Episodes
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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
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In s3e55, Platemark host Ann Shafer speaks with Miguel A. Aragón, artist and professor at the City University of New York, Staten Island. They talk about CNC routers, drills as woodcutting tools, growing up in Juarez, Mexico, and that city’s war on drugs as a subject in his art. He weaves a tight conceptual circle in prints that explore violence, death, perception, and memory in surprisingly subtle works.
Miguel A. Aragón (Mexican, born 1978). Espectadores (Spectators), from the series Meoria Fracturada, 2013. Burnt residue embossment. 11 x 15 in. Courtesy of the artist.
Miguel A. Aragón (Mexican, born 1978). Retrato 18, negro (Portrait 18, black), 2008. Hand-drilled paper with drywall dust. 96 x 48 in. Courtesy of the Artist.
Miguel A. Aragón (Mexican, born 1978). Retrato 18, negro (Portrait 18, white), 2008. Hand-drilled paper. Each: 96 x 48 in. Courtesy of the Artist.
Miguel A. Aragón (Mexican, born 1978). Retrato 06, panel de yeso (Portrait 06, drywall). Hand-drilled drywall. 96 x 48 in. Courtesy of the Artist.
Miguel A. Aragón drilling into drywall for the Retrato series.
Miguel A. Aragón (Mexican, born 1978). Retrato 06, panel de yeso (Portrait 06, drywall). Hand-drilled drywall. 96 x 48 in. Courtesy of the artist.
Miguel A. Aragón (Mexican, born 1978). Aplacado (el Veladero) [Appeased (el Veladero)], 2016. Woodcut. Image: 48 x 36 in.; sheet: 51 ½ x 38 ½ in. Published by Flatbed Press, Austin.
Miguel A. Aragón working at Kala Art Institute in Berkeley, CA.
Miguel A. Aragón working at Scuola Internazionale di Grafica di Venezia in Venice, Italy.Miguel A. Aragón working at Zygote Press in Cleveland, OH.
Miguel A. Aragón working with Wuon Gean Ho at East London Printmakers.
Studio view of the Edinburgh Printmakers in Edinburgh, Scotland.
Studio view of the Glasgow Print Studio in Glasgow, Scotland
Studio view of the Grafikwerkstatt Dresden in Dresden, Germany.
Michael Barnes working at the Steindruck München Lithografie-Werkstatt in Munich, Germany.
Miguel A. Aragón’s mother’s doilies at the Morgan Conservatory in Cleveland, OH.
Miguel A. Aragón. 26.06.2009, 20:07:31. Color lithograph. Sheet: 27.5 x 22 in. Published by Flatbed Press, Austin.
Miguel A. Aragón. Index: 2170. Color lithograph. Sheet: 27 1/2 x 22 in. Published by Flatbed Press, Austin.
Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island.
Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island.
Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island. -
Missing episodes?
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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. -
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. Gouache. 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/
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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 Fürstenburg (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/
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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
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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)
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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
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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. -
Leading off 2024’s series three episodes is s3e47 in which Platemark host Ann Shafer speaks with Adam McCoy, Senior Specialist in Fine Art, Rago Auctions. Adam has worked in various auction houses for many years, including Christies and Artsy. Ann relished the chance to pepper Adam with questions.
In the episode Adam and Ann talk about the business of the business including what to expect when you decide to sell something at auction, the vagaries of the market, the authentication process, the bidding process (by phone, online, or in person), the value of old school auction catalogues, and which of Picasso’s prints holds the record price.
Edvard Munch (Norwegian, 1863–1944). Madonna, 1895. Lithograph. Image: 600 x 440 mm.; sheet: 640 x 480 mm. Munch Museum, Oslo.
Pablo Picasso (Spanish, 1881–1973). Femme qui pleure, 1937. Drypoint, aquatint, and etching. plate: 27 3/16 x 19 ½ in. (69 x 49.5 cm.); sheet: 30 1/2 x 22 9/16 in. (77.4 x 57.3 cm.). Museum of Modern Art, New York.
Andy Warhol (American, 1928–1987). Marilyn, 1967. Portfolio of 10 screenprints. Each: 36 x 36 in. Robin Rile Fine Art, Miami.
Pablo Picasso (Spanish, 1881–1973). Rembrandt with a Palette, from the Vollard Suite, 1934, printed 1939. Etching. Plate: 10 15/16 x 7 13/16 in. (27.8 x 19.8 cm.); sheet: 17 9/16 x 13 7/16 in. (44.6 x 34.1 cm.). Metropolitan Museum of Art, New York.
Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph. Sheet: 69.9 x 54 cm (27 1/2 x 21 1/4 in.). National Gallery of Art, Washington, D.C.
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.
Scott Kahn (American, born 1946). Ingersoll’s Branch, 1989, printed 2022. 26-color screenprint. Avant Arte.
Ursula von Rydinsvard (German, born 1942). CISZA, 2021-22. Cedar. 149 x 79 x 82 in.
George J. Stengel (American, 1872–1937). The Quarry, New Habor, Maine. Oil on canvas. 25 ¼ x 30 1.8 in. Questroyal Fine Art, New York.
Kate Reno Miller (American, 1874–1929). Sunlit Path, 1920. Oil on board. 11 x 14 in. Cincinnati Art Galleries.
Wharton Esherick Museum, Paoli, PA. (photo: Emma Lee, WHYY)
B.J.O. Nordfeldt (American, 1878–1955). The Skyrocket, 1906. Color woodcut. Image: 8 ¾ x 11 ¼ in. (22.2 x 28.6 cm.). Smithsonian American Art Museum, Washington, DC. -
In s3e46, Platemark host Ann Shafer speaks with Reinis Gailitis, an engraver from Riga, Latvia. The magic of the internet is fully on display today. Without it, finding Reinis's work would have been challenging. But his self-portrait in the style of Claude Mellan's Holy Face, the one with a single line emanating from the subject's nose, is a marvel.
Ann and Reinis talk about how engraving is simultaneously the most simple and direct of techniques while being the most difficult. They talk about tricks and tools shared by artists thanks to the internet: how to transfer a drawing onto a shiny copper plate for engraving (thanks, Andrew Raftery), what recipe to use for a darkened paste to fill already carved lines to see progress (thanks, Lembit Lõhmus), choosing a non-toxic solvent and trying out a custom tube of ink (thanks, Ad Stijnman), about non-toxic electrolytic etching (thanks, Jason Scuilla). They talk about the pitfalls of selling Intagram-worthy art, why there's little-to-no printmaking culture in Latvia, and about how overdue we are for a severe magnetic storm that could wipe out electronic media, documents, art pointing to the importance of printed objects.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis teaching engraving at the Art Academy, Riga, Latvia.
Reinis Gailitis’s plate with ink-paste in the engraved lines to help the artist see where they are.
Reinis Gailitis engraving the copper plate Face Of...
Reinis Gailitis (Latvian, born 1992). Engraved spiral perfection.
Halftone rake tool (intaglioprintmaker.com).
Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London.
[DETAIL] Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London.
Stanley William Hayter (English, 1901–1988). Cinq Personnages, 1946. Engraving and softground etching (trial proof prior to color additions). Baltimore Museum of Art, Baltimore.
Reinis Gailitis (Latvian, born 1992). Monoliths, 2022. Engraving.
Reinis Gailitis. Variations of lines via engraving, drypoint, and mezzotint.
Lembit Lõhmus (Estonian, born 1947). Ex Libris. Engraving.
Reinis Gailitis’s ink-paste.
Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.
Reinis Gallitis (Latvian, born 1992). Face of…, 2021. Engraving. Sheet: 30 x 22 cm.; plate: 25 x 18 cm.
Reinis Gailitis (Latvian, born 1992). Schematic for Face Of… engraving.
Albrecht Dürer (German, 1471–1528). Self-Portrait, 1500. Oil on panel. 67.1 × 48.9 cm. (26 1/3 × 19 1/3 in.). Bayerische Staatsgemäldesammlungen - Alte Pinakothek München.
Reinis Gallitis (Latvian, born 1992). Vortex, 2021. Engraving. Sheet: 44 x 34 cm.; plate: 40 x 29 cm.
Reinis Gailitis (Latvian, born 1992). Starship, 2021. Engraving and chine collé.
Reinis Gailitis (Latvian, born 1992). Work in Progress, 2023. Engraving.
Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving and linoleum cut on chine collé.
Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Linoleum cut.
[DETAIL OF TRIAL PROOF] Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving.
Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving printed intaglio and relief with white areas hand wiped.
Reinis Gailitis (Latvian, born 1992). Inked engraving plate (black intaglio, blue relief, white hand wiped) for Work in Dark, 2023.
Reinis Gailitis (Latvian, born 1992). Fungi, 2023. Wood engraving. 9 x 11 cm.
Reinis Gailitis (Latvian, born 1992). Woodblock for Fungi, 2023. 9 x 11 cm.
Reinis Gailitis’s engraved woodblock for Fungi set in press.
Reinis Gailitis’s wood engraving, Fungi, being printed.
Anton Würth (German, born 1957). Dürer Übung-Dürer Practice, 2014. Engraving. 100 x 150 mm (3 7/8 x 5 7/8 in.). C.G. Boerner, New York.
Lembit Lõhmus (Estonian, born 1947). Ex Libris in memoriam Richard Kaljo. Engraving.
Reinis Gailitis (Latvian, born 1992). Engraved patterns.USEFUL LINKS
Reinis’s website: https://gailitis.berta.me/
Reinis’s prints are available for purchase on his Esty shop: https://www.etsy.com/shop/GailitisPrintmaking?ref=profile_header
Support Reinis through Patreon: https://www.patreon.com/gailitis
Short videos of engraving Work in Progress: https://www.youtube.com/shorts/NEjIeYYKyzk and https://www.youtube.com/shorts/DkEPD2qdB5U and https://www.youtube.com/shorts/3f_FihXoMxM
Short videos of engraving Face Of…: https://www.youtube.com/watch?v=GLYBCYGAh40 and https://www.youtube.com/watch?v=WPcFjpoWO4I and https://www.youtube.com/watch?v=3nwf_SzOJAk
Process video on the making of Vortex: https://www.youtube.com/watch?v=1OU9Uh8brzQ
Process video on the making of Starship: https://www.youtube.com/watch?v=bjgw_aUnwuk
Andrew Raftery demonstrates the art of engraving: https://www.youtube.com/watch?v=fQvghHs15hA&t=234s
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In Platemark s3e45, host Ann Shafer talks with Bob Schneider, who is best known for his music but is a serious artist as well. You may know some of his best-loved songs like 40 Dogs (Like Romeo and Juliet), Honeypot, Deep Blue Sea, and Peaches, but you will be delighted to learn about his print output. These are gorgeous etchings primarily made with Katherine Brimberry at Flatbed Press in Bob's hometown, Austin, TX.
In the episode, Bob and Ann talk about all sorts of things including anxiety, AI, and creativity. Their discussion about creativity is fascinating: he's a surrealist at heart and subscribes to the idea that images emerge unbidden from his subconscious. In fact, he believes he is just cultivating things that are already there.
Numerous etchings by the artist are online at flatbedpress.com. As you look through them online, you can guess which one is in Ann's collection. His digital compositions, collages, and paintings are available at Yard Dog Gallery.
Bob plays a lot of live shows in Texas, including weekly Monday nights sets at Saxon Pub in Austin. He plays select shows in other places; check his website for tour dates near you. He's a consummate performer and is worth seeking out.
USEFUL LINKS
Bob’s website bobschneider.com
YouTube Music music.youtube.com/channel/UCfzxdvRc4RzUyYeQiIyHASQ
Spotify open.spotify.com/artist/4YOxTnmYogOpUPxrNTacvQ
Facebook facebook.com/bobschneidermusic
Instagram instagram.com/bob_schneider_music
X (Twitter) twitter.com/Bob_Schneider
FRUNK bobschneidermusic.bandcamp.com
Merch bobschneider.myshopify.com
Bob Schneider (American, born 1965). The Night Way, 2008–17. Etching. Plate: 29 x 22 ¼ in.; sheet: 45 x 34 ¾ in. Published by Flatbed Press, Austin.
Bob Schneider (American, born 1965). Atama, 2008. Etching. Plate: 26 7/8 x 24 3/8 in.; sheet: 43 ¾ x 34 ¾ in. Published by Flatbed Press, Austin.
Bob Schneider (American, born 1965). Lucretia, 2000. Etching. Plate: 18 x 24 in.; sheet: 22 x 30 in. Published by Flatbed Press, Austin.
Bob Schneider (American, born 1965). Woman, 2000. Etching and aquatint. Plate: 42 ½ x 30 in. Published by Flatbed Press, Austin.
Bob Schneider (American, born 1965) and Justin Barker (American, born 1979). Illustration for Bob’s graphic novel, FAYM.
Bob Schneider (American, born 1965) and Justin Barker (American, born 1979). Illustration for Bob’s graphic novel, FAYM.
Bob Schneider and Justin Barker at Saxon Pub, Austin, November 2023.
Bob Schneider (American, born 1965). We’re Never Really Sure if the Life We Live Here Belongs to Us. Digital print on Hahnemühle 100% cotton photo rag fine art paper. 21 x 15 ¾ in. Yard Dog Gallery, Austin.
Bob Schneider (American, born 1965). Abe II. Digital print on Hahnemühle 100% cotton photo rag fine art paper. 21 x 15 ¾ in. Yard Dog Gallery, Austin.
Bob Schneider (American, born 1965). Who Isn’t Born Again Into Heaven. Oil on canvas. 20 x 16 in. Yard Dog Gallery, Austin.
Bob Schneider (American, born 1965). Each Moment is a Place You’ve Never Been. Oil on canvas. 20 x 16 in. Yard Dog Gallery, Austin.
Digital art by AI and Bob Schneider for FRUNK, recordings of each of Bob’s performances.
Bob Schneider and Clint Wells’s podcast I’m OK, you’re OK; I’m not OK, you’re not OK.
Bob Schneider prints spread out at Flatbed Press, Austin. -
There's often a ton of art in medical spaces, but who are the curators of those health system collections?
In s3e44, Platemark host Ann Shafer speaks with Naomi Huth, chief curator and director of the art collection for NYC Health + Hospitals. Held within the Arts in Medicine department, NYC Health + Hospitals has one of the largest public (non museum) art collections in New York City with more than 7,000 works of art, including a number of murals. Their goal is to make art accessible to the public and integrate the collection into healing environments across NYC Health + Hospitals’ eleven acute care hospitals, five nursing homes, six diagnostic and treatment centers, and more than seventy community-based primary care sites.
A major part of Naomi's job is to highlight the concepts of diversity and accessibility in collecting, collaboration, and mentoring emerging artists. She has focused on acquiring works by underrepresented artists to improve and diversify the collection as well as integrating diverse perspectives into the collection and fostering a better understanding of the issues of today through the lens of art.
We talk about how art can reduce stress, offer peace, and help both patients and their families and medical staff members find moments of respite in busy and intense spaces. It's different yet not from being a museum curator.
From 2012–2021, Naomi was the curator for the Joseph M. Cohen Family Collection, a large private collection with six locations around the United States. She has previously held curatorial positions at the New Museum, Museum of Arts and Design, Rubin Museum, and the de Young Museum. Naomi is a member of the Young Collectors Council acquisitions committee at the Guggenheim, the advisory board of the Center for Photography in Woodstock, Independent Curators International, and is an accredited member of the Appraisers Association of America. She earned her M.A. in Art History and Museum Studies from the City College of New York (CCNY) and her B.S. in Fashion Design and Art History from Drexel University.
William Palmer. Function of a Hospital, 1934. Mural. NYC Health + Hospitals/Elmhurst Hospital Center, Queens.
Georgette Seabrooke. Recreation in Harlem, 1936. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan.
Angel Garcia. The Shoulders of Legacy, 2021. NYC Health + Hospitals/Harlem, Manhattan.
Charles Alston. Man Emerging, 1969. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan.
Staff wellness room, NYC Health + Hospitals/Kings County, Brooklyn.
Linda LeKniff pastels in the pharmacy at NYC Health + Hospitals/Gotham Health, Morrisania, Bronx.
Andy Warhol print at NYC Health + Hospitals/Bellevue, Manhattan.
Oscar Lett. Origins and Today, 2019. Mural. NYC Health + Hospitals/Kings County, Brooklyn.
Kristy McCarthy. Together We Heal, 2023. Mural located in the waiting room of the pediatric emergency department at NYC Health + Hospitals/South Brooklyn Health, Brooklyn.
Fernando “Ski” Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx.
Fernando “Ski” Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx.
Keith Haring. 1986 mural at NYC Health + Hospitals/Woodhull, Brooklyn.USEFUL LINKS
NYC Health + Hospitals Arts in Medicine department: https://www.nychealthandhospitals.org/artsinmedicine/
NYC Health + Hospitals Arts in Medicine art collection: https://www.nychealthandhospitals.org/artsinmedicine/art-collection/
NYC Health + Hospitals Arts in Medicine programs:
https://www.nychealthandhospitals.org/artsinmedicine/programs/
NYC Health + Hospitals Arts in Medicine Bloomberg Connects app:https://www.nychealthandhospitals.org/artsinmedicine/programs/#artsInMedicineMobileApp
Naomi Huth’s IG: https://www.instagram.com/naomi__huth/
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In s3e43, Platemark host Ann Shafer talks with Craig Zammiello, an artist and collaborative printer with over 40 years of experience in all areas of printmaking. He worked for 25 years at Universal Limited Art Editions, where he collaborated with numerous artists, including Jasper Johns, Elizabeth Murray, James Rosenquist, Kiki Smith, and Robert Rauschenberg. Currently, he is a collaborative printer at Two Palms working with Mel Bochner, Ellen Gallagher, Chris Offili, Elizabeth Peyton, and Dana Schutz. He is author of a studio manual on photogravure, as well as Conversations from the Print Studio published by Yale University Press.
Ann and Craig talk about Woodburytypes, working with Robert Rauschenberg at ULAE, and helping Matthew Barney grow copper nodules on a Woodburytype and then gold plating them. They talk about Craig’s transition to Two Palms and how that studio works outside of the traditional print studio model. Find out about a lifelong interest of Craig’s that has resulted in his collection being acquired by the American Museum of Natural History (no, it’s not prints), and what band would he most like to join on tour.
Zammiello received an MFA from The State University of New York, Stony Brook in 1995. He is currently Adjunct Faculty at the School of the Arts at Columbia University. Zammiello has taught workshops and classes at New York University, Yale University, The Robert Blackburn Printmaking Workshop and the Flemish Center for the Graphic Arts in Belgium.
Episode image: Elizabeth Zammiello
Matthew Barney (American, born 1967). In Vain Produced, All Rays Return, Evil Will Bless, and Ice Will Burn, 2015. Set of 4 Woodburytype prints on copper with electro-formed copper, nickel and 24 carat gold, in red oak frames. Framed dimensions: 11 1/2 x 15 ½ in. Printed by F-Zero Project and published by Two Palms, New York.
Lead printing plate for Brad by Chuck Close (American, 1940–2021). 9x12 in.The finished Woodburytype print for Brad, Chuck Close (American, 1940–2021), with the ink overflow around the edges. 11x14 inches. Published by Two Palms, New York.
R. Crumb (American, born 1943). Keep on Flushin’, 2022. Etching. Sheet: 13 ½ x 11 ½ in. Printed by Craig Zammiello and published by Two Palms, New York.
Mel Bochner (American, born, 1940). Is This It?, 2023. Cast and pigmented paper. 69 ¾ x 67 ¼ x 5 5/8 in. Published by Two Palms, New York.
Lee Bontecou (American, 1931–2022). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 x 25 in. (50.8 x 63.5 cm.). Published by Universal Limited Art Editions, Bayshore, New York.
Robert Rauschenberg (American, 1925–2008). Wall-Eyed Carp/ROCI JAPAN, 1987. Acrylic and fabric collage on canvas. 203.2 x 617.2 cm (80 x 243 in.). National Gallery of Art, Washington, D.C.
Lisa Hodermarsky and Craig Zammiello. Conversations from the Print Studio: A Master Printer in Collaboration with Ten Artists. New Haven: Yale University Art Gallery, 2012.USEFUL LINKS
Craig Zammiello's video on photogravure techniques: https://www.youtube.com/watch?v=t3HAoyIsrDY
Craig’s website: https://www.zammiello.com/
IG: @craigzammiello
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In s3e42, Platemark host Ann Shafer talks with Lauren Rosenblum and Christina Weyl about their exhibition on view at Print Center New York through December, 23, 2023. A Model Workshop: Margaret Lowengrund and The Contemporaries is the first exhibition to explore the legacy of Lowengrund (1902–1957), a visionary artist-advocate and entrepreneur.
In charting the institutional history of the hybrid print workshop-gallery she founded, The Contemporaries, and its later evolution into Pratt Graphic Art Center, A Model Workshop brings into focus the bustling printmaking scene of 1950s New York and reveals Lowengrund's impact on postwar printmaking.
A Model Workshop: Margaret Lowengrund and The Contemporaries is curated by Lauren Rosenblum and Christina Weyl. It is on view September 21–December 23, 2023, at Print Center New York, 535 West 24th Street.
Maurice Berezov, Margaret Lowengrund at The Contemporaries, c. 1952–55. Woodstock Artists Association and Museum Archives. © Maurice Berezov Photograph Copyright A.E. Artworks, LLC. Image courtesy Woodstock Artists Association and Museum Archives, Woodstock, New York.
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.
The Contemporaries Graphic Art Centre, c. 1954. 959 Madison Ave, New York.
The Contemporaries Gallery of Sculpture and Graphic Art, 992 Madison Avenue at 77th Street, New York, 1955. Photo by Robert Delson.
The Contemporaries Graphic Art Centre, c. 1955–56. 1343–45 3rd Ave, New York.
The Pratt Graphic Art Center, c. 1959. 795 Broadway, New York.
Stuart Davis (American, 1892–1964). Detail Study for Cliché, 1957. Lithograph. 15 3/4 × 18 3/8 in. (40 × 46.7 cm.). Printed by Arnold Singer at The Contemporaries Graphic Art Centre. Judd Foundation, New York. © Estate of Stuart Davis
Arthur Deshaies (American, 1920–2011). Hornet’s Nest, 1956. Plexi engraving. Image: 303 x 403 mm. National Gallery of Art, Washington, D.C.
Dean Meeker (American, 1920–2002). Trojan Horse, 1952. Screenprint. Sheet: 20 × 26 in. (50.8 × 66 cm.); image: 18 1/8 × 25 ¾ in. (46 × 65.4 cm.). Whitney Museum oof American Art, New York.
Fritz Eichenberg's Talk on His Trip to the Soviet Union with United States Information Agency, Graphic Arts Exhibit, 1963. Pratt Institute Archives, Pratt Institute Library.
Pratt Graphic Art Center, November 1962. Pratt Institute Archives, Pratt Institute Library.
[Installation shot] 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. Photo: Argenis Apolinario.
[Installation shot] 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. Photo: Argenis Apolinario.
[Installation shot] 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. Photo: Argenis Apolinario.
[Installation shot] 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. Photo: Argenis Apolinario.
[Installation shot] 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. Photo: Argenis Apolinario.
[Installation shot] 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. Photo: Argenis Apolinario.
Peter Lipman-Wulf (1905–1993). Man in the Moon, 1952. Lignum vitae. 24 ½ × 14 × 10 ½ in. Collection of Michael Henkel, East Hampton, NY.USEFUL LINKS
A Model Workshop webpage. https://www.printcenternewyork.org/a-model-workshop
Christina’s book: The Women of Atelier 17. https://www.atelier17.christinaweyl.com/#content
Christina’s article: “Missing Archives: Worden Day and Women Modernists.” https://christinaweyl.com/projects/2019-09-aaaj/
Rockefeller Archive Center, Sleepy Hollow, NY. https://rockarch.org/
Christina’s IG: @christinaweyl
Lauren’s IG: @rosenbluuuum
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In Platemark s3e41, host Ann Shafer talks with Susan Tallman, an art historian and essayist who co-founded the journal Art in Print and served as its editor for its entire run, 2011–2019. A regular contributor to New York Review of Books and The Atlantic Monthly, she has authored and co-authored many books, most recently No Plan At All: How the Danish Printshop of Niels Borch Jensen Redefined Artists Prints for the Contemporary World, as well as the new catalogue raisonné of prints by Kerry James Marshall.
Ann and Susan talk about the word "original" as an unhelpful term to describe fine art prints, last summer's blockbuster Vermeer exhibition at the Rijksmuseum in Amsterdam, Gerhard Richter's 2020 exhibition at the Metropolitan Museum in New York, and the state of the state of the print world. In the end you'll understand why Susan loves ambiguity in art.
William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum block. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa.
Julie Mehretu (American, born Ethiopia, 1970). Treatises on the Executed (from Robin’s Intimacy), 2022. 10-panel etching and aquatint from 50 plates. 93 1/2 x 173 1/8 in. (237.5 x 439.7 cm.). Gemini G.E.L., Los Angeles.
Edvard Munch (Norwegian, 1863–1944). The Vampire, 1895. color lithograph and woodcut with watercolor [trial proof]. sheet: 38.9 × 55.7 cm (15 5/16 × 21 15/16 in.). National Gallery of Art, Washington, D.C.
Susan Tallman. The Contemporary Print from Pre-Pop to Postmodern. London and New York: Thames and Hudson, 1996.
Jasper Johns (American, born 1930). Target, 1960. Lithograph. 12 1/16 x 12 3/16 in. (30.7 x 30.9 cm.); sheet: 22 13/16 x 17 13/16 in. (57.9 x 45.2 cm.). Published by ULAE. Museum of Modern Art, NY.
Jasper Johns (American, born 1930). Target, 1961. Encaustic and newpaper on canvas. 167.6 × 167.6 cm. (66 × 66 in.). Art Institute of Chicago, Chicago.
Susan Tallman. Kerry James Marshall: The Complete Prints. New York: Ludion/D.A.P., 2023.
Vermeer. Rijksmuseum, Amsterdam. February 10–June 4, 2023.
Johannes Vermeer (Dutch, 1632–1675). Allegory of the Catholic Faith, c. 1670–72. Oil on canvas. 45 x 35 in. (114.3 x 88.9 cm.). Metropolitan Museum of Art, New York.
Johannes Vermeer (Dutch, 1632–1675). Woman with Pearl Necklace, c. 1664. Oil on canvas. 55 × 45 cm. (21 5/8 × 17 3/4 in.). Gemäldegalerie, Staatliche Museen, Berlin.
Johannes Vermeer (Dutch, 1632–1675). Woman Holding a Scale, c. 1664. Oil on canvas. 42.5 x 38 cm (16 3/4 x 14 15/16 in.). National Gallery of Art, Washington, D.C.
Kouros, c. 530 B.C. Getty Museum, Los Angeles.
Calouste Gulbenkian Foundation, Lisbon.
Terra Cotta Warriors: Guardians of China’s First Emperor. National Geographic Museum, Washington, D.C. November 19, 2009–March 31, 2010.
Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Oil on canvas. 6.77 × 9.94 m (267 × 391 in.). Louvre Museum, Paris.
Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Factum Arte digital copy. 6.77 × 9.94 m (267 × 391 in.). San Giorgio Maggiore, Venice.
Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam.
Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York.
Anonymous Andean painting hanging in Susan’s home.
Jan Wierix (Netherlandish, 1549–1615), after Martin de Vos (Netherlandish, 1532-1603). Annunciation, 1549-before 1585. Engraving. Plate: 265 × 197 mm. Rijksmuseum, Amsterdam.
Gerhard Richter: The Birkenau Paintings. Met Fifth Avenue. September 5, 2020–January 18 2021. Credit: Charlie Rubin for The New York Times.
Stanley William Hayter (British, 1901–1988). Père Lachaise from the portfolio Paysages urbains, 1930. Engraving and drypoint. Sheet: 283 × 381 mm. (11 1/8 × 15 in.); plate: 208 × 268 mm. (8 3/16 × 10 9/16 in.). Baltimore Museum of Art, Baltimore.
Edge of Visibility. IPCNY, New York. October 4–December 2018.USEFUL LINKS
Susan's website: https://www.susan-tallman.com/
Art in Print on Jstor: https://www.jstor.org/journal/artprint
The Getty’s Paper Project: https://www.getty.edu/projects/paper-project/
New York Public Library. The Miriam and Ira D. Wallach Division of Art, Prints, and Photographs. https://www.nypl.org/locations/schwarzman/wallach-division/print-collection
Factum Arte: https://www.factum-arte.com/pag/38/a-facsimile-of-the-wedding-at-cana-by-paolo-veronese
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In this bonus episode, Hello, Print Friend creator and guest host Miranda Metcalf talks with Luther Davis, master printer and director of Powerhouse Arts Print Shop, Brooklyn, about his background and early career. Powerhouse Arts is new player in the printing/publishing ecosystem and warrants extended conversation with its leader. This is a two-parter in which Miranda converses with Luther and then in another episode, Ann Shafer speaks with Luther about the present and future at Powerhouse Arts. Thanks to Platemark's sister pod Hello, Print Friend and Miranda for collaborating on this two-parter.
Both Hello, Print Friend and Platemark’s episodes are available on both podcast channels.
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In s3e40, Platemark host Ann Shafer talks with Luther Davis, master printer and director of Powerhouse Arts, Brooklyn. This is a two-parter. For this interview, Platemark collaborated with its sister podcast Hello, Print Friend. Miranda Metcalf, Hello, Print Friend’s host and creator interviewed Luther about his background and early career; Ann Shafer spoke with Luther about the present and future at Powerhouse Arts, a new non-profit arts center in a renovated transit power station on the Gowanus Canal in Brooklyn. Both Hello, Print Friend and Platemark’s episodes will be available on both podcast channels.
Luther has been in the biz for a long time and has great stories about the printing industry in Brooklyn. We talk about industrial printing and ask what the differences are between "art" and everything else. We talk about how important accessible shops are for artists to fabricate large projects (in addition to a print shop, Powerhouse has a ceramics studio, and a large sculpture fabrication shop). We talk about the state of print publishing today.
Luther has brought his prodigious experience to bear at Powerhouse Arts, a fairly new player in the field. He is taking the reigns of the Print Shop and running with it.
Episode image: Dana Zinsser.
Powerhouse Arts Print Shop, Brooklyn.
Pulled in Brooklyn, exhibition curated by Roberta Waddell and Samantha Rippner. IPCNY, April 4–June 15, 2019.
Industrial map of New York City showing manufacturing industries. New York Public Library. Printing industries are marked in orange.
Grand Hall, Powerhouse Arts, Brooklyn.
Powerhouse Arts Print Shop, Brooklyn.
Inaugural artist-in-residence Ivan Forde working at Powerhouse Arts Print Shop, Brooklyn.
Jasper Johns (American, born 1930). Leo from The Leo Castelli 90th Birthday Portfolio, 1997. Color etching. Plate: 17 11/16 × 11 13/16 in. (45 × 30 cm.); sheet: 36 13/16 × 27 in. (93.5 × 68.6 cm.). Published by Jean-Christoph Castelli; printed by Noblet Serigraphie. Museum of Modern Art, New York.
Ed Ruscha (American, born 1937). News from the portfolio News, Mews, Pews, Brews, Stews & Dues, 1970. Screenprint. Image: 18 1/16 x 27 1/16 in. (45.8 x 68.8 cm.); sheet: 23 1/16 x 31 7/8 in. (58.6 x 81 cm.). Published by Editions Alecto; printed by Alecto Studios. Museum of Modern Art, New York.
Peacock Visual Arts’ Risograph color chart.
Powerhouse Arts Print Shop, Brooklyn.
Printer Zaire Anderson coating screens for Avram Finkelstein’s Who Died. Powerhouse Arts Print Shop, Brooklyn.
With backs turned, left: Chris Kinsler; right: Dennis Hrehowsik. Facing camera, left: Zaire Anderson; right: Dana Zinsser. Powerhouse Arts Print Shop, Brooklyn.
Nellie Davis and Kyle Goen working on his giant rainbow roll at Powerhouse Arts Print Shop, Brooklyn.
Printer John Bartolo working on a screenprint by Aziz and Cucher at Powerhouse Arts Print Shop, Brooklyn.
Powerhouse Arts Print Shop, Brooklyn.
Powerhouse Arts Print Shop, Brooklyn.
Donald Baechler installation shot. Galerie Forsblom, 2014.
Kara Walker (American, born 1969). The Emancipation Approximation, 1999–2000. Portfolio of 26 screenprints. Sheet (each): 45 3/4 x 45 3/4 in (116.2 x 116.2 cm.). Published by Sikkema Jenkins Editions; printed by Jean Yves Noblet. Phillips Auctions, New York.
Fourth Estate www.fourthestate.com
Alex Dodge (American, born 1977). Unread Messages, 2017. Screenprint. 20 x 30 in. Haystack Editions.USEFUL LINKS
Poster House www.posterhouse.org
Jungle Press Editions www.junglepress.com
Avant Arte www.avantearte.com
Radix Media & Graphics
NY Printing & Graphics www.nyprintinggraphics.com
Du-Good Press www.du-goodpress.com
Carousel’s Press www.carouselpress.com
Kayrock Screenprinting www.shop.kayrock.org
Bushwick Print Lab www.bushwickprintlab.org
Ulano Corp. www.ulano.com
KIWO Inc. www.kiwo.com
Guerra Paint & Pigment www.guerrapaint.com
Labor statistics on fine artists from the US Bureau of Labor Statistics https://www.bls.gov/oes/current/oes271013.htm#nat
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Platemark hosts Ann Shafer and Tru Ludwig offer up a bonus HoP episode featuring a conversation about a single work of art. Occasionally we will drop a BONUS EP ONE PRINT, which will take a single work and pull it apart with an eye toward exploring subject matter, technique, style, and composition. The first of these episodes features the etching Battlefield, 1907, by Käthe Kollwitz.
We hope this new kind of conversation resonates, and we’d love to hear your feedback and suggestions for other great prints worthy of a 90-minute episode.
Fun fact: Käthe is pronounced KAY-tuh, not Cathy; in Kollwitz, the W sounds like a V.
Episode image: Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
Pierre-August Renoir. (French, 1841–1919). Luncheon of the Boating Party, 1881. Oil on canvas, The Phillips Collection, Washington, D.C.
John Constable (English, 1776–1837). The Hay Wain, 1821. Oil on canvas. 130.2 × 185.4 cm. National Gallery, London.
Wassily Kandinsky (Russian, 1866–1944). Composition IV, 1911. Oil on canvas. 62.8 × 98.6 in. (159.5 × 250.5 cm.). Kunstsammlung Nordrhein-Westfallen, Düsseldorf.
Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
Jackson Pollock (American, 1912–1956). Number 1, 1950 (Lavender Mist), 1050. Oil, enamel, and aluminum on canvas. 221 x 299.7 cm (87 x 118 in.). National Gallery of Art, Washington, DC.
Marcel Duchamp (American, born France, 1887–1968). The Bride Stripped Bare by Her Bachelors, Even (Large Glass), 1915–23. Oil, varnish, lead foil, lead wire, and dust on two glass panels. 9 ‘ 1 ¼” × 70” x 3 3/8” (277.5 × 177.8 × 8.6 cm). Philadelphia Museum of Art, Philadelphia.
Rembrandt (Dutch, 1606–1669). Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch (commonly known as The Night Watch), 1642. Oil on canvas. 437 x 363 cm. City of Amsterdam.
Henri Matisse (French, 1869–1954). The Blue Nude (Memory of Biskra), 1907. Oil on canvas. 36 1/4 x 55 1/4 in. (92.1 x 140.3 cm.). Baltimore Museum of Art, Baltimore.
Mark Rothko (American, 1903–1970). No. 17, 1957. Oil on canvas. 232.5 x 176.5 cm. (91.5 x 69.5 in.). Christies.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAILS] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). The Ploughmen, no. 1 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 31.5 x 45.7 cm (12 3/8 x 18 in.). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). Raped, no. 2 from the series Peasants War, 1907–08. Etching, drypoint, sandpaper and softground etching. Plate: 308 x 529 mm. (12 1/8 x 20 13/16 in.). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). Sharpening the Scythe, no. 3 from the series Peasants War, 1908. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 11 3/4 × 11 11/16 inches (29.8 × 29.7 cm). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). Arming the Vault, no. 4 from the series Peasants War, 1906. Etching, drypoint, aquatint, and softground etching. Plate: 19 1/2 x 12 7/8 in. Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne.
Jean-François Millet (French, 1814–1875) The Gleaners, 1957. Oil on canvas. 83.8 × 111.8 cm. (33 × 44 in.). Musée d’Orsay, Paris.
Jean-François Millet (French, 1814–1875). The Gleaners, 1955. Etching. 192 x 253 mm. Rijksmuseum, Amsterdam.
Käthe Kollwitz (German, 1867–1945). Self-Portrait, 1926–36. Bronze. Käthe Kollwitz Museum, Cologne.
Georges Seurat (French, 1859–1891). Landscape, 1876–86. Black Conté crayon. 24.9 × 31.6 cm (9 13/16 × 12 1/2 in.). Art Institute of Chicago, Chicago.
Ernst Barlach (German, 1870–1938). The Avenger, 1914. Bronze. 22.9 x 44.5 x 61 cm. Harvard Art Museums, Cambridge.
Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in.
[DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in.
[DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in.
Mary Cassatt (American, 1844–1926). The Banjo Lesson, c. 1893. Color drypoint and aquatint with monoprint inking. Plate: 29.85 × 23.81 cm (11 3/4 × 9 3/8 in.); sheet: 41.9 x 29.2 cm (16 1/2 x 11 1/2 in.). National Gallery of Art, Washington, DC.
Andrea Mantegna (Italian, c. 1431–1506). Lamentation over the Dead Christ, c. 1483. Tempera on canvas. 680 x 810 mm. Pinacoteca di Brera, Italy.
Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Baltimore Museum of Art, Baltimore.
Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam. -
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 ½ 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. ½ 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 ¾ 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 ¼ 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. - Show more
