Platemark: prints and the printmaking ecosystem
Ann Shafer, curator and print evangelist
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s2e31 History of Prints The Enlightenment (part two)
Platemark: prints and the printmaking ecosystem
07/23/24 • 119 min
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 1⁄4 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 1⁄2 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...
s3e71 double-drop printing with artist Art Werger
Platemark: prints and the printmaking ecosystem
12/31/24 • 77 min
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
IG @artwerger
https://www.etsy.com/market/art_werger
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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 1⁄2 x 25 1⁄2 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 1⁄2 x 6 1⁄4 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.
s3e70 deep deep dive on screenprinting with Leslie Diuguid
Platemark: prints and the printmaking ecosystem
12/17/24 • 92 min
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.
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
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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...
s3e74 Dürer's connection to the Islamic East with Susan Dackerman
Platemark: prints and the printmaking ecosystem
02/11/25 • 63 min
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.
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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.
s3e68 on editioning digital embroidery with printer Judith Solodkin
Platemark: prints and the printmaking ecosystem
11/19/24 • 69 min
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
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June Wayne. Near Miss, 1996. Lithograph. 26 x 32 1⁄2 in. Printed and published by SOLO Impression, Bronx.
Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 1⁄2 x 31 1⁄2 in. Printed and published by SOLO Impression, Bronx.
James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 1⁄2 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 1⁄2 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 3⁄4 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 1⁄2 x 12 1⁄2 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 1⁄2 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 1⁄2 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 1⁄2 in. Printed and published by SOLO Impression, Bronx.
Howard Hodgkin (British, 1932–2017). Moonlight...
s3e39 social justice and satire with artist Sue Coe
Platemark: prints and the printmaking ecosystem
10/03/23 • 85 min
In s3e39, Platemark host Ann Shafer speaks with Sue Coe, an artist and social activist. The pair were joined in the conversation by Tru Ludwig (Sue is one of Tru’s art heroes) at Sue’s home in the Catskill Mountains, New York.
Sue creates art that goes right to the heart of an issue, whether it be animal cruelty, capitalism, authoritarianism, women’s rights or any other progressive ideal. Images are sometimes difficult, (TRIGGER WARNING) and the conversation touched on some topics that may be distressing for listeners. Please know the discussion ranges from slaughterhouses and mass killings of animals to sexual violence against women, along with a number of other tough topics. There are also plenty of expletives coming from all corners. Consider this fair warning.
Sue, Ann, and Tru talked about veganism, the environment, Käthe Kollwitz, Galerie St. Etienne and famed dealer Hildegard Bachert, placing work at an institution (Sue calls Ann “you poor, sad creature”), and starting a museum just for printmaking. It’s quite a conversation.
Sue Coe on her deck, our temporary recording studio, Deposit, NY.
Sue Coe (English, born 1951). Auschwitz Begins..., 2009. Woodcut. Sheet: 15 1⁄2 x 52 in. (39.4 x 132.1 cm.). Galerie St. Etienne.
Sue Coe (English, born 1951). Depopulation, 2020. Linoleum cut. Sheet: 10 3/8 x 8. 1⁄2 in. (26.4 x 21.6 cm.). Galerie St. Etienne.
Shiko Munakata (Japanese, 1903–1975). The Visit, 1959. Woodcut. Sheet: 130 1/16 x 15 in. (33.2 x 38.1 cm.) Museum of Modern Art, New York.
James Gilray (British, 1756–1815). Edward Jenner vaccinating patients in the Smallpox and Innoculkation Hospital of St. Pancras; the patients develop features of cows, 1802. Etching with watercolor. Wellcome Collection, London.
Sue Coe (English, born 1951) and Eric Avery (American, born 1949). Zoonotic Spillover, 2023. Linoleum cut with hand coloring. Sheet: 30 x 36 3⁄4 in. (76.2 x 93.3 cm.). Published by Tarantula Press, Texas A&M University.
Sue Coe’s carving station.
Sue Coe in her studio.
Sue Coe pulls open the flat files.
Sue Coe (English, born 1951). Fighting the New Jim Crow, 2021. Woodcut.
Sue Coe (English, born 1951). Woman Walks into Bar–Is Raped by Four Men on the Pool Table–While 20 Watch, 1983. Mixed media. 7' 7 5/8" x 9' 5 1/4" (232.7 x 287.7 cm.). Museum of Modern Art, New York.
Otto Dix (German, 1891–1969). Shock Troops Advance under Gas (Sturmtruppe geht unter Gas vor) from The War (Der Krieg), 1924. Etching, aquatint, and drypoint, from a portfolio of fifty prints. Plate: 7 5/8 x 11 5/16 in. (19.3 x 28.8 cm.); sheet: 13 11/16 x 18 5/8 in. (34.8 x 47.3 cm.). Museum of Modern Art, New York.
Sue Coe (English, born 1951). Bush Aids, 1990. Photoetching. Sheet: 15 x 10 7/8 in. (38.1 x 27.6 cm.). Pennsylvania Academy of Fine Arts, Philadelphia.
Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants’ War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 1⁄4 x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
Sue Coe (English, born 1951). Woman Tied to Pole, 1984. Photoetching. 13 1/4 x 9 1/4 in. (33.6 x 23.5 cm.).
Installation shot from Sue Coe: Graphic Resistance. MoMA PS1, June 3–September 9, 2018.
Ann Shafer and Sue Coe, June 3, 2023.
s3e38 on working with William Kentridge with printer Jillian Ross
Platemark: prints and the printmaking ecosystem
09/26/23 • 88 min
In this week's episode of Platemark (s3e38), host Ann Shafer talks with Jillian Ross, collaborative master printer and publisher with an eponymous imprint, Jillian Ross Print, in Saskatoon, Saskatchewan, Canada.
Ross returned to her native Saskatoon after many years in Johannesburg, South Africa, where she was the master printer at the David Krut Workshop (DKW) from 2003 to 2020. There, she worked with over 100 South African and international artists, most notably William Kentridge. Ross and partner Brendan Copestake founded Jillian Ross Print in 2021 in Saskatoon, where they continue working on collaborative projects in South Africa as well as developing new relationships abroad.
Ross has collaborated with William Kentridge since 2006 on major, complicated, and multi-part print projects, including the Triumphs and Laments Woodcuts (2016–21), The Universal Archive (2011–15), The Noses (2006–10) at DKW, and the recently released Studio Life Gravures (2020–22) from Jillian Ross Print (co-published with DKW). Her collaboration with Kentridge continues.
Other recent projects include a partnerships with Latitudes Online, South African artists Cinthia Sifa Mulanga and Puleng Mongale, and the technical team at The University of Alberta in Canada. Ross recently realized an exhibition, William Kentridge: The Colander, at Griffin Art Projects in Vancouver, BC, with curator Lisa Baldissera, the Kentridge Studio, and David Krut Projects in Johannesburg.
Throughout her work, particularly in the publicly accessible open-studio format of DKW at Arts on Main in Johannesburg, Ross has promoted and enhanced artist, collector, and public knowledge of printmaking through mentorship, educational workshops, and knowledge sharing.
Episode image: Lucy MacGarry
USEFUL LINKS
https://www.jillianrossprint.com
https://www.instagram.com/jillianrossprint_/
https://www.facebook.com/jillian.ross.520
https://www.linkedin.com/in/jillianrossprint
https://www.griffinartprojects.ca/exhibitions/william-kentridge-the-colander
https://latitudes.online/artworks.html
https://latitudesartfair.com/about-the-event/
https://remaimodern.org/about/remai-modern-museum/
Jillian Ross working on William Kentridge’s photogravure plates at the University of Alberta, Edmonton.
Jillian Ross (on ladder) working on William Kentridge prints at David Krut Workshop, Johannesburg, South Africa.
William Kentridge looks at a print with (from l-r) Brendan Copestake, David Krut, Jillian Ross, Roxy Kaczmarek, and Kim-Lee Loggenberg.
Jillian Ross (right) inspecting proofs with (from l-r) Sarah Judge, David Krut, and William Kentridge at David Krut Workshop, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with Arakaji Natural Gampi and White Gampi MM20 chine collé on Hahnemühle Natural White 300gsm paper. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 1⁄4 x 16 1⁄2 in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Universal Archive: Big Tree, 2012. Linoleum cut on 15 sheets of Encyclopedia Britannica pages. Sheet: 82 x 90 cm. (32 1⁄4 x 35 3/8 in.); image: 77 x 72.4 cm. (30 3/8 x 28 1⁄2 in.). Published by David Krut Projects, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Nose: #25, 2009. Drypoint, etching, and liftground aquatint. Plate: 35 x 14.9 cm. (13 3⁄4 x 6 in.); sheet: 40 x 35 cm. (15 3⁄4 x 13 3⁄4 in.). Published by David Krut Projects, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 3⁄4 in.). Published by David Krut Projects, Johannesburg, South Africa.
Jillian Ross creating assembly instructions, charts, and maps for Kentridge’s Triumphs and Laments, 2018–19.
Jillian Ross working on the complicated print Triumphs and Laments: Refugees, 2018–19, by William Kentridge. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 3⁄4 in.). Published by David Krut Projects, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Triumphs and ...
s3e22 on running The Gallery at The Met Store with Laura Einstein
Platemark: prints and the printmaking ecosystem
03/28/23 • 56 min
In Platemark s3e22, host Ann Shafer talks with Laura Einstein, manager of the Gallery at the Met Store. Tucked away on the mezzanine of the bookstore at the Metropolitan Museum of Art is a gallery space where limited edition, fine art prints are available for purchase. The Gallery (formerly known as the Mezzanine Gallery) has been a somewhat hidden gem at the Met since opening in the 1970s. Really affordable, wonderful prints are selected by Laura who always has time to talk shop with artist, buyers, students, and scholars. Make it a must-see on your next visit to the Met. Best to make an appointment to be sure Laura is available.
s3e18 on representing artist estates with dealer Susan Teller
Platemark: prints and the printmaking ecosystem
01/31/23 • 62 min
In s3e18, host Ann Shafer talks with dealer Susan Teller, whose eponymous gallery operates out of the Mana Fine Arts facility in Jersey City, NJ. Susan specializes in American paintings and works on paper of the mid-twentieth century. She also works with multiple artists’ estates including Peggy Bacon, William Baziotes, Bernarda Bryson Shahn, Sue Fuller, Michael J. Gallagher, Peter Grippe, Fannie Hillsmith, Hugh Mesibov, Angelo Pinto, Anne Ryan, Louis Schanker, Karl Schrag, Judith Shahn, Ben Shahn, Mitchell Siporin, Harry Sternberg, Ansei Uchima, and Lynd Ward.
Ann was eager to talk with Susan about managing artists' estates. How do family members approach a pile of stuff in the attic by aunt so-and-so? And, of course, Susan’s relationships with families of many of the women who worked at the New York Atelier 17 in the 1940s and 1950s was too intriguing for Ann to pass up.
https://www.susantellergallery.com
Mana Contemporary, Jersey City, NJ.
Peggy Bacon (American, 1895–1987). Had Sung their Last Song and Related their Last Poem, 1931. Pen and ink. 8 x 6 in. Susan Teller Gallery, Jersey City.
Guerrilla Girls (American, New York based, originated 1985). Guerrilla Girls’ 1986 Report Card, 1986. Offset lithograph. Sheet: 559 x 432 mm. (22 x 17 in.). Baltimore Museum of Art, Baltimore.
Fritz Eichenberg (American, 1901–1990). Day Care Center from the portfolio Dance of Death, 1980, printed 1983. Wood engraving. Image: 9 3⁄4 x 12 in.; sheet: 14 x 17 in. Brier Hill Gallery, Boston.
Charles Keller (American, 1914–2006). The Latest Dirt, 1937. Lithograph. Sheet: 9 x 7 in. Susan Teller Gallery, Jersey City.
Stanley William Hayter (British, 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.
Fannie Hillsmith (American, 1911–2007). Garden Plan I, c. 1945. Etching, softground etching, and open bite etching. Sheet: 482 × 327 mm. (19 × 12 7/8 in.); plate: 377 × 174 mm. (14 13/16 × 6 7/8 in.). Baltimore Museum of Art, Baltimore.
Dorothy Dehner (American, 1901–1994). The Barn in Bolton, 1952. Etching and aquatint. Sheet: 498 x 379 mm. (19 5/8 x 14 15/16 in.); plate: 352 x 252 mm. (13 7/8 x 9 15/16 in.). Baltimore Museum of Art, Baltimore.
David Smith (American, 1906–1965). Women and War, 1941. Etching and engraving. Sheet: 255 × 330 mm. (10 1/16 × 13 in.); plate: 173 × 227 mm. (6 13/16 × 8 15/16 in.). Baltimore Museum of Art, Baltimore.
Anne Ryan (American, 1889–1954). Abstract for Elie, 1945. Engraving. Sheet: 285 × 224 mm. (11 1/4 × 8 13/16 in.); plate: 144 × 94 mm. (5 11/16 × 3 11/16 in.). Baltimore Museum of Art, Baltimore.
Anne Ryan (American, 1889–1954). Primavera, 1946. Color woodcut on black paper. Sheet: 11 x 15 in. Susan Teller Gallery, Jersey City.
Louis Schanker (American, 1903–1981). Musical Clowns, 1939. Color woodcut. Sheet: 356 × 458 mm. (14 × 18 1/16 in.); image: 289 × 380 mm. (11 3/8 × 14 15/16 in.). Baltimore Museum of Art, Baltimore.
Sue Fuller (American, 1914–2006). Cacophony, 1944. Etching, softground etching, and aquatint. Sheet: 424 × 293 mm. (16 11/16 × 11 9/16 in.); plate: 300 × 225 mm. (11 13/16 × 8 7/8 in.). Baltimore Museum of Art, Baltimore.
Kett (Margaret Kettunen Zegart; American, born 1926). Boulder Landscape. 1953. Engraving. Plate: 12 x 13 in. Susan Teller Gallery, Jersey City.
Hugh Mesibov (American, 1916–2016). Space Venture, 1951. Woodcut. Image: 8 x 10 in. Susan Teller Gallery, Jersey City.
Albert Heckman (American, 1893–1971). Storage Tanks at Rondout, 1933. Lithograph. Image: 10 3⁄4 x 13 1⁄4 in. Susan Teller Gallery, Jersey City.
William Baziotes (American, 1912–1963). Untitled, c. 1948. Etching and softground etching. Sheet: 11 x 9 1/2 in. (27.9 x 24.1 cm.); plate: 5 7/8 x 7 7/8 in. (14.9 x 20 cm.). Reading Public Museum, Reading.
Werner Drewes (American, born Germany, 1899–1985). Praying Mantis, 1944. Engraving. Sheet: 264 × 362 mm. (10 3/8 × 14 1/4 in.); plate: 198 × 301 mm. (7 13/16 × 11 7/8 in.). Baltimore Museum of Art, Baltimore.
Sybil Andrews (British, 1898–1993). Racing, 1934. Color linoleum cut. Sheet: 295 x 382 mm. (11 5/8 x 15 1/16 in.); image: 260 x 345 mm. (10 1/4 x 13 9/16 in.). Baltimore Museum of Art, Baltimore.
Mary Cassatt (American, 1844–1926). The Banjo Lesson, c. 1893. Drypoint and color aquatint with monoprint inking. Sh...
s3e73 seeking a higher meaning in art with artist-activist Art Hazelwood
Platemark: prints and the printmaking ecosystem
01/28/25 • 68 min
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/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
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Art Hazelwood (American, born 1961). Strike!, 2023. Screenprint. 19 x 12 3⁄4 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 1⁄2 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 3⁄4 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 3⁄4 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 1⁄2 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 196...
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FAQ
How many episodes does Platemark: prints and the printmaking ecosystem have?
Platemark: prints and the printmaking ecosystem currently has 133 episodes available.
What topics does Platemark: prints and the printmaking ecosystem cover?
The podcast is about Art, Visual Arts, History, Drawing, Podcasts and Arts.
What is the most popular episode on Platemark: prints and the printmaking ecosystem?
The episode title 's3e58 marble lithography with artist Anna Trojanowska' is the most popular.
What is the average episode length on Platemark: prints and the printmaking ecosystem?
The average episode length on Platemark: prints and the printmaking ecosystem is 65 minutes.
How often are episodes of Platemark: prints and the printmaking ecosystem released?
Episodes of Platemark: prints and the printmaking ecosystem are typically released every 13 days, 22 hours.
When was the first episode of Platemark: prints and the printmaking ecosystem?
The first episode of Platemark: prints and the printmaking ecosystem was released on May 23, 2021.
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