Carol Wax (American, born 1953). Underhanded , 2020. Gouache. 21 x 14 in. Courtesy of the artist. This image is about a few things (manipulation, power, etc.), but think “George Floyd.” The political undertones of my paintings have found their way into recent mezzotints. Frederick Mershimer (American, born 1958). Various states of The Great Divide/42nd Street , 1994–97. Mezzotint. Mershimer is a master at making corrections/changes–the likes of which have not been seen since the 17th century. Here is a prime example where he seamlessly changed the focus of a print by removing and moving figures and reissued the plate with a [deservedly] different title. USEFUL LINKS Carol’s website https://www.carolwax.com/ Jennifer Melby’s link https://www.jennifermelby.com/ Conrad Graeber’s link https://conradgraeber.com/…

Platemark: prints and the printmaking ecosystem

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s3e52 mezzotint history and technique with artist Carol Wax (part one) 1:03:20

1 year ago1:03:20

1:03:20

In s3e52 of Platemark, hosts Ann Shafer and Tru Ludwig talk with Carol Wax, artist and author of The Mezzotint: History and Technique . Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints. They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol’s dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts. [Top] Carol Wax (American, born 1953). Eleven Shells , 1982. Mezzotint. 2 ¾ x 5 inches. Courtesy of the artist. First mezzotint I felt comfortable signing and which shows the influence of Hamaguchi. {Bottom] Yozo Hamaguchi (Japanese, 1909–2000). Shells . Mezzotint. John Raphael Smith (British, 1751–1812), after Henry Fuseli (Swiss, 1741–1825). The Weird Sisters (Shakespeare, MacBeth , Act 1, Scene 3) , 1785. Mezzotint. Sheet: 18 1/16 x 21 7/8 in. (45.8 x 55.5 cm.). Metropolitan Museum of Art, New York. [Left] John Raphael Smith (British, 1751–1812), after Sir Joshua Reynolds (British, 1723–1792). The Infant Jupiter , 1775. Mezzotint. Plate: 20 x 14 in. New York Public Library, New York. [Right] Valentine Green (British, 1739–1813), after Sir Anthony Van Dyck (Flemish, 1599–1641). The Earl of Danby , 1775. Mezzotint. Sheet: 20 7/8 x 13 7/8 in. Chazen Museum of Art, University of Wisconsin, Madison. Carol Wax. The Mezzotint: History and Technique (2nd Edition). Atglen, PA: Schiffer Publishing, 2023. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus , from the series The Four Disgracers , 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm.). Metropolitan Museum of Art, New York. Ludwig von Siegen (German, 1609–after 1676). Amelia Elizabeth Landgravure of Hesse-Kassel , 1642. Mezzotint. Sheet: 16 7/16 x 11 15/16 in. (41.8 x 30.3 cm.). Metropolitan Museum of Art, New York. Prince Rupert (German, 1619–1682). Head of the Executioner , 1662. Mezzotint. Cooper Hewitt, Smithsonian Institution, New York. Theodor Caspar von F ü rstenburg (German, 1615–1675). Salomé , 1656–75. Mezzotint. 191 x 149 mm. British Museum, London. David Lucas (British, 1802–1881), after John Constable (British, 1776–1837). The Rainbow, Salisbury Cathedral , 1855. Mezzotint. Sheet: 24 ¼ x 28 ¼ in. (61.5 x 71.7 cm.). Christie’s. Thomas Frye (British, 1710/11–1762). Head of a Man Wearing a Turban , 1760. Mezzotint. Plate: 19 7/8 × 13 15/16 in. (50.5 × 35.4 cm.); sheet: 23 3/8 × 16 15/16 in. (59.4 × 43 cm.). Metropolitan Museum of Art, New York. Valentine Green (British, 1739–1813), after Joseph Wright of Derby (British, 1734–1797). A Philosopher Shewing an Experiment on the Air Pump , 1769. Mezzotint. Plate: 19 × 23 in. (48.3 × 58.4 cm.). Sheet: 19 7/8 × 25 5/8 in. (50.5 × 65.1 cm.). Metropolitan Museum of Art, New York. Joseph Pennell (American, 1857–1926). Hail America , 1908. Mezzotint. Plate: 8 7/16 × 14 11/16 in. (21.5 × 37.3 cm.); sheet: 9 7/8 × 15 3/4 in. (25.1 × 40 cm.). Metropolitan Museum of Art, New York. Reynold Weidenaar (American, 1915–1985). The Bridge and the Storm, Mackinac Straits , 1957. Mezzotint. Sheet: 19 5/8 x 15 ½ in. Richard and Jane Manoogian Mackinac Art Museum, Mackinac. Mario Avati (French, 1921–2009). Le Goût acide du jaune citron , 1982. Mezzotint. 29 x 37.7 cm. Fitch Febvrel Gallery. Yozo Hamaguchi (Japanese, 1909–2000). The Three Lemons , 1956. Color mezzotint. Cleveland Museum of Art, Cleveland. Art Werger (American, born 1955). Clarity , 2021. Mezzotint. 24 x 36 in. Courtesy of the artist. Craig McPherson (American, born 1948). Memento Mori , 2013. Mezzotint. 13 5/8 x 16 ½ in. Courtesy of the artist. Judith Rothchild (American, born 1950). Le nid , 2005. Mezzotint. 7 13/16 x 11 5/8 in. Annex Galleries, Santa Rosa. Jacob Crook (American, born 1985). Nightrise II , 2019. Mezzotint. 8 ½ x 11 in. Courtesy of the artist. Julie Niskanen (American, born 1983). Sanctuary , 2007. Mezzotint. Courtesy of the artist. Charles Ritchie (American, born 1954). House II , 2012–19. Mezzotint. Plate: 6 x 3 7/8 in.; sheet: 13 ½ x 10 in. Courtesy of the artist. J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Norham Castle on the Tweed (Liber Studiorum, part XII, plate 57) , 1816. Etching and mezzotint. Plate: 7 x 10 5/16 in. (17.8 x 26.2 cm.); sheet: 8 1/4 x 11 1/2 in. (21 x 29.2 cm.). Metropolitan Museum of Art, New York. Frank Short (British, 1857–1945), after J.M.W. Turner (British, 1775–1851). Liber Studiorum—Frontispiece , 1885. Etching and mezzotint. Plate: 124 x 185 mm. Tate, London. EXTRA IMAGES Carol Wax (American, born 1953). Type Face , 2002. Mezzotint. 9 ¼ x 9 ¼ inches. Courtesy of the artist. An example of (perhaps more than any other) anthropomorphizing subjects and the use of modulating, repeating patterns to suggest animation, as well as the humor and humanity I see in manufactured objects. Carol Wax (American, born 1953). Sew What , 2022. Mezzotint. 20 x 12 inches. Courtesy of the artist. This was printed from two plates: a black-and-white key plate rocked with an 85-gauge rocker and a color plate ground selectively with roulettes and wiped selectively. These images demonstrate the dialogue between my current work in painting and mezzotint. [Left] Carol Wax (American, born 1953). Pipe Dream , 2003. Mezzotint and engraving. Plate: 2 ½ x 1 ½ in. Courtesy of the artist. [Right] Carol Wax (American, born 1953). Serpentdipity , 2003. Mezzotint. Plate: 2 ½ x 1 ½ in. Courtesy of the artist. These two show burin engraving through a mezzotint ground. Carol Wax (American, born 1953). Binder Spiral , 2023. Graphite. 127 x 23 in. Courtesy of the artist. USEFUL LINKS Carol’s website https://www.carolwax.com/ Jennifer Melby’s link https://www.jennifermelby.com/ Conrad Graeber’s link https://conradgraeber.com/…

Platemark: prints and the printmaking ecosystem

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s3e51 inside Gemini G.E.L. at Joni Moisant Weyl with Chris Santa Maria 1:23:43

1 year ago1:23:43

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In s3e51, Platemark host Ann Shafer talks with Chris Santa Maria, artist and gallery director at Gemini G.E.L. at Joni Moisant Weyl. As director of the New York gallery, Chris is responsible for showcasing and selling the print output of the storied LA workshop to enable it to keep working with amazing artists and producing incredible editions. Chris and Ann touch on Gemini’s history, the structure of the workshop, how artists get to work there, and Julie Mehretu, Julie Mehretu, and Julie Mehretu. They also talk about Chris’ side hustle as an artist and his intricate paper collages. Josef Albers. White Line Square IV , 1966. 53.3 x 53.3 cm (21 x 21 in.). 2011. The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York; ©Gemini G.E.L. and the Artist. Chris Santa Maria wrangling prints at Gemini G.E.L. at Joni Moisant Weyl, New York. Sidney Felsen, co-founder of Gemini G.E.L. Photo by Alex Berliner. Gemini G.E.L. at Joni Moisant Weyl, 535 West 24th Street, third floor, New York. ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria hanging Julie Mehretu’s print at Art Basel Miami, 2019. Julie Mehretu’s etching installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Analia Saban working at Gemini workshop. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Robert Rauschenberg working on the limestone for Waves from the Stoned Moon series with Stanley Grinstein in the background. Photograph by Sidney B. Felsen, 1969. From the collection of Getty Research Institute . Jasper Johns deleting imagery from a lithography plate for Cicada , November 1981. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Richard Serra at work on his etchings and Paintstik compositions, November 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Ellsworth Kelly (left) and NGA curator Mark Rosenthal at Gemini; Ellsworth canceling a print from the Portrait Series , February 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Works by Richard Serra and Julie Mehretu at the IFPDA Print Fair, October 2023. ©Gemini G.E.L., Los Angeles, California. Joni Weyl and Sidney Felsen at the 2019 IFPDA Print Fair, New York. Tacita Dean at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Roy Lichtenstein at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at Gemini G.E.L.’s booth at the IFPDA Print Fair, October 2023. Tacita Dean. LA Magic Hour 1 , 2021. Hand-drawn, multi-color blend lithograph. 29 7/8 x 29 7/8 in. (75.88 x 75.88 cm). ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria. Field 31 , 2023. Paper college on 4-ply ragboard. 10 x 10 in. Chris Santa Maria’s studio. Chris Santa Maria’s studio. Chris Santa Maria. President Trump , 2020. Paper collage. 72 x 72 in. Chris Santa Maria. No. 5 , 2014. Paper collage on MDF. 58 x 60 in. in the window of Jim Kempner Fine Art, New York. Ellsworth Kelly. The River (state) , 2003 and River II , 2005. Lithographs. Installed during the exhibition Ellsworth Kelly: The Rivers , October 25–December 8, 2007 at Gemini G.E.L. at Joni Moisant Weyl, New York. Julie Mehretu’s etchings installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Bruce Nauman in the curating room canceling a copperplate by drawing a sharp tool across it to destroy the image with assistance from William Padien, 1983. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Works by Ann Hamilton and Tacita Dean in the exhibition at the New York gallery, Selected Works by Gemini Artists . January 2–February 24, 2024. ©Gemini G.E.L., Los Angeles, California. Daniel Buren at Gemini workshop, August 1988. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. USEFUL LINKS Gemini G.E.L. at Joni Moisant Weyl. | (joniweyl.com) Gemini G.E.L. Graphic Editions Limited (geminigel.com) Chris Santa Maria Instagram accounts @chrisantamaria @geminigel @joniweyl…

Platemark: prints and the printmaking ecosystem

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s3e50 contemporary Japanese prints with dealer Allison Tolman 1:08:05

1 year ago1:08:05

1:08:05

In s3e50, Platemark host Ann Shafer talks with Allison Tolman, a private dealer handling prints by contemporary Japanese artists. The Tolman Collection has branches in Tokyo and New York and works with a range of artists. Allison is a second-generation dealer—her father heads up the Tokyo branch while Allison is holding down the fort in New York. She enjoys personal relationships with her artists and is a tireless promoter of prints from the other side of the world. Ann and Allison talk about cultural differences relating to aesthetics, manner of working, and business dealings. They also talk about managing a business without a bricks-and-mortar space and their love of this admittedly tiny corner of the art world. SHINODA Toko (Japanese, 1913–2021). Awakening , 2017. Original painting. 24 3/4 x 40 1/2 in. The Tolman Collection of New York. YAMAMOTO Kanae (Japanese, 1882–1946). Fisherman , 1904. Woodcut. 12 3/8 x 10 11/16 in. Cleveland Museum of Art, Cleveland. HOKUSAI Katsushika (Japanese, 1760–1849). Under the Wave off Kanagawa , from the series Thirty-six Views of Mount Fuji , c. 1830–32. Woodblock print. 10 x 15 in. (25.4 x 38.1 cm.). Metropolitan Museum of Art, New York. KAWAMURA Sayaka (Japanese, born 1990). I Dream of Floating , 2021. 27 5/8 x 27 5/8 in. The Tolman Collection of New York. YOSHIDA Hadaka (Japanese, 1926–1995). Night (drops) , 1954. Woodblock print. 16 x 10 7/8 in. (40.5 x 27.5 cm.). Scholten Japanese Art, New York. KURODA Shigeki (Japanese, born 1953). Yellow Flow . Etching. 7 x 11 in. Gilbert Luber Gallery, Philadelphia. KAWACHI Seiko (Japanese, born 1948). The Flying (Metropolitan Government-I) , from the series One Hundred Views of Tokyo, Message to the 21st Century , 1989–99. Color woodblock print. 27 x 20 in. (68 x 50 cm.). Art Institute of Chicago, Chicago. TAKAHASHI Hiromitsu (Japanese, born 1959). Blizzard of Blossoms , 2013. Stencil print. The Tolman Collection, Tokyo. USEFUL LINKS Artists | The Tolman Collection of New York Japanese Woodblock Print Search - Ukiyo-e Search What is an Original Print? | Print Council of America Lucas Martineau. Takahashi Hiromitsu: The “DyEing” Art of Kappazuri , 2020. Takahashi Hiromitsu “DyEing” Art of Kappazuri Lucas Martineau | Tolman Collection of Tokyo (tolmantokyo.com)…

Platemark: prints and the printmaking ecosystem

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s3e49 making lithographs at Tamarind with printer Valpuri Remling 1:27:29

2 years ago1:27:29

1:27:29

In s3e49, Platemark host Ann Shafer talks with Valpuri Remling, collaborative printer and manager of the pro workshop at Tamarind Institute, University of New Mexico, Albuquerque, which was established in 1960 by the legendary June Wayne in order to preserve and promote the art of lithography. Valpuri, a native of Rovaniemi in Finnish Lapland, graduated from the program in 2009. After working at Helsinki Litho with Matti Hintikka and Kalle Berg, Valpuri returned to Albuquerque in 2015 to assume the position of printer and workshop manager from Bill Lagattuta, Tamarind’s longtime collaborative printer. In her role, Valpuri collaborates with visiting artists, manages multiple publishing projects, and advises other workshops and manufacturing entities on best practices in lithography. Every year she directs the research of Tamarind apprentice printers and mentors the next generation of lithographers. Ann and Valpuri talk about growing up on the Artic Circle, how the two Tamarind shops function side by side, research into new lithograph tools and techniques, the printshop ballet, collaborating with artists, being true to oneself, and the surprising opportunity for artists to have work printed at Tamarind by students. Brandon Gunn, Tamarind Master Printer, Director of Education, and Professor of Practice. Arikah Lynne, 2023–24 Apprentice Printer. Brandon Gunn demonstrating a rainbow roll for a cohort. Bill Lagattuta, Marjorie Devon, and Rodney Hamon. Rodney Hamon and Bill Lagattuta with a cohort. Alyssa Ebinger and Valpuri Remling in the pro shop. Kylee Aragon Wallis, Gallery Director. Tamarind founder June Wayne. Garo Antreasian and Clinton Adams. Diana Gaston, Director. Marge Devon, retired Director. Matti Hintikka, Valpuri Remling, and Kalle Berg at Helsinki Litho. Adam Ostreicher. The Procession , 2007. 5-plate etching and aquatint. Tru Ludwig. Ask Not… , 1997. Etching and aquatint, engraving, and softground etching. 36 x 24 in. Tusche test stone. Jeffrey Gibson (American, Mississippi Choctaw-Cherokee, born 1972). Mighty Real , 2021. Four-color lithograph. Sheet: 36 11/16 x 25 ¼ in. Published by Tamarind Institute; printed by Valpuri Remling and Lindsey Sigmon. USEFUL LINKS Tamarind Institute website: www.tamarind.unm.edu Map to find Tamarind-trained shops and printers: www.tamarind.unm.edu/map/fatp_map.html# Instagram accounts @tamarindinstitute @tamarindeducation @valpuriremling Other printmaking podcasts Platemark Hello, Print Friend The Unfinished Print NewsPrint Podcast The Print Cast All About Printmaking with Phil and Amy…

Platemark: prints and the printmaking ecosystem

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s3e48 lithography deep dive with printer/publisher Deb Chaney 1:29:09

2 years ago1:29:09

1:29:09

In episode s3e48, Platemark host Ann Shafer speaks with Deb Chaney, Tamarind-trained master printer specializing in lithography. She has an eponymous imprint, Deb Chaney Editions and has started a new venture with Stéphane Guilbaud—D&S Fine Art Editions—to whom she is fairly recently married. They have studios in Upstate New York (studio to be built), Paris, and LaForce, France. Ann and Deb talk about the beauty of litho stones, common problems that come with printing lithographs, why litho inks are more saturated than other types of inks, how the Tamarind program works, why printers are the nexus of the whole system, and the surprising differences between the print ecosystem in France versus the United States. Deb is a delight and super knowledgeable. You’ll learn more about the chemistry of lithography (adding to the history of litho we got from Michael Barnes in episode 25), and so much more. Ethan Murrow (American, born 1975). Quietude , 2022. 4-color stone lithograph. 62 ½ x 47 in. Published by D&S Fine Art Editions. Dasha Shishkin (American, born Moscow, 1977). 9 Pickles , 2020. Portfolio of 9 stone lithographs. Each: 16 x 12 in. Published by Deb Chaney Editions. Deb Chaney sponging the stone for Dasha Shishkin’s lithograph Good Night and Good Luck , 2021. Art Spiegelman (American, born Stockholm, 1948). Trump L'oeil , 2018. 7-color stone lithograph. 30 x 22 in. Published by MEL Publisher; printed by Deb Chaney Editions. Beauvais Lyons (American, born 1957). Flea Circus , 2015. Lithograph. Hokes Archives, University of Tennessee, Knoxville. Anita Jung (American, born 1960). Hole in the Sky , 2019. Acrylic on paper. 30 x 22 in. A Model Workshop: Margaret Lowengrund and The Contemporaries . Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Dread Scott and Jenny Polak at work in D&S Fine Art Editions’s studio, Paris. Dread Scott (American, born 1964) and Jenny Polak (American, born 1974). Délivré , 2023. 8-color stone lithograph. 37 1/2 x 28 ½ in. (96 x 72 cm.). Published by D&S Fine Art Editions. D&S Fine Art Editions’s studio in La Force, Bergerac, France. Ethan Murrow at work in D&S Fine Art Editions’s studio. Deb Chaney (American, born 1978). La Habana , 2014. Monotype collage. 20 x 32 in. Publisher Spotlight: D&S Fine Art Editions . Installation at Print Center New York, 2023, featuring lithographs by Dread Scott and Jenny Polak, Ethan Murrow, and Dasha Shishkin. Stéphane Guilbaud (left) and team in the D&S Fine Art Editions’s Paris studio. The giant Voirin Press in D&S Fine Art Editions’s Paris studio with Ethan Murrow’s Quietude , 2022.…

Platemark: prints and the printmaking ecosystem

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s3e47 behind-the-scenes at Rago Auctions with Adam McCoy 1:21:09

2 years ago1:21:09