In this episode of the Platemark, I interview Mike Stark, the co-founder and owner of Stark Press Company. The New Jersey-based company, run by Mike and his brother Tom, builds new presses, services old presses, and aids in moving them. They often collaborate with Perry Tymeson, a legendary press repairman. Mike shares insights into designing new presses, managing a small business, and balancing creative work. We talk about studying print media at SAIC in Chicago and establishing Stark Press. We talk about his experiences in moving heavy presses, sometimes in challenging conditions, and the special bonds within the printmaking ecosystem.

www.starkpressco.com

@iammikestark

@pinklinepress

@starkpressco

Mike Stark and Tom Stark, Stark Press Company.

Perry Tymeson, Suitcase Press.

Keegan Mills Cooke and Daniel Gardiner Morris helping with a move.

Mike Stark printing.

Stark Press Company’s 1224 etching press.

Mike Stark. Perry Tymeson. Laser cut relief. Pink Line Press.

Mike Stark. Laser-cut relief. Pink Line Press.

Tom Stark, Mike Stark, and Kevin McGauran.

Keegan Mills Cooke and Daniel Gardiner Morris helping with a move.

Moving a Vandercook press in 2017.

Moving a Vandercook press in 2025.

Sending a Vandercook Press out a window.

Praga Press flying high above.

Moving a Vandercook Press using a crane.

Mike Stark. The Beatings Will Continue Until Morale Improves. Laser-cut letterpress. Pink Line Press.

Mike Stark’s laser-cut letterpress plate inked up and ready for printing.

Paper beater.

In this episode of Platemark, I talk with Mae Shore, a collaborative printer and owner of Shore Publishing in Tuxedo Park, New York. Mae shares her experiences working at Pace Editions with notable artists like Jim Dine and Chuck Close. She discusses the history and evolution of her gallery and print shop, which she established to merge her love for printmaking and curating exhibitions. Mae touches upon specific projects, such as her collaborations with artists like Amy Bennett, Kamrooz Aram, and Katia Santibañez and James Siena, detailing the unique processes and challenges in creating prints. The conversation also highlights the importance of print fairs, the nuances of printmaking, and Mae's backstory growing up in New York City's SOHO and Tribeca neighborhoods. Mae's reflections offer a compelling glimpse into the meticulous, collaborative, and often experimental world of printmaking.

Episode image: Greg Dohler

Amy Bennett (American, born 1977). Clearing, 2022. Linocut and pochoir on Magnani paper. Image: 3 3/4 x 5 in.; sheet: 12 1/4 x 12 1/2 in. Printed and published by Shore Publishing.

Amy Bennett (American, born 1977). Site, 2025. Linocut. Sheet: 22 x 27 in.; image: 16 1/2 x 22 in. Printed and published by Shore Publishing.

Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #21, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing.

Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #2, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing.

Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #3, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing.

Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #4, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing.

Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #5, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing.

Katia Santibañez (American, born France, 1964). Sailing Alone, 2014. Reduction linocut in 6 colors on Rives BFK. Image: 20 x 16 in.; sheet: 27 x 22 in. Printed and published by Shore Publishing.

Katia Santibañez (American, born France, 1964). Floating In My Mind, 2015. Reduction linocut in 6 colors on Hosho. Image: 14 x 11 in.; sheet: 19 1/2 x 16 in. Printed and published by Shore Publishing.

Glenn Goldberg (American, born 1953). There (1-3), 2014. Suite of three prints, photo relief, collagraph, linocut and pochoir on Rives BFK paper. Sheet (each): 12 1/2 x 16 ¾ in.; image (each): 6 x 12 in. Printed and published by Shore Publishing.

Katia Santibañez (American, born France, 1964) and James Siena (American, born 1957). Triplebarb Whirler, 2022. Reduction woodcut in 6 colors on Rives BFK paper. Image: 22 1/2 x 18 in.; sheet: 28 3/4 x 23 1/2 in. Printed and published by Shore Publishing.

William Villalongo (American, born 1975). Vitruvian's Daughter, 2014. Woodcut, linocut, and pochoir on Hosho white paper. Sheet: 22 x 22 in. Printed and published by Shore Publishing.

Yasu Shibata (American, born Japan, 1968). 4 Squares Within a Square, 2022. Japanese woodcut on Kizuki paper mounted on Western paper. Sheet: 30 x 30 in. Printed and published by Shore Publishing.

Mae Shore and Brad Ewing in their booth at the Baltimore Fine Art Print Fair, March 2022.

In this episode of Platemark, I talk with Michael Verne, the owner of the Verne Collection in Cleveland, Ohio. Mike's gallery specializes in contemporary Japanese art and works by American artists residing in Japan. We talk about the challenges and rewards of running a small gallery amid larger competitors, and the importance of finding and promoting new artists. Mike shares insights about his journey in the art world, from his childhood surrounded by art to becoming a successful gallerist without a formal art education. He recounts various personal anecdotes, including his experiences at art fairs and his unorthodox methods for discovering and showcasing artists. Mike also highlights the significance of personal relationships and passion in his business. Listeners are encouraged to visit the Verne Collection and explore the fascinating world of contemporary Japanese art.

Daniel Kelly (American, born 1947). Crackpot, 2022. Woodblock print and gold leaf with chine collé. 64 x 88 cm. Courtesy of the Artist.

Sarah Brayer (American, born 1957). Luminous Moon. Aquatint and chine collé with phosphorescent pigment on indigo-dyed Mulberry paper. 24 x 33 in. The Verne Collection.

Yuko Kimura (Japanese, born 1968). Map of the World: Yochishiriyaku. Etching, monotype, thread, antique Japanese geography textbook pages (Yochishiriyaku) from the Meiji period. 8 ¾ x 6 3/4 in. The Verne Collection. Photo: Will Slabaugh.

Katsunori Haminishi (Japanese, born 1949). Canola Flowers Field, 2022. Mezzotint triptych. Sheet: 30 x 59 in.; image: 27 x 53 in. Verne Collection.

Joel Stewart (American, born 1959). Inside Out, 2003. Aquatint. Sheet: 42 ½ x 34 ½ in. Tolman Collection.

In this episode of Platemark, Myles Calvert, a printmaker and professor, shares his extensive journey from growing up in Ontario, Canada, to studying and working in the UK, and eventually returning to Alfred University in New York, to become director of the Institute of Electronic Arts. Myles discusses his experiences working at prestigious galleries in London, giving up a tenure-track position, and the pivotal moments that shaped his career. He delves into his role as the Director of IEA at Alfred, including the intricacies of managing residencies, the use of technology in printmaking, and the importance of community engagement. Myles also reflects on the challenges of academia, the value of traditional and new media in art, and his approach to student critiques. The conversation highlights Myles' passion for printmaking, his commitment to education, and his vision for the future of the IEA.

https://blog.alfred.edu/iea/

https://blog.alfred.edu/iea/2024/07/01/new-director-appointed-myles-calvert/

https://www.instagram.com/alfred_iea/

https://www.instagram.com/squirrelpigeonfish/

Myles Calvert at the China Exhibition AIPA, Xi’an Academy of Art.

Myles Calvert with IEA interns Veronica, Gigi, and Mary. Institute of Electronic Arts, Alfred University.

Jessica Reisch and Tyson Houseman check out Sandin new media equipment. Institute of Electronic Arts, Alfred University.

Visiting artist Kathryn Polk with students. Institute of Electronic Arts, Alfred University.

Rita MacDonald at the offset press with a laser-cut woodblock. Institute of Electronic Arts, Alfred University.

In this interview with the director and founder of Lily Press and the Printmaking Legacy Project, Susan Goldman shares her passion for printmaking and documentary film making. Susan discusses her journey from discovering printmaking at Indiana University, Bloomington, to founding Lily Press and creating impactful documentaries like Midwest Matrix. She highlights her educational experiences, mentors, and the vibrant printmaking community she's built over time. Goldman also delves into her personal work, her love for screenprinting, and the balance of managing a studio while collaborating with renowned artists like Sam Gilliam. Her current projects include documentaries on Lloyd Menard and Rochelle Toner and exploring the evolution and impact of digital printmaking. Susan's reflections on the importance of documenting printmaking history and incorporating community and teaching into her work provide a comprehensive view of her dedication to the art form.

Episode image: Erwin Thamm

Midwest Matrix film: https://www.midwestmatrix.info/index.html

Printmaking Legacy Project: https://printmakinglegacyproject.org/index.html

IG: lily_press_studio

IG: goldmansusan

Spread from Journal of the Print World on Midwest Matrix.

Rudy Pozzatti.

Tracey Templeton, Wendy Calman, and Susan Goldman at Indiana University, Bloomington.

John Whitesell. Circus, 1981. Three-color lithograph. 19 x 25 in. Published by Normal Editions.

Susan Goldman. Squaring the Flower II, #15. Screenprint. 30 x 30 in. Printed and published by Lily Press, Rockville, MD.

Installation shot of Susan Goldman’s Squaring the Flower, McLean Project for the Arts, McLean, VA.

Cory Oberndorfer inspects proofs of Six Frozen Treats (after Dine) at Lily Press, Rockville, MD.

Elizabeth Martin Brown working on a Sam Gilliam edition at Lily Press, Rockville, MD.

Renee Stout. The Secret Keeper, 2010. Etching. Plate: 7 x 5 in.; sheet: 15 x 11 in. Printed and published by Lily Press, Rockville, MD.

Renee Stout working at Lily Press, Rockville, MD. 

Viktor Ekpuk. Hip Sista, 2027. Screenprint. 30 x 22 in. Printed and published by Lily Press, Rockville, MD.

Victor Ekpuk and Susan Goldman at Lily Press, Rockville, MD.

Susan Goldman and Sam Gilliam at Lily Press, Rockville, MD.

Dennis O’Neill in the shop at the Corcoran College of Art and Design, Washington, D.C.

Lily Press booth at the Baltimore Fine Art Print Fair, 2023.

Cory Oberndorfer. Six Frozen Treats (after Dine), 2023. Intaglio. Plate: 10 ¼ x 14 ½ in.; sheet: 21 x 15 in. Printed and published by Lily Press, Rockville, MD.

Eve Stockton. Woodland Skyscape. Woodcut with watercolor. Sheet: 36 x 36 in. Printed and published by Lily Press, Rockville, MD.

Eve Stockton working at Lily Press, Rockville, MD.

Percy B. Martin at Lily Press, Rockville, MD. Photo: Duane Winfield.

Lloyd Menard, founder of Frogman’s Print Workshops.

Rochelle Toner. Boost, 2009. Etching. 12 x 16. Courtesy of the Artist.

Rochelle Toner and Susan Goldman filming their interview.

Enrique Chagoya. Life at the Border of Language, 2023. Color lithograph. 21 ½ x 36 in. Published by Sharks Ink.

Garo Antreasian. Y’es Em, 1991. Four-color lithograph. Sheet: 30 1/8 x 26 ¼ in. Published by Tamarind Institute, University of New Mexico.

Leonard Lehrer. Powis, 1972. Lithograph. Sheet: 24 x 18 in. ArtworkArchive.com.

Sam Gilliam (American, 1933–2022). 3 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD.

Sam Gilliam (American, 1933–2022). 4 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Printed and published by Lily Press, Rockville, MD.

Sangmi Yoo. Common Ground, 2025. Aluminum etching. 20 x 15 in. Courtesy of the Artist.

Keiko O’Hara at Lily Press, Rockville, MD.

In this episode, Ann talks with Bryan Raymundo, owner of the Black Fragment Press. They discuss their meeting at the Mid America Print Council conference and Bryan’s background, from growing up in Mexico and Kansas to his love for Black Sabbath and printmaking. Bryan reveals his journey into art, inspired by comforting his sick grandmother with drawings, and his challenges in balancing his family’s immigrant expectations with his artistic aspirations. They delve deeply into his evolving art practice, the importance of mentors like Marco Hernandez and Jason Scuilla, and his passion for printmaking. Bryan shares his pedagogical philosophy, experiences teaching at the University of Nebraska at Omaha, and future plans to establish a collaborative art studio. The episode encompasses Bryan’s personal anecdotes, his admiration for influential artists, and the profound impact printmaking has had on his life and career.

Episode image by Ann Shafer

www.bryanraymundo.com

IG @raymundo_printmaker

Bryan Raymundo (American, born 1993). Home Ain’t Home, 2024. Woodcut. 14 x 16 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). The Hare that Met God, 2024. Woodcut. 14 x 16 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). X Sin Nombre, 2023. Etching. 12 x 18 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). My Manic and I, 2023. Etching. 12 x 18 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). Only the Strong, 2023. Etching. 12 x 18 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). Cold Heavens, 2023. Etching. 12 x 18 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). Russian Roulette, 2021. Etching. 12 x 18 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). Snuffed, 2017. Etching. 9 x 12 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). Birds Calling, 2024. Woodcut. 22 x 30 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). Beware of the Rhino Throne, 2024. Woodcut. 18 x 24 in. Courtesy of the Artist.

Bryan Raymundo (American, born 1993). Barking, 2022. Woodcut. 24 x 24 in. Courtesy of the Artist.

In this episode of Platemark, Ann sits down with Angelina Lippert, a poster historian and the curator and director of Poster House, to discuss the inception and growth of the first museum in the U.S. dedicated exclusively to the art and history of posters. They talk about what makes posters and fine art prints the same and different. And they discuss the challenges and processes of acquiring, preserving, and showcasing posters, the historical and cultural significance of early advertising posters, and the often-overlooked artistry involved in their creation. 

Platemark website

Sign-up for Platemark emails

Leave a 5-star review

Support the show

Get your Platemark merch

Check out Platemark on Instagram

Join our Platemark group on Facebook

Poster House website https://posterhouse.org/

Poster House IG @posterhousenyc

Poster House façade on 23rd Street. Courtesy of Poster House.

Poster House’s lobby/café. Photo by Elizabeth Berger.

Max Beckmann (German, 1884–1950). Actors, 1941–42. Oil on canvas. Overall: 207.3 × 341.9 × 6.4 cm. (81 5/8 × 134 5/8 × 2 1/2 in.). Harvard Art Museums, Cambridge.

Henri de Toulouse Lautrec (French, 1864–1901). The Jockey, 1899. Lithograph. Sheet: 51.7 × 36.3 cm. (20 3/8 × 14 5/16 in.). National Gallery of Art, Washington, D.C.

Posters from Maîtres de l’Affiche, 1895–1900. Lithographs. Inter-Antiquariaat Mefferdt & De Jonge, Amsterdam.

Pierre Bonnard (French, 1867–1947). L’Estampe et l’affiche, 1897. Lithograph. Sheet: 32 11/16 × 24 3/16 in. (83 × 61.5 cm.). Metropolitan Museum of Art, New York.

Pierre Bonnard (French, 1867–1947). France-Champagne, 1891. Lithograph. Image 78 x 57.8 cm.; sheet 79.4 x 58.8 cm. National Gallery of Australia, Canberra.

Dawn Baillie (American, born 1964). Movie poster for The Silence of the Lambs, 1991. Lithograph. Poster House, New York.

Henri de Toulouse Lautrec (French, 1864–1901). Moulin Rouge: La Goulue, 1891. Lithograph. sheet: 74 13/16 x 45 7/8 in. (190 x 116.5 cm.). Metropolitan Museum of Art, New York.

A.M. Cassandre (French, born Ukraine, 1901–1968). Nord Express, 1927. Lithograph. 41 3/8 x 29 1/2 in. (105.09 x 74.93 cm.). Minneapolis Institute of Arts, Minneapolis.

Paula Scher (American, born 1948). The Diva is Dismissed, 1994. Lithograph. 46 x 30 1/8 in. (116.8 x 76.5 cm.). Museum of Modern Art, New York.

Dafi Kühne (Swiss, born 1982). Tunnel III, 2023. Letterpress and linocut. 70 x 100 cm. Typographic Posters.

Winston Tseng. Kamala, 2024. Lithograph. Courtesy of Winston Tseng’s IG account.

Nike. The Best on Earth/The Best on Mars, 1989. Lithograph. Courtesy of Poster House.

Boris Bućan (Croatian, born Yugoslavia, born 1947). Voltaire: Candide, 1983. Lithograph. Courtesy of Poster House.

Lester Beall (American, 1903–1969). Light/Rural Electrification Administration, 1937. Lithograph. Courtesy of Poster House.

In this episode of Platemark, Ann talks with Susan Dackerman, a curator and art historian specializing in Northern European print culture. They discuss Susan's recent book, Dürer's Knots: Early European Print and the Islamic East, which looks at the artist's relationship to the Islamic world, revealing groundbreaking insights about the intersection of early modern printmaking and contemporary history. 

Susan's book covers three of Dürer's prints or print series. The first section looks at The Sea Monster (Das Meerwunder), c. 1498, and postulates that it chronicles the return to Venice of Caterina Cornado following her forced abdication as the last queen of Cyprus in 1489. Susan pieces together the narrative, which often claims to be about the abduction of a woman on the fins of Neptune.

The second section looks at a series of six woodcuts Dürer made to mimic the designs of silver inlay found in Mamluk brass bowls. Susan has an intriguing theory about the Knots's connection to a set of engravings by none other than Leonardo da Vinci.

The final section looks at the iron etching Landscape with a Cannon, 1518, and answers the question why make this image as an etching rather than an engraving.

The book challenges traditional narratives and recasts Dürer's prints that reference the Islamic East as much more nuanced and reflective of contemporaneous history. Susan's book is clear, concise, and thoughtful, and well worth the read.

Platemark website

Sign-up for Platemark emails

Leave a 5-star review

Support the show

Get your Platemark merch

Check out Platemark on Instagram

Join our Platemark group on Facebook

Susan's IG https://www.instagram.com/susanmdackerman/

Susan Dackerman. Dürer’s Knots: Early European Print and the Islamic East. Princeton, NJ: Princeton University Press, 2024. https://press.princeton.edu/books/hardcover/9780691250441/durers-knots?srsltid=AfmBOoo2o2yjJJeOlkdsXIURAOdx595jWpEKkUllE8jpzXRidPeYLEG8

Susan Dackerman. The Painted Print: The Revelation of Color. University Park, PA: Penn State University Press, 2002. https://www.psupress.org/books/titles/0-271-02234-5.html

Albrecht Dürer (German, 1471–1528). Sea Monster (Das Meerwunder), c. 1498. Engraving. Sheet (trimmed to platemark): 24.7 x 18.8 cm. (9 3/4 x 7 3/8 in.). National Gallery of Art, Washington, D.C.

Albrecht Dürer (German, 1471–1528). The First Knot (with a heart-shaped shield), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C.

Albrecht Dürer (German, 1471–1528). The Third Knot (with a black circle on a white medallion), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C.

Albrecht Dürer (German, 1471–1528). The Sixth Knot (combining seven small systems of knots with black centers), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C.

Attributed to Leonardo da Vinci (Italian 1452–1519). The Fifth Knot (Interlaced Roundel with Seven Six-pointed Stars), c. 1498. Engraving. Plate: 10 3/8 × 7 13/16 in. (26.4 × 19.8 cm.). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). Landscape with the Cannon, 1518. Etching (iron). Sheet (trimmed to image): 21.9 × 32.2 cm. (8 5/8 × 12 11/16 in.). National Gallery of Art, Washington, D.C.

In this interview I talk with artist and activist Art Hazelwood about art as political action versus politics as a subject. We start with his journey as a printmaker in San Francisco in the early 90s, where he engaged in political art through the Street Sheet newspaper. He elaborates on the distinction between social commentary and political action, emphasizing his active role in various causes including homelessness and union support. We also talk about his work with the San Francisco Poster Syndicate and teaching drawing at San Quentin prison, highlighting the importance of art as a transformative tool within the prison system. Additionally, we talk about his involvement in Mission Gráfica, a print studio, and his efforts in cataloging artists' estates. The conversation touches on the evolving role of artists, the value of ephemeral art, and the challenges and opportunities within the art world today.

Episode image by James Hazelwood

https://www.arthazelwood.com/

https://www.arthazelwood.com/impresario/publications/mission-grafica-book.html

https://www.arthazelwood.com/impresario/publications/hobos-to-street-book.html

Bainbridge Island Museum of Art video on Tipping Point by Art Hazelwood https://www.youtube.com/watch?v=Yx7VNp6sBoo

Platemark website

Sign-up for Platemark emails

Leave a 5-star review

Support the show

Get your Platemark merch

Check out Platemark on Instagram

Join our Platemark group on Facebook

Art Hazelwood (American, born 1961). Strike!, 2023. Screenprint. 19 x 12 ¾ in. San Francisco State University California Faculty Association Strike poster. Courtesy of the Artist.

Installation shot of Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present. The California Historical Society, February 19–August 15, 2009.

Installation shot of Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present. The California Historical Society, February 19–August 15, 2009.

Installation shot of Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present. The California Historical Society, February 19–August 15, 2009.

Art Hazelwood (American, born 1961). Hobos to Street People: Artist’ Responses to Homelessness from the New Deal to the Present. San Francisco: California Historical Society, 2008.

Art Hazelwood (American, born 1961). Mission Gráfica: Reflecting a Community in Print. San Francisco: Pacific View PR, 2022.

Art Hazelwood (American, born 1961). Die Aktion #70, Grimmiger Jäger / Grim Hunter, 500,000, 2021. Screenprint. 16 3/4 x 11 in. Marking the grim milestone of 500,000 dead of Covid in the US. Courtesy of the Artist.

Art Hazelwood (American, born 1961). New Masses #64, Last Tango, January 6, 2020, 2021. Screenprint. 17 x 12 in. Marking the attempted coup on January 6, 2020. Courtesy of the Artist.

Art Hazelwood (American, born 1961). The Road to Fascism: It’s No Game,  2024. Screenprint. 17 1/2 x 21 ½ in. Courtesy of the Artist.

Art Hazelwood (American, born 1961). Iraqopoly, 2006. Screenprint. 20 1/2 x 28 1/2 in. Courtesy of the Artist.

Art Hazelwood (American, born 1961). Fascist Mix ’N Match, 2024. Screenprint. 9 x 10 ¾ in. Courtesy of the Artist.

Art Hazelwood (American, born 1961). Le Charivari #76, July 19, 2024, Candidat a la Presidentielle 2016–2024, 2024. Screenprint. 17 x 11 1/4. Courtesy of the Artist.

Art Hazelwood (American, born 1961). A Sea of Blood, 2022. Woodcut. 19 ¾ x 14 in. Courtesy of the Artist.

Art Hazelwood (American, born 1961). Culture Street / Gentrification Lane, 2016. Woodcut. Each panel: 36 x 24. Courtesy of the Artist.

Art Hazelwood (American, born 1961). Must We Always Have This? Why Not Housing?, 2023. Screenprint. 16 3/4 x 11 ½ in. Created for Western Regional Advocacy Project's director Paul Boden and his 40 years of activism. Text is from a WPA poster from New York 1930s. Courtesy of the Artist.

Art Hazelwood (American, born 1961). Tipping Point, 2021. Artist’s book with screenprints (binding and design by Asa Nakata). Overall: 12 x 9 x 1 3/8. Courtesy of the Artist.

Art Hazelwood (American, born 1961). Tipping Point, 2021. Artist’s book with screenprints (binding and design by Asa Nakata). Overall: 12 x 9 x 1 3/8. Courtesy of the Artist.

Art Hazelwood street printing with San Francisco Poster Syndicate, 2023. Photo courtesy of David Bacon.

Steamroller, six formerly incarcerated men and three of their teachers created a 3-foot square linocut print and printed it with a steamroller at Diablo Valley College, CA, in March 2024. Photo courtesy of Peter Merts.

Steamroller, six formerly incarcerated men and three of their teachers created a 3-foot square linocut print and printed it with a steamroller at Diablo Valley College, CA, in March 2024. Photo courtesy of Peter Merts.

Art Hazelwood (American, born 1961). Ayudantes Animales del Sudoeste: Un Guía Para Viajeros Jóvenes / Animal Helpers of the Southwest: A Guide For Young Travelers, 2015. Artist’s book with 12 woodcuts with screenprint borders and text. Sheet: 18 x 18 in. Courtesy of the Artist.

Art Hazelwood (American, born 1961). End Overdose Now, 2023. Screenprint. 18 1/2 x 11 1/8 in. Created for SF AIDS Foundation, HIV Advocacy Network and city budget fight. Courtesy of the Artist.

Art Hazelwood (American, born 1961). Support Our Libraries, 2023. Woodcut. 19 1/4 x 12 1/2. Courtesy of the Artist.

In this episode of Platemark, Jonathan Higgins discusses his journey as the owner and master printer of Manneken Press, established in 2000 in Bloomington, Illinois. We talk about his early life in Berkeley, California, his initial interest in art and ceramics, and his transition to printmaking. After exploring lithography and working for various artists and print workshops in New York, including at Galamander Press with Randy Hemminghaus, he eventually founded Manneken Press. Jonathan shares insights into the operational strategies, collaborative projects with artists, challenges with photogravure, and his approach to publishing and curating prints. He also touches on the impact of COVID-19 on his work processes and future projects, while emphasizing the importance of selecting artists whose work resonates with him. The interview concludes with a reflection on the evolution of Manneken Press and Jonathan's current focus and achievements.

Episode photo by: Matt Shrier

https://mannekenpress.com/

Blog: https://mannekenpress.com/news-the-manneken-press-blog/

Artsy: https://www.artsy.net/partner/manneken-press

Printed Editions: https://www.printed-editions.com/gallery/manneken-press/

IG: @mannekenpress

IG: jonathiggins

Platemark website

Sign-up for Platemark emails

Leave a 5-star review

Support the show

Get your Platemark merch

Check out Platemark on Instagram

Join our Platemark group on Facebook

Philip Van Keuren (American, born 1948). Snowstorm, 2016. Photogravure. 14 x 18 in. Published by Manneken Press. Courtesy of Manneken Press.

Philip Van Keuren (American, born 1948). Tulips, 2019. Photogravure. 18 x 14 in. Published by Manneken Press. Courtesy of Manneken Press.

Manneken Pis, Brussels, Belgium.

Manneken Pis, Brussels, Belgium.

Shrine to Manneken Pis at Manneken Press. Courtesy of Manneken Press.

Rupert Deese (American, born 1952). Array 1000/Dark Blue, 2011. Woodcut. 45 x 45. Published by Manneken Press. Courtesy of Manneken Press.

Ted Kincaid (American, born 1966). Nest 920, 2008. Etching. Plate: 20 x 16 in.; sheet: 25 x 21 in. Published by Manneken Press. Courtesy of Manneken Press.

Matt Magee (American, born France, 1961). (L–R) Bugs, Drugs, Plugs, 2021. Set of three aquatints. Each: 21 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press.

Matt Magee (American, born France, 1961). Lunar Lantern, 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press.

Matt Magee (American, born France, 1961). Mind Gap, 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press.

Matt Magee (American, born France, 1961). Winter Pool, 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press.

Preparing to print the plate for the watercolor monotype Foursquare Foresworn by Judy Ledgerwood (American, born 1959) at Manneken Press. Courtesy of Manneken Press.

Judy Ledgerwood (American, born 1959). Foursquare Foresworn, 2020. Watercolor monotype. 22 x 30 in. Published by Manneken Press. Courtesy of Manneken Press.

Judy Ledgerwood (American, born 1959). Detail of watercolor monotype Old Glory, right after printing. Published by Manneken Press. Courtesy of Manneken Press.

Judy Ledgerwood (American, born 1959). Old Glory, 2020. Watercolor monotype. 22 x 30 in. Published by Manneken Press. Courtesy of Manneken Press.

Judy Ledgerwood (American, born 1959). Inner Vision, 2020. Suite of 9 watercolor monotypes. Published by Manneken Press. Courtesy of Manneken Press.

Jill Moser (American, born 1956) working on the plates for Chroma Six in her Long Island City studio. Courtesy of Manneken Press.

Jill Moser (American, born 1956). Chroma Six, 2019. Suite of six color aquatints. Each: 23 1/2 x 20 in. Published by Manneken Press. Courtesy of Manneken Press.

Jason Karolak (American, born 1974) stopping out a copper plate with asphaltum at Manneken Press. Courtesy of Manneken Press.

Jason Karolak (American, born 1974). Detail of a plate with soap ground applied prior to etching at Manneken Press. Courtesy of Manneken Press.

Jason Karolak (American, born 1974) plates with soap ground applied prior to etching at Manneken Press. Courtesy of Manneken Press.

Jason Karolak (American, born 1974). The first plate of Prospect inked and ready to print at Manneken Press. Courtesy of Manneken Press.

Jason Karolak (American, born 1974). The second plate of Prospect inked and ready to print at Manneken Press. Courtesy of Manneken Press.

Jonathan Higgins pulling a color proof of Prospect, an etching by Jason Karolak (American, born 1974) at Manneken Press. Courtesy of Manneken Press.

Jonathan Higgins pulling a color proof of Prospect with all 10 colors, an etching by Jason Karolak (American, born 1974) at Manneken Press. Courtesy of Manneken Press.

Jason Karolak (American, born 1974). Working proof of Prospect, 2024. 2-plate aquatint. Plate:  21 x 18 in.; sheet: 26 1/2 x 23 in. Published by Manneken Press. Courtesy of Manneken Press.