Platemark: prints and the printmaking ecosystem

In s3e12, Platemark host Ann Shafer speaks with Maureen Warren, curator of European and (North) American art at the Krannert Art Museum at the University of Illinois, Urbana-Champaign. For ten years Maureen has been studying, researching, and writing about prints in the Dutch Republic, which was the basis of her dissertation at Northwestern University. At long last, all that hard work has come to fruition in an exhibition and scholarly catalogue. Fake News & Lying Pictures: Political Prints in the Dutch Republic examines the visual strategies of Dutch printmakers and the ways they used images to promote political interests. The exhibition runs from August 25–December 17, 2022. The exhibition travels to other venues: University Galleries, University of San Diego, February 10–May 12, 2023; and Smith College Museum of Art, September 15, 2023–January 7, 2024.

The project got major support from the Getty Foundation Paper project, formally known as The Paper Project: Prints and Drawings Curatorship in the 21st Century. The funds are meant to help an early-career curator see a major projects to completion. There are, of course, other supporters to the project. A full list is over on the Krannert's website: https://kam.illinois.edu/exhibition/fake-news-lying-pictures-political-prints-dutch-republic.

Maureen's beautiful book is available for purchase here: https://kam.illinois.edu/publication/paper-knives-paper-crowns-political-prints-dutch-republic.

Episode photo credit: L. Brian Stauffer

Hendrick Goltzius (Dutch, 1558–1617). Funeral Procession for William I of Orange, 1584. Etching and engraving. Hearn Family Trust.

Willem Jacobsz. Delft (Dutch, 1580–1638), after Michiel Jansz. Van Mierevelt (Dutch, 1566–1641). Portrait of Johan van Oldenbarnevelt (1547–1619), 1617. Engraving. Krannert Art Museum, University of Illinois, Urbana-Champaign.

Hendrick Hondius (publisher, Dutch, 1573–1649 or after), Pieter van der Heyden (Netherlandish, c. 1525–after 1572), after Pieter Bruegel the Elder (Netherlandish, c. 1525/1530–1569). Big Fish East Little Fish, c. 1557–1650. Engraving. Sheet (trimmed to platemark: 209 x 291 mm. Museum Boijmans van Beuningen, Rotterdam.

Hendrick Hondius (publisher, Dutch, 1573–1649 or after), Pieter van der Heyden (Netherlandish, c. 1525–after 1572), after Pieter Bruegel the Elder (Netherlandish, c. 1525/1530–1569). Barneveltsche Monster (Big Fish Eat Little Fish), c. 1557-1650. Engraving. Sheet (trimmed to platemark: 209 x 291 mm. Atlas Van Stolk, Rotterdam.

Unknown artist. The Terrible Death of Johan and Cornelis de Witt, c. 1672. Etching, engraving, and letterpress. Sheet: 15 3/8 x 11 in. (39 x 28 cm.). Krannert Art Museum, University of Illinois, Urbana-Champaign.

Unknown artist. Mirror of the Street, Citizen's Justice, 1672. Etching and letterpress. Krannert Art Museum, University of Illinois, Urbana-Champaign.

Willem van Swanenburg (Netherlandish, 1580–1612), after Jacques de Gheyn (Netherlandish, 1565–1629). Sailing Cars, 1603. Engraving with hand coloring. Atlas Van Stolk, Rotterdam.

Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam.

[DETAIL] Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam.

[DETAIL] Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam.

[DETAIL] Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam.

[DETAIL] Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam.

Romeyn de Hooghe (Dutch, 1645–1708). Marriage of William and Mary, 1677. Etching. Krannert Art Museum, University of Illinois, Urbana-Champaign.

Romeyn de Hooghe (Dutch, 1645–1708). La belle Constance dragonée par Arlequin deodat, c. 1689. Engraving and letterpress. Sheet: 15 3/16 x 14 15/16 in. (38.5 x 38 cm.). Krannert Art Museum, University of Illinois, Urbana-Champaign.

Jacques Bellange (French, 1575–1616). Pietà, 1612–16. Etching with stippling and engraving. Sheet (trimmed to platemark): 12 13/16 x 7 13/16 inches (31 x 19.8 cm.). Metropolitan Museum of Art, New York.

Claes Jansz Visscher (Dutch, 1587–1652). The Far-famed House of Nassau or Orange, c. 1628–29. Engraving. Krannert Art Museum, University of Illinois, Urbana-Champaign.

In s3e11, Platemark host Ann Shafer talks with artist LaToya M. Hobbs whose commissioned installation will be on view as visitors enter the IFPDA Print Fair at the end of October 2022. The works will be front and center at the entrance and will no doubt garner lots of attention for LaToya. Speaking with LaToya was a distinct pleasure for Ann because the artist is based in Baltimore, is full-time faculty at the Maryland Institute College of Art, and recently had a monumental, five-part, carved wood piece on view at the Baltimore Museum of Art, which the museum subsequently purchased for its permanent collection.

LaToya's work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora. LaToya is a founding member of Black Women of Print, a collective whose vision is to make visible the narratives and works of Black women printmakers, past, present, and future. LaToya grew up in Little Rock, Arkansas, received her B.A. in painting from the University of Arkansas at Little Rock, and earned an M.F.A. in printmaking at Purdue University.

Because of LaToya's commission for the 2022 IFPDA Print Fair in New York (that's the International; Fine Print Dealers Association), that Association is sponsoring this episode of Platemark.

Episode image by Mike Jon; photos of Hobbs' artwork by Ariston Jacks.

Elizabeth Catlett (American and Mexican, 1915–2012), published by Taller de Grafica Popular, Mexico City. Sharecropper, 1952. Color linoleum cut. Image: 17 5/8 x 16 5/8 in. (44.77 x 42.23 cm.); Sheet: 22 x 19 5/8 in. (55.88 x 49.85 cm.). Minneapolis Institute of Art, Minneapolis.

LaToya M. Hobbs (American, born 1983). Portrait of a Mother, 2019. Oil, acrylic, and relief carving on wood panel. 72 x 48 inches.

Installation view of LaToya M. Hobbs (American, born 1983). Carving Out Time, 2020-21. Five panels: acrylic, ink, and relief carving on cherry wood panel. Each: 96 x 144 inches. Baltimore Museum of Art, Baltimore.

LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 1: Morning, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore.

LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 2: Homeschool and Housework, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore.

LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 3: Dinner Time, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore.

LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 4: Bedtime for the Boys, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore.

LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 5: Studio Time, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore.

Kerry James Marshall (American, b. 1955). Untitled, 1999. 8-color woodcut, 12 panels; 243.8 x 1,524 cm. Orlando Museum of Art. Photo: Howard Agriesti. © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York.

Charles White (American, 1918–1979). Voice of Jericho (Folksinger), 1958. Linoleum cut. Sheet: 1003 x 540 mm. (39 1/2 x 21 1/4 in.); image: 917 x 458 mm. (36 1/8 x 18 1/16 in.). Baltimore Museum of Art, Baltimore.

Nicholas Nixon (American, born 1947). Portraits of the Brown Sisters.

Bisa Butler (American, born 1973). Four Little Girls, September 15, 1963, 2018. Cotton, silk, and lace. 61 x 78 in. (154.9 x 198.1 cm.). Collection of Michelle and Pete Scantland.

LaToya M. Hobbs (American, born 1983). Stargazer (Theo), 2022. Woodcut. Image: 24 x 28 inches; sheet: 27 x 20 inches.

LaToya M. Hobbs (American, born 1983). Black Women of Print Founding Member Delita Martin, 2022. Acrylic and collaged paper on carved wood panel. 36 x 24 in.

LaToya M. Hobbs (American, born 1983). Mrs. Burroughs, from the portfolio Black Women of Print, 2019. Woodcut. 15 x 11 inches.

LaToya M. Hobbs (American, born 1983). Birth of a Mother, 2019. Acrylic, collage, and relief carving on wood panel. 48 x 72 inches.

Swoon (Caledonia Curry; American, born 1977). Installation at the IFPDA Print Fair, 2019.

LaToya M. Hobbs (American, born 1983). Genette's Daughters, 2022. Relief carved wood panel. 48 x 96 inches.

USEFUL LINKS

https://www.latoyamhobbs.com/

https://www.instagram.com/latoyahobbs/

Video by Ariston Jacks: https://www.youtube.com/watch?v=7RCxjicLItE

Video of Big Ink printing Carving Out Time: https://www.youtube.com/watch?v=Qt-qK803jI8

Link to Big Ink: https://www.bigink.org/

In s3e10, Platemark hosts Ann Shafer and Ben Levy talk with Julia Samuels, master printer and owner of Overpass Projects, Pawtucket, RI. Ann and Ben were thrilled to visit Overpass in person for the recording of this episode. It's so great to see what guests are talking about and to be able to take photographs of the space, artists, and prints.

Julia creates her own work primarily in black-and-white linoleum cuts, but is, in fact, a natural colorist—it comes easily to her. She is on a mission to economize colors for artists she works with, and she often creates palettes for them to plan their projects from. She has created such palettes for artists working in both screenprint and etching—two very different techniques requiring different approaches to layering colors. Sounds complicated, and, for me, it is. See if you agree.

Ben Levy, Julia Samuels, and Ann Shafer at Overpass Projects, August 2022.

Overpass Projects, Pawtucket, RI.

Julia Samuels with screenprinted color palettes.

Andrew Raftery (American, born 1962). Autobiography of a Garden on Twelve Engraved Plates, 2009–2016. Set of twelve earthenware dinner plates with transferred engravings (recto and verso). Each plate: 12 1/2 × 12 1/2 in. (31.8 × 31.8 cm.). Courtesy Mary Ryan Gallery, New York.

Julia Samuels shows the color palette she designed to help the artist with his project. Michael Menchaca (American, born 1985). LA RAZA COSMICA 20XX, 2021. A suite of 16 screenprints. Sheet (each): 21 x 22 ½ inches. Printed by Julia Samuels at Overpass Projects.

Michael Menchaca (American, born 1985). LA RAZA COSMICA 20XX, 2021. A suite of 16 screenprints. Sheet (each): 21 x 22 ½ inches. Printed by Julia Samuels at Overpass Projects.

Venn diagrams created for Eric Diehl.

Three plates, three inks, myriad colors, by Julia Samuels at Overpass Projects.

Three-plate etching by Julia Samuels at Overpass Projects.

Color gradations in etching by Julia Samuels at Overpass Projects.

Eric Diehl (American, born 1984). Resting Snake, Suburbia, 2017. Three color etching with line etching and aquatint. Plate: 17 7/8 x 15 7/8 inches; sheet: 22 x 19 inches. Printed by Julia Samuels at Overpass Projects.

Color gradients in etching by Julia Samuels at Overpass Projects.

Julia Samuels (American, born 1985). Carpenter and Dean Streets, 2017. Linoleum cut. Image: 12 1/4 x 16 1/8 inches; sheet: 16 x 12 inches. Printed and published by the artist at Overpass Projects.

USEFUL LINKS

Overpass Projects' website

Overpass Projects' Instagram

In s3e9 of Platemark, host Ann Shafer talks with James Siena and Katia Santibañez. Both artists, who are married to each other, are painters and printmakers who split their time between New York City and Otis, MA. In the past few years, they have collaborated on four reduction woodcuts with Shore Publishing. An exhibition of the full sets of working proofs for these collaborations were recently on view at Shore Publishing's sister gallery, Cheymore Gallery. Their work complements each other's and their collaboration with May Shore is truly wonderful. Find out how they met and how much they love working with master printers like Shore, Felix Harlan, Theo Lotz, and Phil Sanders.

Episode image: May Shore

James Siena (American, born 1957), published by Wassaic Project. Untitled, 2016. Screenprint. Sheet: 20 x 28 inches.

Harold Edgerton (American, 1903–1990). Milk-Drop Coronet Splash, 1936. Gelatin silver print. 17 15/16 x 14 5/16 inches. San Francisco Museum of Modern Art, San Francisco.

James Siena (American, born 1957), published by Polígrafa Obra Gráfica. Flextes ortogonals decreixents, 2011. Etching, aquatint, and spit-bite. Sheet: 35 x 31 cm.

James Siena (American, born 1957), published by Pace Editions. Battery, 2002. Reduction linoleum cut. Sheet: 21 ¼ x 18 5/8 inches; image: 14 ¾ x 12 5/8 inches.

James Siena (American, born 1957), published by Pegasus Press. Enderlock, 2020. Screenprint. Sheet: 18 ¾ x 22 ½ inches.

Katia Santibañez (American, born France, 1964), published by Polígrafa Obra Gráfica. El viaje de mis sueños, 2013. Etching and aquatint. Sheet: 35 x 30 cm.

Katia Santibañez (American, born France, 1964), published by Anthony Kirk Editions. Can You Turn Around?, 2102. Etching. Plate: 14 x 11 inches.

Katia Santibañez (American, born France, 1964), published by Harlan and Weaver. A Secret Place, 2021. Etching. Sheet: 23 x 26 inches.

James Siena (American, born 1957). Dyscopioid, 2022. Ink and graphite on paper. 11 x 8 1/2 inches (27.9 x 21.6 cm.), Miles McEnery Gallery, New York.

James Siena (American, born 1957). Infolded Ridgeling, 2020. Charcoal and acrylic on linen. 36 1/2 x 48 inches (92.7 x 121.9 cm.). Miles McEnery Gallery, New York.

James Siena (American, born 1957), published by Xippas Gallery, printed by Atelier Michael Woolworth. Saccase, 2020. Lithograph on vellum. 5 x 7 inches. These prints were given to clients of Xippas Gallery, Paris, celebrating its 30th anniversary, tucked inside a New Year's card.

James Siena (American, born 1957). Viridiasaan, 2020. Watercolor and graphite on paper. 13 1/2 x 17 1/4 inches (34.3 x 43.8 cm.). Miles McEnery Gallery, New York.

James Siena (American, born 1957). Resselgenator, 2019. Acrylic and graphite on linen. 75 x 59 inches (190.5 x 149.9 cm.). Miles McEnery Gallery, New York.

Katia Santibañez (American, born France, 1964). Everywhere and Nowhere, 2019. Acrylic on canvas. 82 x 79 inches. D.C. Moore Gallery, New York.

Katia Santibañez (American, born France, 1964). The Delight of Solitude, 2020. Acrylic on canvas. 30 x 27.5 inches. D.C. Moore Gallery, New York.

Katia Santibañez (American, born France, 1964). And Yet, 2020. Ink on paper. 30 x 22 inches. D.C. Moore Gallery, New York.

Katia Santibañez (American, born France, 1964). Floating In My Mind, 2015. Reduction linoleum cut in 6 colors on Hosho. Image: 14 x 11 inches; sheet: 19 1/2 x 16 inches. Shore Publishing, Tuxedo Park, NY.

Katia Santibañez (American, born France, 1964). Sailing Alone, 2014. Reduction linoleum cut in 6 colors on Rives BFK. Image: 20 x 16; sheet: 27 x 22 inches. Shore Publishing, Tuxedo Park, NY.

Katia Santibañez and James Siena working on reduction woodcuts at Shore Publishing, Tuxedo Park, NY.

James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Jawbreaker Sixplay, 2018. Reduction woodcut in 7 colors. Image: 16 x 12 inches; sheet: 23 1/2 x 19 inches. Shore Publishing, Tuxedo Park, NY.

James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Fourhand Choker, 2018. Reduction woodcut in 7 colors. Image: 16 x 12 inches; sheet: 23 1/2 x 19 inches. Shore Publishing, Tuxedo Park, NY.

James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Bonkbell Puller, 2022. Reduction woodcut in 7 colors on Rives BFK paper. Image: 22 1/2 x 18 inches; sheet: 28 3/4 x 23 1/2 inches. Shore Publishing, Tuxedo Park, NY.

James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Bonkbell Puller, 2022. Complete sets of states and progressive proofs from the collaborative reduction woodcut. Each sheet 28 3/4 x 23 1/2 inches. Published by Cheymore Gallery, Tuxedo Park, NY.

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

James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Triplebarb Whirler, 2022. Complete set of states and progressive proofs from the collaborative reduction woodcut. Each sheet 28 3/4 x 23 1/2 inches. Published by Cheymore Gallery, Tuxedo Park, NY.

USEFUL LINKS

Miles McEnery Gallery link: https://www.milesmcenery.com/artists/james-siena/featured-works?view=thumbnails

Instagram account: https://www.instagram.com/jsienastudio/

DC Moore Gallery link: https://www.dcmooregallery.com/artists/katia-santibanez

Instagram account: https://www.instagram.com/katiasantibanez/

@jsienastudio @katiasantibanez @shorepublishing

In s3e8, Platemark host Ann Shafer talks with Dave Cloutier who recently opened Center Arts and Studios (CAS) in the Mill Centre, Baltimore. CAS offers classes, equipment, critiques, guidance, and studio spaces to second-career artists. A passion project for Dave, it has long been his goal to encourage artists and their meaningful work to find each other. His belief in letting the work that needs to be made be made means giving over one's conscious self and embracing that mysterious place inside all of us, our subconscious. It takes maturity, patience, and generosity to get to that place, but Dave is intent on helping second-career artists find their voice.

It's an exciting development in the artistic landscape of Baltimore and one that will no doubt appeal to many. This episode introduces Dave and the program to the world and offers an invitation to come see what CAS is all about. Dave welcomes visitors and loves talking about art, inspiration, and listening intently to one's mind. Find out why Ann called him a unicorn.

Dave has been a faculty member at the Maryland Institute College of Art for sixteen years. He earned his MFA from the LeRoy E. Hoffberger School of Painting in 2005, and his BFA in painting and art therapy from the University of The Arts in Philadelphia in 1991.

Prior to his role at MICA, Dave taught in community arts throughout Baltimore for Clayworks and Towson University's Community Arts program. Dave has worked with teens, adults, and older adults in psychiatric settings as an activities therapist and in direct patient care, continuing this work as a certified nursing assistant in nursing facilities specializing in caring for residents with Alzheimer's and dementia.

It is with all this experience that Dave will guide you along a path toward self-actualization.

Episode image of Dave Cloutier by Elizabeth English.

Cy Twombly (American, 1928–2011) gallery at the Philadelphia Museum of Art.

Installation view of Philip Guston: The Last Lithographs, at Timothy Taylor gallery, New York, 2018. Philip Guston's 25 lithographs created by the artist and published by Gemini G.E.L. in 1980, the year of the artist's death.

Fra Angelico (Italian, 1395–1455). Annunciation, 1440–42. Fresco. 176 x 148 cm. Basilica di San Marco, Florence, Italy.

Paula Rego (Portuguese, 1935–2022). Triptych, 1998. Pastel on paper on aluminum. Each: 100 x 110 cm. (39 3/8 x 43 1/4 in.). Abbot Hall Art Gallery, Lakeland Arts, Kendal, UK.

Paula Rego (Portuguese, 1935–2022). Young Predators, 1987, from the portfolio Artists' Choice published by the Royal College of Art, London. Etching and aquatint. 12 x 12 inches (305 x 305mm.). 1st Dibs.

Jaune Quick-to-See Smith (Enrolled Salish, Confederated Salish and Kootenai Nation, MT, born 1940), published by Washington University School of Art Collaborative Print Workshop. Celebrate 40,000 Years of American Art, 1995. Collagraph. 78 1/8 x 53 3/8 in. (198.4 x 135.6 cm.). Saint Louis Art Museum, St. Louis.

Joann Moser. Singular Impressions: The Monotype in America. Washington, DC: Smithsonian American Art Museum, 1997.

Dave Cloutier (American, born 1961). Adam and Eve, 2019. Monotype on machined mulberry paper and oil paint on Arches watercolor paper. 72 x 108 inches.

Dave Cloutier (American, born 1961). Eves Burning, 2020. Monotype on machined mulberry paper and oil paint on Arches watercolor paper. 124 x 120 inches.

Dave Cloutier (American, born 1961). Killed Man and Drone, 2019. Monotype on machined mulberry paper and oil paint on Arches watercolor paper. 74 x 118 inches.

Dave Cloutier (American, born 1961). Trench, 2020. Monotype on machined mulberry paper and oil paint on Arches watercolor paper. 80 x 115 inches.

USEFUL LINKS

https://www.centerartsandstudios.com/

https://www.baltimorejewelrycenter.org/

Tate Britain videos on Paula Rego: https://www.youtube.com/watch?v=U1YtnAxJU_s

https://www.youtube.com/watch?v=vDZGh1O72uQ

https://www.youtube.com/watch?v=LAZimVk7lGY

https://www.youtube.com/watch?v=VSGpNiIWmUs

In s3e7, hosts Ann Shafer and Tru Ludwig sit down with Elizabeth Wyckoff, Curator of Prints and Drawings at the Saint Louis Art Museum, to talk about the exhibition Catching the Moment: Contemporary Art from the Ted L. and Maryanne Ellison Simmons Collection, which ran June 26–September 11, 2022.

The Simmons collection provides an opportunity to take a deep dive into three artists they collected in depth: Kiki Smith, Enrique Chagoya, and Tom Huck. Other artists in the exhibition include Jaune Quick-to-See Smith, Bruce Nauman, Michael Barnes, H.C. Westermann, Tony Fitzpatrick, and Kara Walker. The major through line is works that critique a broad range of social, political, and art historical concepts.

There's lots to chew on in this show, but we're also there to talk to Elizabeth about her career as a curator of works on paper. Elizabeth, like so many curators of prints and drawings, is responsible for works of art on paper from the 15th century through tomorrow, even though her dissertation focused on Dutch print publisher Jan Pietersz Berendrecht, who was active in Haarlem in the 1620s. Hear about living in Amsterdam while researching Berendrecht, working with the Simmonses, and what her (fictitious) retirement gift will be.

Episode image of Elizabeth Wyckoff: Courtesy of the Saint Louis Art Museum.

Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print, 1648. Etching, drypoint, and engraving. Plate: 10 15/16 x 15 7/16 in. (27.8 x 39.2 cm.); sheet: 11 1/8 x 15 5/8 in. (28.2 x 39.7 cm.). Saint Louis Art Museum, St. Louis.

Rembrandt (Dutch, 1606–1669). Christ Presented to the People: Ecce Homo (state ii/viii), 1655. Drypoint. Plate: 15 1/8 x 17 5/8 in. (384 x 448 mm.); sheet: 15 3/8 x 17 7/8 in. (391 x 454 mm.). Saint Louis Art Museum, St. Louis.

Rembrandt van Rijn (Dutch, 1606–1669). Abraham's Sacrifice (only state), 1655. Etching and drypoint on vellum. Sheet (trimmed to platemark): 5 14/16 x 5 in. (15.1 x 12.7 cm.). Saint Louis Art Museum, St. Louis.

Hans Burgkmair the Elder (German, 1473–1531). Lovers Surprised by Death, 1510. Chiaroscuro woodcut. image: 8 3/8 in. x 6 in. (21.3 x 15.2 cm.); sheet (trimmed): 8 3/8 x 6 in. (21.3 x 15.2 cm.). Saint Louis Art Museum, St. Louis.

Williams Ivins, Jr. Prints and Visual Communication. Cambridge, MIT Press, 1969.

Albrecht Dürer (German, 1471–1528). Triumphal Arch of Maximilian I, 1515. Woodcut, 195 woodblocks printed on 36 sheets of large folio paper. 354 x 298.5 cm (139 3/8 x 117 1/2 in.). Metropolitan Museum of Art, New York.

Kiki Smith (American, born 1954), published by Artes Magnus. Finger Bowl, 1995. Sterling silver. 16 ½ x 16 x 16 in (16.5 x 40.6 x 40.6 cm.). Saint Louis Art Museum, St. Louis.

Installation view of Kiki Smith (American, born 1954) works in Catching the Moment, Saint Louis Art Museum, 2022.

Installation view of Tom Huck (American, born 1971), published by Evil Prints. Snacktime Marcy, 1999. Blocks and prints in Catching the Moment, Saint Louis Art Museum, 2022.

Jaune Quick-to-See Smith (Enrolled Salish, Confederated Salish and Kootenai Nation, MT, born 1940), published by Washington University School of Art Collaborative Print Workshop. Celebrate 40,000 Years of American Art, 1995. Collagraph. 78 1/8 x 53 3/8 in. (198.4 x 135.6 cm.). Saint Louis Art Museum, St. Louis.

Bruce Nauman (American, born 1941), published by Gemini G.E.L. Pay Attention, 1973. Lithograph. 38 3/8 x 28 5/16 in. (97.5 x 71.9 cm.). Saint Louis Art Museum, St. Louis.

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.

Enrique Chagoya (American, born Mexico, born 1953), published by Des Moines Art Center Print Club. Liberty Backwards, 2008. Photoetching and rubber stamp. 12 5/8 x 9 ½ in. (32.1 x 24.1 cm.). Saint Louis Art Museum, St. Louis.

Enrique Chagoya (American, born Mexico, born 1953), published by Smith Anderson Editions. Liberty, 2006. Monotype. 34 5/8 x 47 7/8 in. (87.9 x 47.7/8 cm.). Saint Louis Art Museum, St. Louis.

USEFUL LINKS

Saint Louis Art Museum Print and Drawing Room link: https://www.slam.org/research/print-study-room/

Saint Louis Art Museum exhibition page: https://www.slam.org/exhibitions/catching-the-moment/

In s3e6, Platemark host Ann Shafer talks with Bill Hall, master printer (retired) at Pace Prints for nearly thirty years. His earliest years in New York were spent working at the legendary Robert Blackburn Printmaking Workshop. After his arrival at Pace Prints, his intaglio skills were honed under the tutelage of Aldo Crommelynck, the legendary printer of many of Picasso's late prints. At Pace, he was in charge of the intaglio area bringing those talents to bear on prints by legendary artists like Jim Dine, Helen Frankenthaler, Chuck Close, Robert Mangold, and Tara Donovan. Bill is a soft-spoken, southern gentleman and an artist in his own right. Now retired from Pace, Bill and his wife, Sara, live in Asheville, NC. His work is represented by Momentum Gallery in Asheville.

Robert Blackburn, 1987 (photo by Peter Bellamy).

Marjorie Van Dyke and artist Richard Giglio at VanDeb Editions, 2021.

Robert Blackburn (American, 1920–2003). Heavy Forms (Pink Version), 1958. Color crayon and brush and tusche lithograph. Sheet: 565 x 483 mm. (22 1/4 x 19 in.); image: 498 x 400 mm. (19 5/8 x 15 3/4 in.). Baltimore Museum of Art, Baltimore, MD.

Robert Blackburn (American, 1920–2003). Heavy Forms (Brown Version), 1961. Color crayon and brush and tusche lithograph. Sheet: 489 x 562 mm. (19 1/4 x 22 1/8 in.); image: 403 x 498 mm. (15 7/8 x 19 5/8 in.). Baltimore Museum of Art, Baltimore, MD.

Robert Blackburn (American, 1920–2003). Woodscape, 1984. Color woodcut. Sheet: 486 x 613 mm. (19 1/8 x 24 1/8 in.); image: 305 x 384 mm. (12 x 15 1/8 in.). Baltimore Museum of Art, Baltimore, MD.

Printer Joe Wilfer at John Chamberlain's studio in Sarasota, FL, 1990 (photo by Bill Hall).

Jim Dine (American, born 1935). Published by Pace Editions. 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.

Left–right: Aldo Crommelynck, Bill Hall, Pep Crommelynck, Ruth Lingen, Julia D'Amario, and Clemins Buntig.

Jim Dine (American, born 1935). Published by Pace Editions. The Five Hammer Études, 2007. Etching, drypoint, aquatint, and power tools on five joined sheets of paper. Sheet: 751 x 2564 mm. (29 9/16 x 100 15/16 in.); plate: 593 x 2420 mm. (23 3/8 x 95 1/4 in.). Baltimore Museum of Art, Baltimore, MD.

Bill Hall pulls out a Jim Dine matrix at Pace Prints, 2008 (photo by Ann Shafer).

Tara Donovan (American, born 1969). Published by Pace Editions. Untitled, 2006. Relief print from rubber band matrix. Image: 36 3/4 x 25 in. (93.3 x 63.5 cm.); sheet: 38 1/2 x 25 1/2 in. (97.8 x 64.8 cm.). Krakow Witkin Gallery, Boston, MA.

Bill Hall pulls out a Tara Donovan matrix at Pace Prints, 2008 (photo by Ann Shafer).

Tara Donovan (American, born 1969). Published by Pace Editions. Untitled, 2004. Etching from bubbles. Plate: 12 x 12 in.; sheet: 14 x 14 in. Greg Kucera Gallery, Seattle, WA.

Tara Donovan (American, born 1969). Published by Pace Editions. Untitled, 2006. Relief print from rubber band matrix. Sheet: 978 × 660 mm. (38 1/2 × 26 in.); image: 927 × 629 mm. (36 1/2 × 24 3/4 in.). Baltimore Museum of Art, Baltimore, MD.

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

Printer Yasu Shibata at Pace Prints.

Chuck Close (American, 1940–2021). Published by Pace Editions. Self Portrait/Scribble/Etching, 2000. Color softground etching. Sheet: 18 3/10 × 15 1/5 in. (46.4 × 38.7 cm.).

Arturo Herrera (Venezuelan, born 1959). Richard, 2012. Published by Pace Editions. Collage with elements of relief, etching, digital, collograph, pochoir, and screenprint on felt. 141.8 x 121.4 cm.

Chuck Close (American, 1940–2021). Published by Pace Editions. Self Portrait/Pulp/Pochoir, 2000. Paper pulp and pochoir. Sheet: 25 3/16 x 19 5/16 in. (64 x 49 cm.). Museum of Modern Art, New York.

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

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

Printers Bill Hall and Julia D'Amario working on a Chuck Close spitbite etching at Pace Prints.

Artist Chuck Close working at Pace Prints.

| James Turrell (American, born 1943). Published by Pace Editions. Suite from Aten Reign, 2014. Set of three aquatints. Sheet (each): 34 ¾ x 22 in.

Ghada Amer and Reza Farkhondeh (Egyptian, born 1963; Iranian, born 1963). Published by Pace Editions. Waiting for Tarzan, 2008. Woodcut and linoleum cut with silk tissue papers (unique). Sheet: 37 x 49 in.; image: 36 x 48 in.

Helen Frankenthaler (American, 1928–2011). Published by Pace Editions. Book of Clouds, 2007. Aquatint etching, woodcut, and pochoir with hand coloring. Sheet: 35 5/8 x 68 1/4 in.

Robert Mangold (American, born 1937). Published by Pace Editions. Plane/Figure Series, Folded I–IV, 1993. Set of four etching, softground etching, and aquatints. Sheet (each): 22 ½ x 30 in.

Bill Hall (American, born 1947). Shake the Table. John C-II, 2022. Etching and collage. 11 x 8 in. Momentum Gallery, Asheville, NC.

Bill Hall (American, born 1947) and Amy Pirkle with poems by Sara Hughes. Close to Home, 2011. Bound volume with aquatints (Hall) reduction linoleum cuts (Pirkle) and letterpress text (Hughes).9 ½ x 11 in. Combo Press.

Artist Jim Dine with printers at Pace Prints, 2010, left–right: Kathy Kuehn, Ann Aspinwall, Jim Dine, Bill Hall, Justin Israels, and Mae Shore.

USEFUL LINKS

Bill's website: www.billhallartwork.com

Bill's Instagram: https://www.instagram.com/bill_is_in/

Bill's Facebook: https://www.facebook.com/bill.hall.5

Video of Bill Hall and Sarah Carpenter talking about printing etchings for James Turrell.

In s3e5, Ann Shafer talks with fellow podcaster and print lover Miranda Metcalf, whose show, Hello, Print Friend, is the internet's most popular podcast about prints and printmaking. Hello, Print Friend's Instagram account has over 53K followers! Both Shafer and Metcalf are self-described print evangelists and have much to discuss. Listen in as two print nerds geek out about all things print related and more.

Albrecht Dürer (German, 1471–1528). Rhinoceros, 1515. Woodcut. 233 x 292 mm. (9 3/16 x 11 1/2 in.). Metropolitan Museum of Art, New York.

USEFUL LINKS

Hello, Print Friend's Instagram

Hello, Print Friend's YouTube channel

Hello, Print Friend's Patreon page

Hello, Print Friend's merch page

Platemark's series three offers its first interview with an artist, Tom Hück. And what a great place to start. In s3e4, Platemark hosts Ben Levy and Ann Shafer sit down with Hück whose large-scale, multi-panel woodcuts skewer rural life in the American Midwest in all its unabashed weirdness and glory. They talk about Motörhead, Iron Maiden, Albrecht Dürer's Rhinoceros, and the rest of Hück's heroes. And, the artist explains why his Midwestern surname carries a German umlaut. Ya gotta love an artist who loves Old Master prints.

Episode image: Hück by Hück

Albrecht Dürer (German, 1471–1528). Rhinoceros, 1515. Woodcut. 23.3 x 29.2 cm (9 3/16 x 11 1/2 in). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). Triumphal Arch of Maximilian I, 1515. Woodcut, 195 woodblocks printed on 36 sheets of large folio paper. Overall size: 354 x 298.5 cm (139 3/8 x 117 1/2 in.). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 39.3 x 28.5 cm (15 1/2 x 11 1/4 in). Baltimore Museum of Art, Baltimore.

Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm (11 13/16 x 8 9/16 in). Metropolitan Museum of Art, New York.

Mark Wilkinson (English, born 1952). Eddie appears as a samurai on the cover art for Iron Maiden's 17th album, Senjutsu, 2021.

Bill Fick (American, born 1963). Ooze Head, 2000. Linoleum cut. Image: 23 x 19 in.

Tom Hück (American, born 1971). The Tommy Peeperz (center panel), 2014. Woodcut. Sheet: 50 x 62 in.

Dennis McNett (American, born 1972). Winter Queen, 2014. Woodcarving and acrylic. 18 x 24 in.

Sue Coe (American, born 1951). It Can Happen Here (Trump), 2016. Linoleum cut. 10 x 8 in.

Honoré Daumier (French, 1808–1879). Rue Transnonain, le 15 Avril, 1834, Plate 24 of l'Association mensuelle, 1834. Lithograph. Image: 11 1/4 x 17 3/8 in. (286 x 441 mm.); sheet: 14 5/16 x 21 11/16 in. (364 x 551 mm.). Metropolitan Museum of Art, New York.

William Hogarth (British, 1697–1764). A Chorus of Singers, or The Oratorio, 1732. Etching. Sheet: 6 13/16 x 6 7/16 in. (173 x 163 mm.). Metropolitan Museum of Art, New York.

USEFUL LINKS

Tom Hück is represented by C.G. Boerner Gallery: http://cgboerner.com/artists/tom-huck/

Hück's website: http://www.evilprints.com/

Hück's Instagram: https://www.instagram.com/evilprints/?hl=en

Hück's Facebook: https://www.facebook.com/theevilhead

Link for Saint Louis Art Museum exhibition, Catching the Moment: https://www.slam.org/exhibitions/catching-the-moment/

In s3e3, Ann Shafer and Ben Levy talk with James Wehn, Van Vleck Curator of Prints, Drawings, and Photographs at the Chazen Museum of Art at the University of Wisconsin, Madison, about prints, museums, curatorial work, and Israel van Meckenem.

Episode photo: Eric Baillies

Israhel van Meckenem (German, c. 1445–1503). The Angry Wife, c. 1495/1503. Engraving. Sheet (trimmed to plate mark): 16.7 x 11.1 cm. (6 9/16 x 4 3/8 in.). National Gallery of Art, Washington, D.C.