s3e68 on editioning digital embroidery with printer Judith Solodkin
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
Platemark website
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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...
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 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...
Previous Episode
s2e33 History of Prints William Hogarth (part one)
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)...
Next Episode
s2e34 History of Prints William Hogarth (part two)
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 1⁄2 x 15 1⁄4 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 1⁄4 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...
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