Podcasts about crown point press

Episode 506 - Lisa F Rosenberg - Author of Fine, I'm A Terrible Person - a funny, heart wrenching, adult mother daughter storyLisa F. Rosenberg has a B.A. from U.C. Berkeley in Art History, a M.A. in Graduate Humanities and a MFA in Creative Writing from Dominican University of California. Her early professional career was in the blue-chip retail art world as a Gallerist for several prominent San Francisco art dealers including Crown Point Press and John Berggruen Gallery.She was most recently a public guide at SFMOMA and Museum Educator on staff at the Contemporary Jewish Museum in San Francisco.Her writing up until now has been in her professional life, primarily non-fiction, essays for exhibition catalogs, art criticism, tours, and public talks. Her short story, Family Footnotes, was recently featured in the summer 2024 edition of Amaranth: a journal of food writing, art and design, and she was a quarterfinalist in the Driftwood Press in house short story contest for the Spring of 2024.Fine, I'm a Terrible Person is her debut novel. Her family heritage is Rhodeslis, Ladino speaking Sephardic Jews from the island of Rhodes. Her deep affection for her cultural legacy is reflected in the novel's historical accuracy of language, cultural authenticity, and descriptions of mouthwatering cuisine.About the BookFine, I'm a Terrible Person73-year-old, worn out, former beauty, Aurora Hmans Feldenburg, a hapless, perpetually broke, eccentric, divorcee living in the wealthy enclave of Tiburon in Marin County in Northern California, is wakened by a phone call informing her that her father's widow, has died. Her last chance at solvency, she decides to drive to Los Angeles to see if there is a will. Aurora is always ready for the next get rich scheme.Aurora's high-strung daughter, 43-year-old Leyla Feldenburg Rothstein, is a hypersensitive, insecure, perfectionist, insomniac, emotionally damaged from her father's lifelong abuse and rejection. She is married to a wealthy, Jewish prince charming, investment banker who specializes in the legal Cannabis industry.Aurora and Leyla's separate quests intersect and enmesh in Los Angeles over the course of a weekend, where they both end up staying with cousins, quirky, endearing, Sephardic Jews who speak Ladino, mostly in proverbs and cook prodigious quantities of delicacies from the old country, the island of Rhodes.When Aurora's meager inheritance is stolen, she drags Leyla into a ludicrous chase. Unable to resist the pull from the trauma bond she shares with her infuriating mother, Leyla fails to adhere to her boundaries, even after years of therapy. She risks losing everything to another one of Aurora's harebrained schemes.Their entangled journeys and the chaotic, catastrophic outcome are the last straw for Leyla who must break free from her mother's toxic dependency and destructive attachment to save herself, her marriage, and her young family.https://lisafrosenberg.com/Support the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

Today I talked to Lisa F. Rosenberg about Fine, I'm a Terrible Person (Sibylline Press, 2025). The pain of 73-year-old Aurora's divorce over thirty years before continues to reverberate – she's eccentric, filled with schemes, and only able to function with help from her daughter. Born in the 500-year-old Jewish community of Rhodes, she mixes Judeo-Espanol (Ladino) aphorisms into her speech and thinks she speaks Spanish, but few can understand her. With an expired license and an ancient car, she drives to Los Angeles hoping to find a treasure after the death of her father's last wife. Aurora's daughter Leyla is also affected by her father's abrupt departure and spends her life seeking perfection, trying not to let her mother make her crazy, and striving to fit into their wealthy San Francisco community. When she learns that her husband might be having an affair, she takes her two young sons for a madcap weekend in Los Angeles where she'll have to bend a few rules, grapple with her mother, sneak into her husband's conference, and learn a bit about going with the flow. This is a charming mother-daughter novel about immigrants, overcoming family dysfunction, the cuisine of the Jewish community of Rhodes, and learning to overcome obstacles. Lisa F. Rosenberg earned a B.A. from U.C. Berkeley in Art History, an M.A. in Graduate Humanities, and an MFA in Creative Writing from the Dominican University of California. Her early professional career was in the blue-chip retail art world as a Gallerist for several prominent San Francisco art dealers including Crown Point Press and John Berggruen Gallery. She was most recently a public guide at SFMOMA and a Museum Educator on staff at the Contemporary Jewish Museum in San Francisco. Her writing up until now has been primarily non-fiction essays for exhibition catalogs, art criticism, tours, and public talks. Her short story, Family Footnotes was recently featured in the summer 2024 edition of Amaranth: a journal of food writing, art, and design, and she was a quarterfinalist in the Driftwood Press in-house short story contest for the Spring of 2024. Her family heritage is “Rhodeslis,” Ladino-speaking Sephardic Jews from the island of Rhodes. Her deep affection for her cultural legacy is reflected in the novel's historical accuracy of language, cultural authenticity, and descriptions of mouthwatering cuisine. When she is not writing, she is reading, hiking, practicing yoga, or traveling with her husband of 35 years. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I talked to Lisa F. Rosenberg about Fine, I'm a Terrible Person (Sibylline Press, 2025). The pain of 73-year-old Aurora's divorce over thirty years before continues to reverberate – she's eccentric, filled with schemes, and only able to function with help from her daughter. Born in the 500-year-old Jewish community of Rhodes, she mixes Judeo-Espanol (Ladino) aphorisms into her speech and thinks she speaks Spanish, but few can understand her. With an expired license and an ancient car, she drives to Los Angeles hoping to find a treasure after the death of her father's last wife. Aurora's daughter Leyla is also affected by her father's abrupt departure and spends her life seeking perfection, trying not to let her mother make her crazy, and striving to fit into their wealthy San Francisco community. When she learns that her husband might be having an affair, she takes her two young sons for a madcap weekend in Los Angeles where she'll have to bend a few rules, grapple with her mother, sneak into her husband's conference, and learn a bit about going with the flow. This is a charming mother-daughter novel about immigrants, overcoming family dysfunction, the cuisine of the Jewish community of Rhodes, and learning to overcome obstacles. Lisa F. Rosenberg earned a B.A. from U.C. Berkeley in Art History, an M.A. in Graduate Humanities, and an MFA in Creative Writing from the Dominican University of California. Her early professional career was in the blue-chip retail art world as a Gallerist for several prominent San Francisco art dealers including Crown Point Press and John Berggruen Gallery. She was most recently a public guide at SFMOMA and a Museum Educator on staff at the Contemporary Jewish Museum in San Francisco. Her writing up until now has been primarily non-fiction essays for exhibition catalogs, art criticism, tours, and public talks. Her short story, Family Footnotes was recently featured in the summer 2024 edition of Amaranth: a journal of food writing, art, and design, and she was a quarterfinalist in the Driftwood Press in-house short story contest for the Spring of 2024. Her family heritage is “Rhodeslis,” Ladino-speaking Sephardic Jews from the island of Rhodes. Her deep affection for her cultural legacy is reflected in the novel's historical accuracy of language, cultural authenticity, and descriptions of mouthwatering cuisine. When she is not writing, she is reading, hiking, practicing yoga, or traveling with her husband of 35 years. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

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. 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   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 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.

 In Platemark s3e21, host Ann Shafer talks with Pam Paulson, founder of Paulson Fontaine Press, Berkeley, California. After earning her MFA in painting from the San Francisco Art Institute in 1982 (she was a teaching assistant for Robert Colescott), Pam cut her teeth in printmaking at Crown Point Press in downtown San Francisco. There she worked with luminaries such as John Cage and Richard Diebenkorn. In 1996, she started publishing prints as Paulson Press. She and Renée Bott joined forces as Paulson Bott Press, and following Renée's retirement, Pam is joined by Rhea Fontaine precipitating the change in name to Paulson Fontaine Press. The Press works with a fabulous array of artists, specializing in intaglio printmaking. Our conversation focuses on some of the intriguing projects Pam has worked on over the years, leading off with projects at Crown Point with artist John Cage during which the press was set on fire (on purpose).  Episode image: Alex Wein

Yoonmi Nam is an artist whose work dances between emptiness and the frailty of things. What's left behind, and the beauty that comes from that. Yoonmi's work reminds me of the kuchi-e prints of the early twentieth century where space and soft colour creates prints that draw the viewer into the work.  In this episode of The Unfinished Print I speak with Yoonmi Nam about her mokuhanga, the materials used in her work, and what attracts her to the medium. We also go into detail about her travels around the world, the “other” and how that feeling is worked into her mokuhanga and lithography, and much much more.  Please follow The Unfinished Print and my own print work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Yoonmi Nam - website, Instagram  The Mokuhanga Sisters - are a mokuhanga collective consisting of Yoonmi Nam, Mariko Jesse, Lucy May Schofield, Melissa Schulenberg, Kate MacDonagh, Katie Baldwin, Mia-O, Patty Hudak, and Natasha Norman. Instagram Hong-Ik University - is a private university located in Seoul South Korea. More info, here.  State of Kansas - the state of Kansas was founded as a US state in 1861 and is an interesting microcosm of American history.  A long history of Native American, early settlers, the Louisiana Purchase, Brown v Board of Education etc. More info, here. Rhode Island School of Design (RISD) - one of the first independent colleges of art and design in the US and started by women. A fascinating story, more info can be found, here.  lithography - is a printing process which requires a stone or aluminum plate, and invented in the 18th Century. More info, here from the Tate.  intaglio printing - is a printing method using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here.  screen printing - also called, serigraphy, is a method of printing by using stencils forcing the ink through the screen onto paper, or other fabric. More info, here.  Mustard Seed Garden Manual of Painting - is an early-Qing Dynasty (1644 - 1912) manual focused on colour printing. More info can be found, here.  Ten Bamboo Studio - created in 1633 by Hu Zhengyan and is an early example of woodblock printing. More, info can be found here. oriental  - is a word generally used to describe area's of East and South Asia and is considered offensive and deeply rooted in colonialism.  Western Art History - has a deep and long history which cannot be described adequately in a short post. More info can be found, here.  Asian Art History - has a deep and long history which cannot be adequately described in a short post. More info can be found, here.  Toru Ueba - was a print instructor at Nagasawa Art Park, and was one of Yoonmi's instructors in 2004. The Korean War - is a war begun in 1950, and continues today, between North and South Korea. It is considered to be the first battle of the Cold War between the United States and Communism. More info, here.  Japanese Occupation of Korea - from 1910-1945, the Japanese occupation of Korea was a brutal, colonial project by the then Japanese military government under the “Greater East Asia Co-Propserity Sphere.” It was used as a an excuse by the Japanese government to colonize Korea and spread the Japanese imperial project. More info, here.  Lithographic turpentine touche wash - is a method or technique in lithography using turpentine. More info, here.  Crown Point Press - is a print shop, started in 1962 by printmaker Kathan Brown in San Fransisco. The group worked on many different types of printmaking such as etchings and even woodblock. More info, here. Nagasawa Art Park (MI Lab) Awaji City - Nagasawa Art Park was an artist-in-residence program located in Awaji City, Hyōgo Prefecture, Japan. It was open for 12 years before evolving into MI Lab in 2012. More info, here.  woodblock water based printing in Asia -  woodblock printing has been produced throughout Asia, not just Japan. China, and Korea have histories of water based woodblock printing. Some info can be found, here Shoichi Kitamura - is a woodblock carver and has been involved in MI Lab through demonstrations. More info can be found, here.  Mariko Jesse - is a mokuhanga printmaker, author, and designer. She is a member of the Mokuhanga Sisters collective, and a part of Wood+Paper+Box with Yoonmi Nam. website  Katie Baldwin - is an artist, with part of her focus being on mokuhanga, who is a member of Wood+Paper+Box and Shift-Lab. website Melissa Schulenberg - woodblock printmaker and teacher. Some of her work can be found, here.  Lucy May Schofield - is a printmaker, photographer, and scroll maker (kakemono, 掛物) and is based in England. website, Instagram. scrolls - called kakemono 掛物 or emakimono 絵巻物  in Japanese. These scrolls contain many different types of themes and subjects. More info can be found, here.  kirazuri -  is a technique in woodblock printing using mica to add a sheen to the print. Mokuhanga artist Marcia Guetschow has written about kirazuri on her website, here. shōmenzuri - which literally means “front-printing” is where the finished print is rubbed in reverse to give a polished texture. More info, here.  Borderless scroll - is the Mokuhanga Sisters collaborative scroll. Shown in Nara during the International Mokuhanga Conference, as well as at the Southern Vermont Art Center. Brexit - is the withdrawal of the UK form the EU. Sumi Fusion  - was the theme from the 2021 International Mokuhanga Conference. Arranged Flowers Series - can be found, here.  Photo lithography - is a way of creating a piece of art which transfers the photograph onto an aluminum plate or stone. More info, here.  Ikebana -  the art of flower arranging, and is a part of the three Classical Japanese arts of refinement. The others are incense appreciation (kōdō), and the tea ceremony (chadō). More info here.  Sugetsu ikebana - described as “anytime, anywhere, by anyone” is a style of ikebana which can be created wherever you may find yourself. More info can be found, here. Four Seasons series - found, here. Japanese book binding - called yotsume toji, or four hole book binding, is a style of Japanese bookbinding or the book, or scroll. There are  different variations in Korea, and China. More info, here.   Camellia flower/oil - is an oil used in beauty products but also when treating your baren. More info can be found at woodblock.com nattō - is a traditional Japanese food made of fermented soybeans and is an acquired taste. Usually served on rice in a traditional Japanese breakfast with fish and raw eggs.  Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō. website. Ozuwashi -  is a brick and mortar paper store located in the Nihonbashi district of Tōkyō. More info here. hanji - is a Korean paper made from mulberry. More info found, here. Holbein - is a pigment company based in Japan, Canada, and the United States. Their pigments are lush and strong. More info, here. Daniel Smith pigments - is a provider of pigments in watercolour, paints and oil. More info, here.  pansion paper - is a type of Japanese paper which can be used in mokuhanga. It is a heavy paper, about 89g. More info can be found at Ozuwashi, here.  shina - is a type of Japanese plywood used in mokuhanga. University of Kansas - started in 1866 and is the state's flagship university. More info, here. Penland School of Craft - is a school which welcomes students from all over the world. Located in North Carolina, the school offers eight-week workshops in many different types of mediums. More info, here.  Print Center - is a gallery and store located in Philadelphia, Pennsylvania. More info, here. Paradigm Gallery - is a gallery and studio located in Philadelphia, Pennsylvania and established in 2010. More, info here. opening and closing credit music - Spadina subway station music.  © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***        

Curator Ann Shafer looks at a set of two etchings by Kiki Smith, which she made at Crown Point Press, San Francisco. Hear how Shafer failed to acquire these pointed and poignant etchings for the collection of the Baltimore Museum of Art.

This week we sat down with Anderson Ranch Editions director and master printer Brian Shure. In our conversation, he spoke with us about his vision for printmaking at the ranch, and what the editions program can provide visiting artists and the community. Anderson Ranch Editions For decades, top contemporary artists have visited Anderson Ranch Arts Center and produced quality artwork here in our Patton Print Shop. The Anderson Ranch Editions are a collection of these prints made available for purchase exclusively by Anderson Ranch, and proceeds help support programming excellence at the Ranch. Brian Shure is a Master Printer and Director of the Anderson Ranch Editions Program as well as the Chair of the Anderson Ranch Gallery Program. Previously he was a Master Printer at Editions Press Lithography Studio and then at Crown Point Press, where he also coordinated the China Woodblock Program. He taught at the Rhode Island School of Design for 20 years.

Crown Point Press publishes the prints of five or six artists a year who are invited to complete artistic residencies that range from two weeks to six months. For this program, Brown enjoys inviting the participation of established artists in addition to those whose specialty is outside the printing sphere, such as photographer John Chiara. Spark visits with William T. Wiley, one of the leaders of the Bay Area's figurative movement, during his Crown Point Press residency in 2006. The Marin artist guides us through the making of a print, from idea to finished product.

Make a print with Marin artist William T. Wiley at Crown Point Press. Original air date: April 2007.

Kathan Brown, author of the book "Magical Secrets About Thinking Creatively: The Art of Etching and the Truth of Life," discusses how her art publishing group Crown Point Press is helping bring artists together and redefine the communication of their ideas. In a conversation with Janice Fraser, at the Adaptive Path User Experience Week, Brown tells her story of art and working with artists. Fraser, who is CEO and founding partner of Adaptive Path, discusses with Brown that in today's busy world there is little time for examining what leadership is - from a user experience point of view - in the art world. An answer to some of those concerns is the work by Brown, who recounts her experiences with artists, how they approach art as a magical, almost miraculous process. Cooperation is a primary concern at Crown Point Press, where cooperation between artists is critical. Collaboration between artists and printers is another challenge when trying to present art in the best possible way. By recounting experiences with artists and broad movements in the art world, Brown explains the magic behind creating art and what place the arts has taken in today's world.

"Social Insecurity" at Catherine Clark Gallery; Catharine Saiki and Anthony May at Hang Art; and Richard Tuttle at Crown Point Press