In this episode of Platemark, host Ann Shafer talks with renowned printmaker Jenny Robinson who recently opened up her eponymous print shop in Sydney, Australia.

Jenny shares her experiences moving from America to Slovenia during the Trump era, integrating into Slovenia's printmaking community, and ultimately relocating to Sydney, Australia, to establish her print atelier. We talk about the challenges of getting different materials and the cultural contrasts in the art scenes of America, Europe, and Australia, backing and seaming prints with gampi (thanks to Paul Mullowney’s tutelage), flying with rolled prints in golf bags (for free!), and the Mario Avati Prize, which led to a one-person exhibition in the Institut de France in Paris, across the river from the Louvre.

The episode also touches upon the extensive network and collaborative spirit of printmakers and Jenny's summer residency at Flatbed Press in Austin, TX. Throughout the conversation, Jenny emphasizes the significance of artist visits, educational resources in art, and her ambitions for large-scale prints and workshops in her new Sydney studio.

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International Center of Graphic Arts (Mednarodni grafični likovni center), Ljubljana, Slovenia. Photo by Jaka Babnik.

Jenny Robinson (British, born 1957). Architectural Anomalies Series #2: Cornerstone. Drypoint on Gampi. 40 x 60 in. Courtesy of the Artist.

Jenny Robinson (British, born 1957). Palm House Series #2: The Glass House. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist.

Jenny Robinson pinning up Palm House Series #2: The Glass House.

Jenny Robinson (British, born 1957). Palm House #1, 2021. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist.

Jenny Robinson (British, born 1957). Paradigm. Drypoint on Gampi, backed with Sekishu. 60 x 80 in. Courtesy of the Artist.

Jenny Robinson (British, born 1957). Above L.A. Drypoint and monoprint. Sheet: 51 x 34 in. Courtesy of the Artist.

Jenny Robinson (British, born 1957). Hidden Lines, Fragile Frameworks, 2021, Drypoint on Gampi and Mulberry paper. Each: 150 x 98 cm. Courtesy of the Artist.

Jenny Robinson’s converted warehouse home, Sydney.

Jenny Robinson was awarded the Mario Avati Prix de Gravure in 2019. Solo exhibition took place at Le Pavillion comtesse de Caen, Academie des Beaux Arts, September 2021.

Installation shot of Jenny Robinson’s exhibition for the Mario Avati Prix de Gravure, Le Pavillion comtesse de Caen, Academie des Beaux Arts, Paris, September 2021.

Institut de France, Paris, 2021.

Installation shot of Jenny Robinson (British, born 1957). Structures, 2019. Drypoint on Gampi. Courtesy of the Artist.

Jenny Robinson Print Studio, Sydney.

Jenny Robinson Print Studio, Sydney.

In s3e63 of Platemark, podcast host Ann Shafer talks with collaborative printer Peter Pettengill. Peter founded Wingate Studio in 1985 on his family’s dairy farm in Hinsdale, NH. Originally trained at Crown Point Press, Peter specializes in multi-plate color etchings. Now semi-retired, Peter’s son James has taken over the operating of the shop, though Peter lends a hand when requested.

They talk about Peter's early experiences at Crown Point Press, his work with celebrated artists such as John Cage, Sol LeWitt, and Walton Ford, and the technical and creative complexities of creating fine art prints. Peter reflects on his transition to semi-retirement, the passing of his studio to his son James, and the historical and artistic significance of their family farm turned artist residency. This episode offers listeners an insightful look into the dedication required in printmaking, the balance between creativity and technical skill, and the supportive community that underpins the art world.

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Robert Mapplethorpe (American, 1946–1989). Plate from the portfolio A Season in Hell, 1986. Photogravure printed with relief roll. Published by Limited Editions Club, photogravures by Jon Goodman and printed by Wingate Studio, text printed by Wild Carrot Press.

Sol LeWitt (American, 1928–2007). Crown Point, 1980. Bound volume with photoetchings. Plate (each) 2 ½ x 2 ½ in.; sheet (each) 11 x 11 in. Published by Crown Point Press, printed by Kevin Parker.

Joan Jonas (American, born 1936). Double Wheel, 1982. Color aquatint. Plate and sheet: 24 x 36 in. Published by Crown Point Press, printed by Peter Pettengill.

Sol LeWitt (American, 1928–2007). Complex Forms, 1990. Hard ground etching. Sheet: 36 x 36 in.; plate: 30 x 30 in. Printed by Wingate Studio.

John Cage (American, 1912–1992). Ryoku No. 4, 1985. Color drypoint. Plate: 18 x 24 in.; sheet: 18 x 24 in. Published by Crown Point Press, printed by Marcia Bartholme.

John Cage (American, 1912–1992). EninKa, 1986. One of 50 smoked paper monotypes with branding on gampi paper chine collé. Sheet: 18 ½ x 24 ½ in. Published by Crown Point Press, printed by Marcia Bartholme.

Walton Ford (American, born 1960). Swadeshi-cide, 1998–99. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 36 x 24 in.; sheet: 44 x 31 in. Published by Blue Heron Press, printed by Wingate Studio.

Walton Ford (American, born 1960). Baba–B.G., 1997. Mixed media. 105 x 74 cm. Paul Kasmin Gallery.

Walton Ford (American, born 1960). Bangalore, 2004. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 12 x 9 in.; sheet: 21 1/2 x 16 in. Published by Kasmin Gallery, printed by Wingate Studio.

Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio.

Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio.

Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio.

Xylor Jane (American, born 1963). Plate from Cat Hearts, 2023. Four-plate aquatint etching with sugar lift. Plate: 23 3/4 x 27 1/4 in.; sheet: 28 5/8 x 32 1/4 in. Printed and published by Wingate Studio.

Xylor Jane (American, born 1963). Third Order Magic Square for Deep Sleep, 2014. Three-plate aquatint etching. Plate: 17 3/4 x 15 1/2 in.; sheet: 24 1/2 x 21 3/4 in. Published by Wingate Studio.

Walton Ford (American, born 1960). Nantes, 2009. Two-plate aquatint etching with dry point, hard ground, and spit bite. Plate: 40 x 30 in.; sheet: 48 x 37 in. Published by Kasmin Gallery, printed by Wingate Studio.

Daniel Rios Rodriguez (American, born 1978). South Parish, 2017. Single-plate aquatint etching with burnishing, dry point, electric engraving, hard ground and soft ground. Plate: 20 x 17 in. (oval); sheet: 22 x 30 1/2 in. Published by Wingate Studio.

Gideon Bok (American, born 1966). Wingate Studio with Aldo’s Press, Threnody for R.L. Burnside, 2005. Three-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky.

Gideon Bok (American, born 1966). Wingate Studio with Aldo’s Press, No Sleep ’Til Hinsdale, 2008. Five-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky.

Louise Bourgeois (American, born France, 1911–2010). Les Fleurs, 2007. Soft ground etching, with selective wiping. Plate (in 2 vertical parts) (overall): 59 5/8 × 35 ¼ in.; sheet: 59 5/8 x 36 1/8. Published by Osiris, New York, printed by Wingate Studio.

Louise Bourgeois working on I See You!!!.

Louise Bourgeois (American, born France, 1911–2010). I See You!!!, 2007. Soft ground etching, with selective wiping. Plate: 55 1/2 x 21 5/8 in.; sheet: 59 1/8 x 24 1/8 in. Published by Osiris, New York, printed by Wingate Studio.

Sebastian Black (American, born 1985). Composition with Registration Marks and Other Marks, 2017. Five-plate aquatint etching with burnishing, soap ground and spit bite. Plate: 24 x 18 in.; sheet: 31 ¾ x 24 1/2 in. Published and printed by Wingate Studio.

L–R: Paul Singdahlsen, Peter Pettengill, Nanacy Anello, Kathan Brown, and Vito Acconci at Crown Point Press.

L–R: Peter Pettengill, Ed Ruscha, Marcia Bartholme at Crown Point Press.

Peter Pettengill (left) and James Pettengill working on a Sebastian Black print at Wingate Studio.

Peter Pettengill working at Wingate Studio.

Peter Pettengill (left) and Walton Ford working at Wingate Studio.

Wingate’s website: https://wingatestudio.com/

Wingate’s FB page: https://www.facebook.com/search/top?q=wingate%20studio

Instagram: @wingatestudio

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

In s2e2, co-hosts Ann Shafer and Tru Ludwig talk about Europe in the 15th century and the state of printmaking, the printing press, moveable type, and early woodcuts. This episode sets the stage for the rest of the story of the history of Western printmaking.

Platemark Series Two, History of Prints kicks off with Ann Shafer and co-host Tru Ludwig introducing the series. They talk about teaching the History of Prints (HoP) for the Maryland Institute College of Art (MICA) using the print collection at the Baltimore Museum of Art over the course of 15 years. They talk about how the class brought them together and about how transformative it was for hundreds of MICA's BFA students.

In the final episode in season one, Ann and Ben talk about the print ecosystem: collaborative printmaking, print publishing, galleries, art fairs, and the fabulous cast of characters that inhabit the print world.

Ann and Ben discuss the ballet that occurs in the printshop when the team is editioning a print. Everything is planned. Jigs are made. Everyone has their role. When it's running smoothly, it's sublime. Also, it's hard work.

Ann Shafer has a new podcast called The Curator's Choice in which she talks about one object (or set of set of objects) and why she likes it, how she would pitch it, and other behind-the-thinking stuff.

In s1e7, Ann and Ben finally turn to prints and printmaking, and evangelize about how wonderful prints are, why they are different and special, why it takes work to get over the hump of understanding technique to get to content. They discuss how technique can inform meaning, how the translation of an image from one surface to another only adds interest and conceptual rigor, and the ins and outs of multiplicity.

Editions are the topic of this bonus episode. Ann and Ben talk about the ins and outs of editions: definitions, numbering, exceptions, the publisher-artist relationship. It's definitely not simple.

In episode 106, Ann and Ben continue their conversation about the Western canon, the state of museums in the 21st century, and discuss breaking down the systems that are the foundation of the modern museum.

In s1e5, Ann and Ben talk about the Western art-historical canon and recent, important efforts to redefine it, to break it apart, to destroy it. How can/should museums embrace multiple voices and points of view? What happens to museum collections?

After the debut of the podcast Platemark, the most pressing listener question had to do with the positionality statement. That’s where Shafer and Levy introduce themselves by clarifying their gender, sexuality, and race (Shafer: cis-het white woman; Levy: cis-het white man). This bonus episode tackles the issue of positionality as well as the land acknowledgments (Shafer: Baltimore is on the land of the Piscataway Conoy people; Levy: Cleveland is on the ancestral land of the Erie people). There's a lot to unpack and it is uncomfortable. But that's the point.

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.

In s1e4, Ann and Ben continue their conversation about value but turn toward artistic value rather than monetary value. Both Ann and Ben describe their own systems for evaluating a work of art. Ben’s system centers on reverse engineering a work and looking at the decisions made at each step. Ann’s system is a long and wide-ranging list of questions that get filed into emotional impact and visual impact. All of which is to say, there is no right or wrong way to approach a work of art.

In s1e3, Ann and Ben take a deep dive into value, beginning with market value. How is it established, who decides what the value of a work should be, how value is arrived at, and how it’s a totally subjective idea.

In s1e2, Ann is in the hotseat as Ben asks her about her beginnings as a curator from an internship at the Whitney Museum of American Art during college, to graduate school at Williams College, to the prints and drawings department at the National Gallery of Art, and to the prints, drawings, and photographs department at the Baltimore Museum of Art. Ann talks about how it happened, highlights along the way, and how much it meant to her. Interwoven is a love letter to the many students that passed through the BMA’s studyroom, the exhibitions that were most meaningful, and the objects she acquired for the BMA’s collection.

In series 1 episode 1, Ann and Ben talk about critiques and studio visits, focusing on a program they developed in partnership with the printmaking department at the Maryland Institute College of Art. At the start of the senior year, Ann and Ben held critiques with MICA printmakers as they embarked on their final theses, which culminate with end-of-the-year exhibitions. Following those initial visits to the seniors' studios, Ann and Ben welcomed students to the Baltimore Museum of Art’s print studyroom and pulled out objects from the permanent collection that they deemed germane to each artists’ work. These individual second visits enabled further conversation about the direction of the seniors’ thesis work and helped (we hoped) to energize them about new ideas and risks. Lastly, Ann and Ben returned to MICA near the end of the year to have a final look at the work produced. This was really for Ann and Ben to see how the work had developed and to evaluate who impactful we had been.

This episode also acts as Ben’s origin story since he is a studio art graduate of MICA’s printmaking department. He brought his technical know-how to the BMA’s department of prints, drawings, and photographs in an invaluable way.

In the first, short episode, Ann and Ben introduce listeners to Platemark Season One. Over eight episodes they discuss all manner of topics relating to museums and curators, critiques and studio visits, market value and conceptual value, redefining the Western art historical canon and decolonization, and prints and printmaking.

The main goal of the podcast is to demystify the role of the curator and the museum, and to sing the praises of prints and printmaking.

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/

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/

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

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)

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

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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 this five-part mini-series, Ann is talking to five artists who were selected to be included in an exhibition called 5X5, that was part of Print Austin's winter festival this year in 2024. The juror of the show is Mysczka Lewis, who is a curator at Tandem Press. Next up is Teresa Cole, an artist and printmaker from New Orleans. She has taught at Tulane University for nearly thirty years.

Teresa’s interest in the humanness of pattern has been a throughline in her work and she incorporates different cultures’ methods of patternmaking and storytelling in beautiful installations. In their conversation, they talk about orizome (a Japanese method of folding and dyeing paper), commissioning printed fabric for saris in India, printing on aluminum mesh, and Tulane’s tuition-free master’s program.

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Teresa Cole (American, born 1961). Exchange. Installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans. Photo: Neil Alexander.

Teresa Cole (American, born 1961). Exchange. Pre-installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans.

Teresa Cole (American, born 1961). Cosmati, 2021. Hand-cut Washi. 26 x 18 in. Courtesy of the Artist.

Teresa Cole (American, born 1961). Tessellation Entanglement, 2021. Screenprinted porcelain. 4 x 8 feet. Courtesy of the Artist.

Teresa Cole (American, born 1961). Redeem, 2023. Puff paint screenprinted on digital velvet. Installation view at WhiteSpace Gallery, January–February 2023.

Teresa Cole (American, born 1961). Bee Pattern, 2014. Screenprint. 25 x 16 in. Courtesy of the Artist.

Teresa Cole (American, born 1961). Infusion, 2017. Dyed relief printed Washi with bamboo. 48 x 117 in. Courtesy of the Artist.

Teresa Cole (American, born 1961). Saturate 2.0, 2017. Dyed relief printed Washi with bamboo. Courtesy of the Artist.

Printing fabric at Kanishka, India.

Hand-carved printing blocks carved for the artist at Kanishka, India.

Teresa Cole (American, born 1961). Seep, 2015. Process shot. Courtesy of the Artist.

Teresa Cole (American, born 1961). Seep, 2015. Relief printed and dyed Japanese paper with bamboo sticks. Installation at Artfields. Courtesy of the Artist.

Teresa Cole (American, born 1961). Seep, 2015 (left). Relief printed and dyed Japanese paper with bamboo sticks. Installation at Callan Contemporary, 2025. Courtesy of the Artist.

Teresa Cole (American, born 1961). Tangled Conquest, 2015. Relief printed on folded and dyed paper with sumi and walnut. 65 x 77 x 25 in. Courtesy of the Artist.

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

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/

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

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

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

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

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.

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.

Wondering how far you can take chine collé in a project? Listen in as Annalise Gratovich tells us all about this method of adding thin pieces of hand-dyed papers to giant woodcuts.

In s3e61 of Platemark, podcast host Ann Shafer continues talking to artists included in Print Austin’s 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Next up is artist Annalise Gratovich. Annalise works in woodcut primarily (and etching), and is best known for her monumental woodcuts with multiple dyed papers glued down by chine collé.

We take a deep dive into the ins and outs of chine collé, her Ukranian heritage and inherited trauma, cuteness as a means to help viewers access difficult subjects, and her recent battle with a mystery autoimmune disease.

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Annalise Gratovich (American, born 1989). The Healer, from the series Villagers Carrying Things from Home, 2023. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.

Annalise Gratovich (American, born 1989). The Mariner, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.

Annalise Gratovich (American, born 1989). The Mother, from the series Villagers Carrying Things from Home, 2019. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.

Annalise Gratovich (American, born 1989). The Undertaker, from the series Villagers Carrying Things from Home, 2021. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.

Annalise Gratovich (American, born 1989). The Builder, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.

Annalise Gratovich (American, born 1989). The Hunter, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.

Annalise Gratovich (American, born 1989). The Musician, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in.

Installation view, Flatbed Press, Austin, TX, 2024.

Installation view, Plains Art Museum, Fargo, North Dakota, 2023.

Annalise Gratovich pulling The Healer at Flatbed Press, Austin, TX.

USEFUL LINKS

IG: @annalisegratovich

FB: https://www.facebook.com/annagratovich

Website: https://annalisegratovich.com/

Mesh Art Gallery: https://meshartgallery.com/collections/annalise-gratovich

Flatbed Press: https://flatbed-press.myshopify.com/collections/annalise-gratovich

In this week's episode of Platemark (s3e38), host Ann Shafer talks with Jillian Ross, collaborative master printer and publisher with an eponymous imprint, Jillian Ross Print, in Saskatoon, Saskatchewan, Canada.

Ross returned to her native Saskatoon after many years in Johannesburg, South Africa, where she was the master printer at the David Krut Workshop (DKW) from 2003 to 2020.  There, she worked with over 100 South African and international artists, most notably William Kentridge. Ross and partner Brendan Copestake founded Jillian Ross Print in 2021 in Saskatoon, where they continue working on collaborative projects in South Africa as well as developing new relationships abroad.

Ross has collaborated with William Kentridge since 2006 on major, complicated, and multi-part print projects, including the Triumphs and Laments Woodcuts (2016–21), The Universal Archive (2011–15), The Noses (2006–10) at DKW, and the recently released Studio Life Gravures (2020–22) from Jillian Ross Print (co-published with DKW). Her collaboration with Kentridge continues.

Other recent projects include a partnerships with Latitudes Online, South African artists Cinthia Sifa Mulanga and Puleng Mongale, and the technical team at The University of Alberta in Canada. Ross recently realized an exhibition, William Kentridge: The Colander, at Griffin Art Projects in Vancouver, BC, with curator Lisa Baldissera, the Kentridge Studio, and David Krut Projects in Johannesburg.

Throughout her work, particularly in the publicly accessible open-studio format of DKW at Arts on Main in Johannesburg, Ross has promoted and enhanced artist, collector, and public knowledge of printmaking through mentorship, educational workshops, and knowledge sharing.

Episode image: Lucy MacGarry

USEFUL LINKS

https://www.jillianrossprint.com

https://www.instagram.com/jillianrossprint_/

https://www.facebook.com/jillian.ross.520

https://www.linkedin.com/in/jillianrossprint

https://www.griffinartprojects.ca/exhibitions/william-kentridge-the-colander

https://latitudes.online/artworks.html

https://latitudesartfair.com/about-the-event/

https://remaimodern.org/about/remai-modern-museum/

Jillian Ross working on William Kentridge’s photogravure plates at the University of Alberta, Edmonton.

Jillian Ross (on ladder) working on William Kentridge prints at David Krut Workshop, Johannesburg, South Africa.

William Kentridge looks at a print with (from l-r) Brendan Copestake, David Krut, Jillian Ross, Roxy Kaczmarek, and Kim-Lee Loggenberg.

Jillian Ross (right) inspecting proofs with (from l-r) Sarah Judge, David Krut, and William Kentridge at David Krut Workshop, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with Arakaji Natural Gampi and White Gampi MM20 chine collé on Hahnemühle Natural White 300gsm paper. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 ¼ x 16 ½ in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Universal Archive: Big Tree, 2012. Linoleum cut on 15 sheets of Encyclopedia Britannica pages. Sheet: 82 x 90 cm. (32 ¼ x 35 3/8 in.); image: 77 x 72.4 cm. (30 3/8 x 28 ½ in.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Nose: #25, 2009. Drypoint, etching, and liftground aquatint. Plate: 35 x 14.9 cm. (13 ¾ x 6 in.); sheet: 40 x 35 cm. (15 ¾ x 13 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.

Jillian Ross creating assembly instructions, charts, and maps for Kentridge’s Triumphs and Laments, 2018–19.

Jillian Ross working on the complicated print Triumphs and Laments: Refugees, 2018–19, by William Kentridge. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum cut on Somerset Velvet Soft White 300 gsm. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge | The Colander. Exhibition curated by Lisa Baldiserra. Griffin Art Projects, Vancouver, BC. May 29–September 4, 2021.

William Kentridge and DKW printer Kim-Lee Loggenberg.

A scene from William Kentridge’s Self-Portrait as a Coffee Pot.

Giorgio Morandi (Italian, 1890–1964). Grande natura morta con la caffettiera (Large Still Life with Coffeepot), 1933, printed later. Etching. Plate: 11 11/16 x 15 3/8 in. (29.7 x 39 cm.); sheet: 15 1/16 x 20 1/8 in. (38.3 x 51.1 cm.). Published by Calcografia Nazionale, Rome. Museum of Modern Art, New York.

William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published by Jillian Ross.

William Kentridge in studio.

Components of William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published David Krut Projects, Johannesburg, South Africa.

David Krut watches William Kentridge work in his studio on Eight Vessels.

William Kentridge’s Triumphs and Laments, Tiber River.

William Kentridge (South African, born 1955). Tree (17), 2022. Direct gravure with drypoint on gampi chine with red pencil. 563.5 x 62.9 cm. Published by David Krut Workshop and Jillian Ross Print.

Cinithia Sifa Mulanga (South African, born 1997). Vulnerable, 2022. Direct gravure with photogravure on chine collé and collage. Plate: 40.5 x 30.2 cm.); sheet: 51 x 40.5 cm.). Published by David Krut Projects, Johannesburg, South Africa.

Puleng Mongale signing the edition of Grounded, 2021. Photogravure with etching with color roll on surface Gampi chine collé. 48.5 x 62.5 cm. Co-published by Latitudes Online and Jillian Ross Print.

William Kentridge (South African, born 1955). The Old Gods Have Retired, 2022. Photogravure with liftground aquatint, direct gravure, drypoint and chine collé with found ledger paper and hand painting. Sheet: 175 x 210 cm. Co-published by David Krut Projects and Jillian Ross Print.

William Kentridge working on Mantegna from the Triumphs and Laments series.

Latitudes Online website.

Shepstone Gardens, site of the RMB Latitudes Art Fair. Johannesburg, South Africa.

RMB Latitudes Art Fair. Johannesburg, South Africa.

Remai Modern Museum, Saskatoon, Sasketchawan.

Nick Cave (American, born 1959).  Spinner Forest, 2020. Installation view at Remai Modern, 2023. Photo: Carey Shaw.

Chad Cordiero and Sbongiseni Khulu printing one of 77 elements for Kentridge’s Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.

Robyn Penn prints in process. Lithographs on Awagami Kitkata chine collé pn Zerkall White. Each: 76 x 63.5 cm. Published by Jillian Ross Print.

William Kentridge at work.

William Kentridge and David Krut inspect an impression of Tree (17).

In the second part of their conversation, Ann Shafer and  printer/publisher Phil Sanders continue talking about the state of the printmaking ecosystem. 

They talk about why supporting artists is important even if you don’t like what they are doing, why that new Julie Mehretu set of etchings costs $250K, the imminent brain drain among our elder printers, and the importance of art and creativity to humanity’s survival.

Cynthia Bringle (American, born 1939). Blue Covered Jar with Fish. Ceramic. 21 inches tall.

Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York.

Pablo Picasso (Spanish, 1881–1973). Woman with Bangs, 1902. Oil on canvas. 61.3 x 51.4 cm. Baltimore Museum of Art, Baltimore, MD.

Joan Mitchell (American, 1925–1992). Bracket, 1989. Oil on canvas. 102 1/2 x 181 7/8 in. (260.35 x 461.96 cm.). San Francisco Museum of Modern Art, San Francisco, CA. ©Estate of Joan Mitchell.

Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA.

Phil Sanders giving tour of the booth of Kingsland Editions at the Baltimore Fine Art Print Fair, 2023.

Still from Stanley Kubrick’s 2001: A Space Odyssey.

USEFUL LINKS

PS Marlowe https://psmarlowe.com/

Phil’s IG @phil_sanders_studio

Phil’s FB https://www.facebook.com/phil.sanders.printmaking

In s3e36, Platemark host Ann Shafer speaks with printer/publisher and author Phil Sanders about the state of the ecosystem. Phil has a finger in nearly every pie in the ecosystem, so after a Platemark listener wrote in to ask about breaking into the publishing end of things, Ann turned to Phil. 

They talk about the history of print publishing after the print boom quieted down in the 1980s, why the prices of prints are in need of revision, and how to read a Joan Mitchell painting, among many other things. Their conversation stretches well past two hours and so Ann split it into two episodes. 

Phil Sanders. Prints and Their Makers. Hudson, NY: Princeton Architectural Press, 2021.

Sara Sanders (American, born 1979). Ballinglen Wildflowers 1-11, 2022. Watercolor monotype. 11 ¾ x 8 ¾ in. (30 x 22.2 cm.). Published by PS Marlowe, Asheville, NC.

Jasper Johns (American, born 1930). False Start I, 1962. 11-color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY.

Jasper Johns (American, born 1930). False Start II, 1962. Color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY.

Jasper Johns (American, born 1930). Bushbaby, 2004. Intaglio in 10 colors. Sheet: 43 x 30 in. (109.22 x 76.2 cm.). Published by Universal Limited Art Editions, Bayshore, NY.

Amy Cutler (American, 1974). Cake Toss, 2004. 10-color lithograph. 21 3/4 x 24 in. (55.25 x 60.96 cm.). Published by Universal Limited Art Editions, Bayshore, NY.

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.

USEFUL LINKS

PS Marlowe https://psmarlowe.com/

Phil’s IG @phil_sanders_studio

Phil’s FB https://www.facebook.com/phil.sanders.printmaking

In s3e35, Platemark host Ann Shafer talks with Larissa Goldston, director and owner of Universal Limited Art Editions, usually referred to by its acronym ULAE. We talk about ULAE’s founder Tatyana Grosman, and her harrowing escape from first Siberia following the assassination of Czar Nicholas, and then from the Nazis in France.

Larissa talks about the early days of ULAE, growing up there, how they find artists to work with, and all her favorite print projects. Larissa‘s father, Bill Goldston, was its printer and director for many years. With his retirement, Larissa has taken the reigns. It’s hard work, but the combination of the creative process and collaborative printmaking is where the magic happens.

Larry Rivers (American, 1923–2002). Stones, 1957–59. Portfolio of 12 lithographs with poetry by Frank O'Hara. Each sheet: 19 x 23 1/4 in. (48.26 x 59.06 cm). Published by Universal Limited Art Editions, West Islip, NY.

James Siena (American, born 1957). Backs, 2007. Set of 5 framed lithographs. Each: 23 ½ x 24 ½ in. (59.7 x 62.2 cm.). Published by Universal Limited Art Editions, West Islip, NY.

Barnett Newman (American, 1905–1970). Untitled Etching #1, 1968–69. Intaglio with etching and aquatint. on J.B. Green Hayle Mill English paper. 22 1/2 x 31 3/4 in. (57.15 x 80.65 cm). Published by Universal Limited Art Editions, West Islip, NY.

Lee Bontecou (American, ). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 in. x 25 in. (50.8 cm x 63.5 cm) Published by Universal Limited Art Editions, West Islip, NY.

Helen Frankenthaler (American, 1928–2011). First Stone, 1961. Lithograph in 5 colors on Arches Satine paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY.

Cy Twombly (American, 1928–2011). Untitled I, 1967–74, 1967. Intaglio with etching, open bite, and aquatint on handmade J. Green paper. 27 1/2 x 40 1/2 in. (69.85 x 102.87 cm). Published by Universal Limited Art Editions, West Islip, NY.

Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph on Arches paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY.

Jasper Johns (American, born 1930). Decoy, 1971. Lithograph with die-cut on Rives BFK paper. 41 x 29 in. (104.14 x 73.66 cm). Published by Universal Limited Art Editions, West Islip, NY.

Jasper Johns (American, born 1930). Passage I, 1966. Lithograph on Italia paper. 28 x 36 in. (71.12 x 91.44 cm). Published by Universal Limited Art Editions, West Islip, NY.

Bill Jensen (American, born 1945). Vanquished, 1989. Intaglio in 5 colors on Fabriano Esportazione paper. 22 1/2 x 17 3/4 in. (57.15 x 45.09 cm). Published by Universal Limited Art Editions, West Islip, NY.

Terry Winters (American, born 1949). Knot, 2004. Lithograph in 4 colors on Rives BFK 280 gsm paper. 22 x 30 in. (55.88 x 76.2 cm). Published by Universal Limited Art Editions, West Islip, NY.

Carroll Dunham (American, born 1949). Accelerator, 1985. Lithograph in 4 colors on Rives BFK paper. 42 x 29 3/4 in. (106.68 x 75.57 cm). Published by Universal Limited Art Editions, West Islip, NY.

Christopher Wool (American, born 1955). Untitled, 2013. Lithograph in 2 colors on J. Whatman handmade paper. 30 1/2 x 22 1/2 in. (77.47 x 57.15 cm). Published by Universal Limited Art Editions, West Islip, NY.

Charline von Heyl (German, born 1960). Shenanigan, 2020. Intaglio with relief and lithography on En Tout Cas paper. 24 5/8 x 20 1/8 in. (62.5 x 51.1 cm). Published by Universal Limited Art Editions, West Islip, NY.

Jane Hammond (American, born 1950). Clown Suit, 1995. Three-dimensional lithograph and silkscreen in 24 colors on handmade Chiri paper. 55 x 39 x 10 in. (139.7 x 99.06 x 25.4 cm). Published by Universal Limited Art Editions, West Islip, NY.

Elizabeth Murray (American, 1940–2007). Shack, 1994. Three-dimensional lithograph in 20 colors. Overall: 63 x 51 x 2 in. (160 x 129 x 5 cm.). Published by Universal Limited Art Editions, West Islip, NY.  

Wyatt Kahn (American, born 1983). New Houston Street (9-color woodcut), 2022. Woodcut in 9 colors on Saunders Waterford paper. 71 1/2 x 55 3/4 in. (181.6 x 141.6 cm. Published by Universal Limited Art Editions, West Islip, NY.

Wyatt Kahn carving woodblock at ULAE.

Bruce Wankel printing Wyatt Kahn’s woodcut, New Houston Street (9 color woodcut), 2022.

Robert Rauschenberg (American, 1925–2008). Soviet/American Array I, 1988–89. Intaglio in 14 colors with collage on Saunders with Oriental rice paper. 88 1/2 x 53 1/2 in. (224.79 x 135.89 cm). Published by Universal Limited Art Editions, West Islip, NY.

Suzanne McClelland (American, born 1959). Tea Leaves, 1996. Lithograph and screenprint in 4 colors with collage on Torinoko paper. 86 x 108 in. (218.44 x 274.32 cm). Published by Universal Limited Art Editions, West Islip, NY.

Christopher Wool (American, born 1955). Untitled 1, 2021. Portfolio of four intaglios on Arches En Tout Cas paper. 20 x 17 in. (50.8 x 43.18 cm). Published by Universal Limited Art Editions, West Islip, NY.

James Rosenquist (American, 1933–2017). Dog Descending a Staircase, 1980–82. Lithograph and intaglio on Arches Cold Press paper. 42 x 70 in. (106.68 x 177.8 cm). Published by Universal Limited Art Editions, West Islip, NY.

Eddie Martinez (American, born 1977). Untitled, 2021. Monotype on En Tout Cas paper. 13 x 17 in. (33 x 43.2 cm). Published by Universal Limited Art Editions, West Islip, NY.

Julia Rommel (American, born 1980). Untitled (Gowanus, March 2018), 2018. Intaglio in 9 colors on Revere Felt White paper. 13 3/16 x 10 3/8 in. (33.5 x 26.35 cm). Published by Universal Limited Art Editions, West Islip, NY.

Sam Moyer (American, born 1983). R.R. Echo, 2022. Lithograph in 4 colors on Rives BFK Grey paper. 44 x 30 in. (111.8 x 76.2 cm). Published by Universal Limited Art Editions, West Islip, NY.

Martin Puryear (American, born 1941). Untitled, 2022. Intaglio on Arches En Tout Cas paper. 28 ¾ x 29 ½ in. (73 x 74.9 cm.). Published by Universal Limited Art Editions, West Islip, NY.

Joe Bradley (American, born 1975). 5 Lithographs, 2015. Set of 5 lithographs on various papers. 24 x 28 in. (60.96 x 71.12 cm). Published by Universal Limited Art Editions, West Islip, NY.

Robert Rauschenberg (American, 1925–2008). Accident, 1963. Lithograph in 2 colors on Rives BFK paper. 41 x 29 in. (104.14 x 73.66 cm). Published by Universal Limited Art Editions, West Islip, NY.

Helen Frankenthaler (American, 1928–2011). Savage Breeze, 1974. Woodcut in 7 colors on handmade laminated Nepalese buff paper. 31 1/2 x 27 in. (80.01 x 68.58 cm). Published by Universal Limited Art Editions, West Islip, NY.

Helen Frankenthaler (American, 1928–2011). East and Beyond, 1972–73. Woodcut in 7 colors
on handmade laminated Nepalese buff paper. 31 1/2 x 21 1/2 in. (80.01 x 54.61 cm). Published by Universal Limited Art Editions, West Islip, NY.

Riva Castleman. Tatyana Grosman: A Scrapbook. West Islip, NY: Universal Limited Art Editions, 2008.

USEFUL LINKS

ULAE’s website https://www.ulae.com/artists/

ULAE’s Instagram @ulaestudio

ULAE’s Facebook https://www.facebook.com/ulaestudio

In s3e34, Platemark host Ann Shafer speaks with Jason Scuilla, artist and professor at Kansas State University in Manhattan, KS. The university is hosting the Mid America Print Council conference in the fall of 2024, and Jason was eager to talk about the conference and its call for proposals of all sorts. The deadline is the end of September 2023; the link is https://fromtheashes.k-state.edu/.

In addition to the MAPC conference, Ann was eager to speak with Jason about his research into electrolytic etching, a non-toxic method of creating superbly detailed, precise, and rich etchings. They also talk about teaching undergrad and grad students, sabbaticals, as well as Jason’s own work.

Episode image: Melissa Scuilla

Konza Prairie, Flint Hills, Kansas.

Mid America Print Council conference homepage.

Hale Library Great Hall, Kansas State University, Manhattan, KS.

Crayola’s Colors of the World markers.

Michelangelo (Italian, 1475–1564). The Last Judgment, 1536–41. Fresco. 13.7 m × 12 m (45 × 39 ft.). Sistine Chapel, Vatican City.

Rembrandt (Dutch, 1606–1669). The Windmill, 1641. Etching. Sheet: 5 7/8 x 8 5/16 in. (15 x 21.1 cm.). Metropolitan Museum of Art, New York.

Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.

Student interpretations of Goya Caprichos etchings for the first project in Intro to Printmaking Techniques class at Kansas State University.

Student interpretations of Goya Caprichos etchings for the first project in Intro to Printmaking Techniques class at Kansas State University.

Frank and Dorothy Getlein. The Bite of the Print: Satire and Irony in Woodcut, Engravings, Etchings, and Lithographs. New York: Bramhall House, 1963.

Francisco de Goya (Spanish, 1746–1828). Plate 11 from The Disasters of War (Los Desastres de la Guerra): Neither do these (Ni por esas), c. 1810. Etching, drypoint, and burin. Plate: 6 5/16 × 8 3/8 in. (16.1 × 21.2 cm.); sheet: 8 3/8 × 12 3/4 in. (21.3 × 32.4 cm.). Metropolitan Museum of Art, New York.

Jason Scuilla (American, born 1980). Veduta. Electrolytic etching. 12 x 9 in.

Jason Scuilla (American, born 1980). Echoes of Rome: Villa with Spirits. Multiplate electrolytic etching. Plate: 16 x 12 in.

Jason Scuilla (American, born 1980). Monk with Fantastic Digit. Electrolytic etching. 12 x 9 in.

Jason Scuilla (American, born 1980). Proxy War Monument (King Covid). Electrolytic etching. Plate: 32 x 24 in.

[DETAIL] Jason Scuilla (American, born 1980). Proxy War Monument (King Covid). Electrolytic etching. Plate: 32 x 24 in.

Jason Scuilla (American, born 1980). Plate for Proxy War Monument (King Covid). Electrolytically etched copper plate. Plate: 32 x 24 in.

Jason Scuilla (American, born 1980). Arsenale. Multi-plate electrolytic etching and acid etching. Plate: 12 x 9 in.

Jason Scuilla (American, born 1980). Stone Head. Monotype, stencil, relief, and drawing. 22 x 15 in.

Jason Scuilla (American, born 1980). Proxy War Monument with Abductee. Color etching. Plate: 16 x 12 in.

Jason Scuilla (American, born 1980). Proxy War Monument (Self Portrait). Multiplate color electrolytic etching. Plate: 16 x 12 in.

Large bath for electrolytic etching, Kansas State University.

Testing area for electrolytic etching, Kansas State University.

Didactic explaining the NEA grant for electrolytic etching, Kansas State University.

Jason Scuilla welcoming members of the Print Council of America to the printshop at Kansas State University in 2019.

Copper plate going into the bath for electrolytic etching, Kansas State University.

USEFUL LINKS

Jason’s website: www.jasonscuilla.com

Instagram: @jscuilla

Mid America Print Council:  www.mapc2024.com

MAPC conference website: https://fromtheashes.k-state.edu/

KState grad program: https://art.ksu.edu/

Link to Leonardo article: https://direct.mit.edu/leon/article-abstract/54/4/427/97277/An-Optimized-Nontoxic-Electrolytic-Etching

Link to MET lecture: https://www.metmuseum.org/events/programs/met-speaks/free-lectures/conversation-etchings

The Bite of the Print book:  https://www.amazon.com/Woodcuts-Engravings-Etchings-Lithographs-Serigraphs/dp/B0006AY31Q

Course Trailer: Printmaking during Civil Unrest and Challenging Times: https://youtu.be/5MNQiYl_xPk

This episode exists as a YouTube video as well. Here's the link: https://youtu.be/tjsvRWdC8V0 

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D’Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15.

Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library.

Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250.

Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique.

Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55.

Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20.

Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30.

Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50.

Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50.

Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70.

Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35.

Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125.

Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15.

Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35.

Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique.

Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12.

Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7.

Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17.

Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28.

Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14.

Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8.

Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25.

John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108.

Jim Dine (American, born 1935), printed by Julia D’Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11.

Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7.

Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7.

Michael Stipe (American, born 1960). The Name Project, 2022. Artist’s book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6.

USEFUL LINKS

Line Press Limited https://www.linepresslimited.com/

Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo

Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo

Ruth’s talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

What is it about prints and printmaking that draws such fervent practitioners, collectors, and fans? How are prints relevant to all our lives? What do all those people in the "print ecosystem" do anyway? Give Platemark a listen.

Platemark podcast's host Ann Shafer looks at prints and printmaking in the context of museums, the market, critiques, and the print ecosystem in series one. Series two offers a history of prints and printmaking in the West. Series three offers interviews with the colorful characters of the print ecosystem, which is full of the nicest people in the art world. Join us and the wonderful fans of prints and printmaking.

Platemark podcast offers a bit of art history, artistic creativity, and introduces listeners to artists, printers, dealers, print publishers, gallerists, art historians, curators, and scholars.

Episodes are released on Tuesdays. Images for each episode are available in the show notes at platemarkpodcast.com.

In s3e32 of Platemark, host Ann Shafer speaks with Ad Stijnman, an independent scholar of historical printmaking processes, specializing in manual intaglio printmaking techniques. He is also a professional printmaker.

Ad is the go-to guy on all sorts of things. When he speaks, we listen. Beaming in from Amsterdam, our conversation covers all sorts of topics from paper sizing and watermarks to acids and chine collé. We talk about teaching people to look, really look, and be able to describe what they are seeing. We talk about the troubling lack of an internationally shared vocabulary—what color is fawn or taupe, anyway? We talk about why neither of us wears gloves to handle works on paper except in very special circumstances. And, we talk about producing an invaluable and exhaustive (if not complete) list of terms and abbreviations found in print addresses: https://9ea6427a-9293-483f-80d4-9523d4ed999b.filesusr.com/ugd/6b3a67_c8b34f39781542deabab39e8c132c430.pdf.  

Ad has lectured and published widely on the materials and techniques of intaglio processes going back to their beginnings. His seminal, award-winning book Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (2012) is on any serious scholar’s bookshelf. Together with Elizabeth Savage, he co-edited the award-winning book Printing Colour 1400–1700: History, Techniques, Functions and Receptions (2015). His curatorial activities include exhibitions on medieval prints, early modern colour prints and Rembrandt’s etchings on Japanese paper.

Ad Stijnman (Netherlandish, born 1957). Nagasaki Ki, 2007. Installation of ten prints: engraving, mezzotint, relief etching, white Johannot paper. Each print 50 x 32.5 cm.; overall size 200 x 140 cm.

Julian Trevelyan. Etching: Modern Methods of Intaglio Printmaking. New York: Watson-Guptill Publications, 1964.

Ad Stijnman. Etsvademecum. De Bilt: Cantecleer, 1985.

Virtuelles Kupferstichkabinett: http://www.virtuelles-kupferstichkabinett.de/de/.

Rembrandt van Rijn (Dutch, 1606–1669). The Three Crosses, 1653. Drypoint on vellum. Plate: 37.2 x 42.8 cm (14 5/8 x 16 7/8 in.); sheet: 37.8 x 44.1 cm (14 7/8 x 17 3/8 in.). National Gallery of Art, Washington, D.C.

Ad Stijnman, ed. Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes. Paderborn, Germany: Brill | Hes & De Graaf, 2012.

Ad Stijnman and Elizabeth Savage, eds. Printing Colour 1400–1700: History, Techniques, Functions and Receptions. Amsterdam: Brill, 2015.

Yuriko Miyosi (Japanese, born 1962) and Ad Stijnman (Netherlandish, born 1957). 24 Roundels, 2020. Circular papers by Miyosi, plates and printing by Stijnman. Colour inks, chine collé, goldleaf. Each roundel: approximately 12 cm.

Marion Bouwhuis (Netherlandish, born 1951), Yuriko Miyosi (Japanese, born 1962), and Ad Stijnman (Netherlandish, born 1957). Covid 19 Exchange Print. Etching printed in blue on white Arches by Bouwhuis, pink circular paper by Miyoshi, etching printed in purple with chine collé and goldleaf by Stijnman. Sheet: 25 x 32.5 cm.

Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on chine collé on white Zerkall paper. Plate: 16 x 21.6 cm.

Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on white Zerkall paper. Plate: 16 x 21.6 cm.

Joris Hoefnagel (Flemish, 1542–1600). Plate 10: A Lion and a Civet Cat from Volume II, Animalia Qvadrvpedia et Reptilia (Terra), c. 1575–80. Watercolor and gouache on vellum. Page: 14.3 x 18.4 c.m (5 5/8 x 7 ¼ in.). National Gallery of Art, Washington, D.C.

Scholarly Colloquium: Telling the From Jikji to Gutenberg Story. 2023. Video. Retrieved from the Library of Congress, www.loc.gov/item/webcast-10808.

James Ensor (Belgian, 1860–1949). Death Chasing the Flock of Mortals, 1896. Etching. Plate: 23.7 × 18.1 cm. (9 3/8 × 7 3/16 in.); sheet: 29 × 22.1 cm. (11 7/16 × 8 3/4 in.). Art Institute of Chicago, Chicago.

HELPFUL LINKS

Ad Stijnman’s scholarly website: https://tulip88x.wixsite.com/ad--stijnman.

Ad Stijnman’s list of terms and abbreviations in print addresses: https://9ea6427a-9293-483f-80d4-9523d4ed999b.filesusr.com/ugd/6b3a67_c8b34f39781542deabab39e8c132c430.pdf.

Association of Print Scholars: https://printscholars.org/.  

In s2e29, Platemark hosts Ann Shafer and Tru Ludwig talk about Claude Lorrain, the arbiter of landscape painting in the 17th century. He worked most of his life in Rome and elevated landscape as a subject up the academic hierarchy by including small figural groups and naming the compositions with mythological or biblical subjects. He’s known by various names that can be confusing. He was born Claude Gelée in the independent duchy of Lorraine, which is why the French call him le Lorrain. The English, who collected his works assiduously and even now have the highest number of his works (by country), refer to him simple as Claude.

He created an amazing cache of ink and wash drawings of each of his painted compositions in a first catalogue raisonné of sorts. He dubbed this book the Liber Veritatis («the book of truth»). Claude told his biographer Filippo Baldinucci that he kept the record as a defense against others passing off his work as theirs. This bound group of drawings was collected and owned by the Dukes of Devonshire from the 1720s until 1957 when it was given to the British Museum (in lieu of estate taxes upon the death of Victor Christian William Cavendish, the 9th Duke of Devonshire).

While Claude died in 1682, his renown in England was enough to prompt the print publisher John Boydell to hire artist Richard Earlom to create prints after the drawings nearly one hundred years after Claude’s death. Two hundred etchings with mezzotint were created between 1774 and 1777, and were published in two volumes as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... Later, a third volume of an additional 100 prints was published in 1819.

Earlom used etching to mimic Claude’s ink lines and mezzotint for the wash areas. They were printed in brown ink to mimic iron gall ink. Hugely influential in England, the books were popular with collectors and were used by artists as models for copying. The Liber Veritatis also inspired J.M.W. Turner to produce a similar project of 71 prints after Turner’s painted compositions, which he called Liber Studiorum.

They may appear old fashioned to contemporary viewers, but rest assured, landscape was just getting its legs under it. Boring imagery? Maybe. But important for our story of the history of prints in the West.

Episode image: Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.

Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles.

Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris.

Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York.

Federico Barocci (Italian, 1528–1612). The Stigmatization of St. Francis, after the painting in the Church of the Capuccines, Urbino, c. 1575. Etching, engraving, and drypoint. Plate: 228 x 145 mm. (9 x 5 ¾ in.). Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco.

Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York.

Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 15 1/16 x 17 1/2 in. (382 x 444 mm.). Metropolitan Museum of Art, New York.

Annibale Carracci (Italian, c. 1557–c. 1642). St. Jerome in the Wilderness, c. 1591. Etching and engraving. Sheet (trimmed to platemark) : 24.8 x 19.2 cm. (9 ¾ x 7 9/16 in.). Metropolitan Museum of Art, New York.

Guido Reni (Italian, 1575–1642). The Holy Family, c. 1595–1600. Etching and engraving. Sheet (trimmed to platemark): 20 x 14 cm. (7 7/8 x 5 12 in.). Metropolitan Museum of Art, New York.

Jusepe de Ribera (Spanish, 1591–1652). The Penitence of St. Peter. 1621. Etching and engraving. Sheet (trimmed to platemark): 31.8 x 24.2 cm. (12 ½ x 9 ½ in.). Metropolitan Museum of Art, New York.

Salvator Rosa (Italian, 1615–1673). Jason and the Dragon, 1663–64. Etching and drypoint. Plate: 13 5/16 × 8 9/16 in. (33.8 × 21.8 cm.); sheet: 14 5/16 × 9 15/16 in. (36.4 × 25.3 cm.). Metropolitan Museum of Art, New York.

Gian Lorenzo Bernini (Italian, 1598–1680). The Ecstasy of Saint Teresa, 1647-52.  White marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome.

Caravaggio (Italian, 1571–1610). Conversion of Saint Paul on the Way to Damascus, 1600–01. Oil on canvas. 230 × 175 cm. (91 × 69 in.). Santa Maria del Popolo, Rome.

Andrea Pozzo (Italian, 1642–1709). Assumption of St. Francis, c. 1685. Sant’Ignazio, Rome.

Pietro Testa (Italian, 1612–1650). The Martyrdom of St. Erasmus, c. 1630. Etching. Sheet: (trimmed to platemark): 27.9 x 18.9 cm. (11 7 7/16 in.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate eleven: The Hanging from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York.

Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence.

Diego Velasquez (Spanish, 1599–1660). Surrender at Breda, 1634–35. Oil on canvas. 307 x 367 cm. (121 x 144 in.) Museo del Prado, Madrid.

Callot’s Hanging Tree spreads word of the facts of the attack on Nancy, whereas paintings can only be in one place (Rubens’ Consequences of War and Velasquez’s Surrender at Breda).

Jean Marot (French, 1619–1679), after Gian Lorenzo Bernini (Italian, 1598–1680). The Louvre in Paris, elevation of the principal facade facing Saint-Germain l'Auxerrois. Plate 8 from Jacques-François Blondel’s Architecture françoise, volume 4, book 6.

Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris.

Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago.

Nicolas Poussin (French, 1594–1665). The Abduction of the Sabine Women, c. 1633–34. Oil on canvas. 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm.). Metropolitan Museum of Art, New York.

Rembrandt van Rijn (Dutch, 1606–1669). Landscape with the Good Samaritan, 1638. Oil on oak panel. 46.2 × 65.5 cm. (18 × 25 3/4 in.). Czartorynski Museum, Kraków.

Jacob van Ruisdael (Dutch, 1628/1629–1682). View of Haarlem with Bleaching Fields, c. 1670–75. Oil on canvas. 62.2 x 55.2 cm. (24 ½ x 21 ¾ in.). Kunsthaus Zurich, Zurich.

Thomas Cole (American, born England, 1801–1848). Catskill Mountains Landscape, c. 1826. Oil on panel. 15 15/16 x 21 7/8 in. Sheldon Museum, University of Nebraska-Lincoln.

Tru’s diagrams of Poussin’s Et in Arcadia Ego.

Claude Lorrain (French, c. 1600–1682). Self-Portrait. Oil on canvas. Musée des Beaux-Arts de Tours.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Frontispiece for the Liber Studiorum, 1777. Plate: 7 x 5 in. New York Public Library.

Claude Lorrain (French, c. 1600–1682). Seaport with the Embarkation of the Queen of Sheba, 1648. Oil on canvas. 149.1 × 196.7 cm. (58 3/4 × 77 1/2 in.). National Gallery, London.

One of many Claude Lorrain paintings with its corresponding diagram.

Several diagrams showing compositional plans according to the Golden Ratio.

Claude Lorrain (French, c. 1600–1682). Rustic Dance, 1637. Oil on canvas. Galleria degli Uffizi, Florence.

Claude Lorrain (French, c. 1600–1682). The Village Boerendans Dance, c. 1637. Etching. 29.7 x 24.1 cm. (11 ¾ x 9 ½ in.). Alamy Stock Photo.

Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising, 1634. Etching. Sheet: 5 9/16 x 8 1/4 in. (14.1 x 21 cm.); plate: 5 1/8 x 7 13/16 in. (13 x 19.8 cm.). Metropolitan Museum of Art, New York.

Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising Sun, c. 1649. Oil on canvas. 97 x 119 cm. (38 x 46 ¾ in.). Hermitage Museum, St. Petersburg.

Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.

Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, 1650s. Oil on canvas. 119 x 150 cm (46 ¾ x 59 in.). Louvre, Paris.

Claude Lorrain (French, c. 1600–1682). Landscape wirth Aeneas at Delos, c. 1672. Pen and brown ink and brown wash, with gray-brown wash. 19.3 x 25.6 cm. British Museum, London.

Claude Lorrain (French, c. 1600–1682). Landscape with Aeneas at Delos, 1672. Oil on canvas. 99.6 x 134.3 cm. National Gallery, London.

Claude Lorrain (French, c. 1600–1682). Index of owners of Claude’s paintings in the Liber Veritatis. British Museum, London.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Holy Family, from the Liber Veritatis, 1776. Etching and aquatint. Sheet : 23 x 29.4 cm.; plate: 20.8 x 26.3 cm. Pushkin State Museum of Fine Arts, Moscow.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

John Boydell (British, 1719–1804), publisher. Dedication from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

James Mallord William Turner (British, 1775–1851). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching only (before first state). Plate: 7 x 10 in. (17.8 x 25.4 cm.); sheet: 8 1/8 x 25 in. (20.6 x 63.5 cm.). Metropolitan Museum of Art, New York.

James Mallord William Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching and mezzotint (first state of three). Plate: 7 1/16 x 10 1/4 in. (17.9 x 26 cm.); sheet: 8 1/4 x 11 7/16 in. (21 x 29.1 cm.). Metropolitan Museum of Art, New York.

Claude Glass. Science Museum, London.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 154 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 1 and 2 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 3 and 4 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. 

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 13 and 14 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

Claude Mellan (French, 1598–1688). Moses Before the Burning Bush, 1663. Engraving. Sheet (trimmed to platemark): 9 7/16 x 13 3/16 in. (24 x 33.5 cm.). Metropolitan Museum of Art, New York.

Golden mean diagram, https://blog.artsper.com/en/a-closer-look/golden-ratio-in-art/.

In s3e31 of Platemark, host Ann Shafer speaks with Lothar Osterburg, artist, professor and leading expert on the fine art of photogravure. These are basically photographs transferred to copper plates and printed as etchings. (It's, of course, more complicated than that.) In this way, it is possible to get images to print with continuous tone, as opposed to half-tone, or stepped biting. 

The results are luminous photographs printed with printer’s ink. It's a result that cannot be achieved in any other way. Of course, one can manipulate the plate after etching the photographic image into it, adding drypoint, engraving, and even further etching. These hybridizations are intriguing, rare, and special. There are very few practitioners who are truly experts in it. 

Lothar helps us understand the process, and we take a look at both his work as a master printer at Crown Point Press in the 1990s, and his own work in which he builds sculptures (often in miniature) and photographs them to create eerie scenes that recall the antique and conjure fantasy.

Episode image: Elizabeth Brown

Christian Boltanski (French, 1944–2021). Untitled, from the portfolio Gymnasium Chases, 1991. Portfolio of 24 photogravures. Plate: 461 x 319 mm. (18 1/8 x 12 9/16 in.); sheet: 592 x 419 mm. (23 5/16 x 16 ½ in.). National Gallery of Art, Washington, D.C.

John Baldessari (American, 1931–2020). Hand and Chin (with Entwined Hands), 1991. Photogravure with color spit bite aquatint. Plate: 24 x 14 in.; sheet: 33 x 22 in. Published by Crown Point Press.

Markus Raetz (German, 1941–2020). Reflexion, 1991. Set of three photogravures with aquatint. Plate (each): 19 x 26 in.; sheet (each) 36 x 42 in. Published by Crown Point Press.

Francis Bacon's studio at 7 Reece Mews, London, 1998. Photo: Perry Ogden. © Estate of Francis Bacon.

Lothar Osterburg (American, born Germany, 1961). Lunch Box Studio, 2022. Lunch Box, lens, paper, paint, LED lights. 10 ½ x 5 x 8 in.

Lothar Osterburg (American, born Germany, 1961). Gloomy Artist’s Studio, 2022. Photogravure with surface roll. 11 x 11 in.

Lothar Osterburg (American, born Germany, 1961). The Tower of Babel, 2017. Wood, cardstock, and book pages. 7 x 7 x 28 feet. 2017. Installation at the Esther Massry Gallery, Albany, New York.

Ole Worm (Danish, 1588–1654). Frontispiece from Museum Wormianum seu Historia Rerum Rariorum. Amsterdam: 1655. Special Collections, University of Reading.

Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2022. Wood, lens, Japanese, silk, buttons, metal, paper, and LED lights. 11 x 13 x 9 in.

Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2023. Photogravure with surface roll. 11 x 11 in.

Rembrandt (Dutch, 1606–1669). St. Jerome in a Dark Chamber, 1642. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 × 6 15/16 in. (15.3 × 17.6 cm.). Metropolitan Museum of Art, New York.

Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2022. Wood, paper, glass, LED lights.

Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2023. Photogravure. 16 x 21 in.

Lothar Osterburg (American, born Germany, 1961). A Shakerbox Full of Chairs, 2022. Shaker box with lens, paper, LED lights. 11 x 8 x 5 in.

Lothar Osterburg (American, born Germany, 1961). A Room Full of Chairs, 2023. Photogravure with surface roll. 10 x 14 in.

Leo Zhao (American, born 1999). Printmaker’s Aquarium, 2023. Various techniques. Sheet: 30 x 44 in.

Key to techniques used.

Enlightenment publications on human anatomy changed the way artists understood their place in the world. Check out these examples of life-changing images brought to you by prints in books!

In s2e31 of Platemark’s History of Prints series, Tru and Ann continue their discussion of the Enlightenment. This time they look at several publications that put forward new discoveries about human anatomy: William Hunter’s The Anatomy of the Human Gravid Uterus, Bernhard Siegfried Albinus’ Tabulae sceleti et musculorum corporis humani, and Jacques Fabien Gautier d’Agoty’s Myologie complette en couleur et grandeur naturelle. They conclude with Denis Diderot’s Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, a 17-volume tome that attempted to define and codify all of human knowledge.

At the end of the episode, Ann and Tru wax philosophical about how incredible this blossoming of human knowledge is, and how talking about it makes each of them think about our place as humans on the planet. It gets a bit deep, but worthwhile.

A. Hadamart. Exhibition of the Royal Academy of Painting and Sculpture in the Grande Galerie of the Louvre, 1699. Engraving.

Gabriel de Saint-Aubin (French, 1724–1780). Vue du Louvre en l’année 1753, 1753. Etching. Plate: 5 13/16 x 7 1/8 in. (14.8 x 18.1 cm.); sheet: 6 ¼ x 7 5/8 in. (15.8 x 19.3 cm.). Metropolitan Museum of Art, New York.

Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1785, 1785. Etching. Plate: 10 7/8 x 19 1/8 in. (27.6 x 48.6 cm.); sheet: 14 1/4 x 20 3/4 in. (36.2 x 52.7 cm.). Metropolitan Museum of Art, New York.

Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1787, 1787. Etching. Plate: 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York.

Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). The Exhibition of the Royal Academy 1787, 1787. Engraving. Plate: 36.1 x 49.9 cm. British Museum, London.

Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris.

Sir Joshua Reynolds (British, 1723–1792). Lady Sarah Bunbury Sacrificing to Graces, 1765. Oil on canvas. 242.6 × 151.5 cm. (95 1/2 × 59 3/4 in.). Art Institute of Chicago.

Sir Joshua Reynolds (British, 1723–1792). Lord Heathfield of Gibraltar, 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London.

Pietro Antonio Martini (Italian, 1738–1797). Salon de 1787: view of the Salon Carre at the Louvre during the painting exhibition in Paris, 1852. Engraving. From Frank Leslie’s Popular Monthly.

Jean-Antoine Houdon (French, 1741–1828). Voltaire Seated, 1781. Terra-cotta. 120 cm. tall. Musée Fabre, Montpellier.

Jean Honoré Fragonard (French, 1732–1806). Les hasards heureux de l’escarpolette (The Swing), c. 1767–68. Oil on canvas. 81 x 64.2 cm. The Wallace Collection, London.

Jean-Antoine Houdon (French, 1741–1828). Benjamin Franklin, 1778. Marble. 23 1/8 × 14 1/2 × 11 1/4 in. Metropolitan Museum of Art, New York.

Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague.

William Hunter (British, 1718–1783). Title page from The Anatomy of the Human Gravid Uterus. Birmingham: John Baskerville, 1774.

Jan van Rymsdyk (Dutch, c. 1730–1790). Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving.

Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.

Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the female genetalia and fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.

Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London.

Roman copy of Greek marble. The Dying Gaul, late 3rd century BCE. Marble. Capitoline Museums, Rome.

William Pink (British, 1809–1857), after Agostini Carlini (British, born Italy, c. 1718–1790). Smugglerius, c. 1834. Plaster. Royal Academy of Arts, London.

Thomas Banks (British, 1735–1805). Anatomical Crucifixion (James Legg), 1801. Plaster cast. Royal Academy of Arts, London.

Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Title page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.

Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.

Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.

 
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.

Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.

Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746. 

Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746. 

Leonardo da Vinci (Italian, 1452–1519). Sketchbook page, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.

 
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London.

Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775. 

Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775. 

Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie générale des viscères. Paris: 1752.

Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London.

Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie des parties de la génération de l'homme et de la femme. Paris, 1773.' Pregnant Woman

Jean-Antoine Houdon (French, 1741–1828). Denis Diderot (1713–1784), 1773. Marble. Height (bust): 15 3/4 in. (40 cm.); height (stand): 4 11/16 in. (11.9 cm.). Metropolitan Museum of Art, New York.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Anatomy pages from the Encyclopedia Britannia, 1963.

Flags pages from the Encyclopedia Britannia, 1963.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.