Platemark: prints and the printmaking ecosystem

In this episode of Platemark, Ann sits down with the legendary artist and printmaker Dan Welden. The artist is known for his pioneering work in solarplate etching, a revolutionary, chemical-free printmaking process. Welden recounts his experiences and collaborations with significant artists like Eric Fischl and Elaine and Willem de Kooning. He also delves into his personal creative struggles, preferences for classical music, and tales of his distinctive handmade house filled with artist tiles and unique craftsmanship. The episode is a compelling insight into Welden's artistic journey and contributions to the printmaking world.

Show me the images!!

In this episode of Platemark, I talk with Ellen Heck about her artistic journey and work. We talk about the intricacies of printmaking techniques, Ellen's various portrait series, and the conceptual ideas behind her work. Ellen shares her journey from studying philosophy at Brown, to printmaking at the School of the Art Institute of Chicago, and finally working at the Kala Art Institute in Berkeley. They also explore topics like the influence of Mary Cassatt, the use of color wheels in organizing compositions, and Ellen's fascination with topology in her artwork. Our insightful conversation about the roles within the art ecosystem concludes with the philosophical underpinnings of Ellen's creative process.

Starting with this episode, the images are moving to a blog post (it's a long story). Link to the images is below.

Show me the images!

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

Images for Mike Stark's episode are in the blog post you will find here:

SHOW ME THE IMAGES!

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

Images for Mae Shore's episode are in this blog post, as all images will be moving forward:

SHOW ME THE IMAGES!

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.

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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.

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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.