s3e38 on working with William Kentridge with printer Jillian Ross
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 ...
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 ...
Previous Episode
s3e37 printer Phil Sanders on the future of the printmaking ecosystem (part two)
In the second part of their conversation, Ann Shafer and printer/publisher Phil Sanders continue talking about the state of the printmaking ecosystem.
They talk about why supporting artists is important even if you don’t like what they are doing, why that new Julie Mehretu set of etchings costs $250K, the imminent brain drain among our elder printers, and the importance of art and creativity to humanity’s survival.
Cynthia Bringle (American, born 1939). Blue Covered Jar with Fish. Ceramic. 21 inches tall.
Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York.
Pablo Picasso (Spanish, 1881–1973). Woman with Bangs, 1902. Oil on canvas. 61.3 x 51.4 cm. Baltimore Museum of Art, Baltimore, MD.
Joan Mitchell (American, 1925–1992). Bracket, 1989. Oil on canvas. 102 1/2 x 181 7/8 in. (260.35 x 461.96 cm.). San Francisco Museum of Modern Art, San Francisco, CA. ©Estate of Joan Mitchell.
Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA.
Phil Sanders giving tour of the booth of Kingsland Editions at the Baltimore Fine Art Print Fair, 2023.
Still from Stanley Kubrick’s 2001: A Space Odyssey.
USEFUL LINKS
PS Marlowe https://psmarlowe.com/
Phil’s IG @phil_sanders_studio
Next Episode
s3e39 social justice and satire with artist Sue Coe
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.
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