Podcasts about Etching

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.

Join Elevated GP: www.theelevatedgp.com Free Class II Masterclass - Click Here to Join Follow @dental_digest_podcast Instagram Follow @dr.melissa_seibert on Instagram Mark A. Latta, D.M.D., M.S., professor of general dentistry,served as dean of the School of Dentistry from 2011 to 2021.  Prior to the dean's appointment, he served as the Associate Dean for Research at Creighton University School of Dentistry since 1995.  He personally has been awarded more than 140 research grants on prosthetic dental restorative materials, adhesives and bonding and dental material clinical trials.  A speaker and lecturer of international renown, he has published more than 85 manuscripts and more than 200 abstracts and presented at numerous state and national dental association meetings and throughout the world. Prior to joining Creighton, Latta served as director of Research and Development for the Trubyte Division of Dentsply International, York, PA.  During his industrial career he contributed to or was responsible for more than 20 new dental product introductions and is an inventor or co-inventor of numerous patents.   He earned his dental degree at the University of Pennsylvania School of Dental Medicine in 1983, and his master's degree in oral biology from the University of Maryland Baltimore College of Dental Surgery in 1995. He also spent one year in hospital general practice residency at York Hospital, York, PA.   Dr. Latta, a Fellow in the American College of Dentists and the International College of Dentists is also a member of Omicron Kappa Upsilon, the national honorary dental society.  He has also served as president of the Dental Materials Group and the International Association for Dental Research.

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 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 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.

In this episode of Platemark, I interview Art Werger, a renowned printmaker and retired professor from Ohio University. We discuss Art's extensive experience and techniques in printmaking, focusing on his work in etching and mezzotint. Art shares his innovative approaches to color experimentation and his use of unique methods like double dropping, cut plates, and à la poupée inking. We also talk about Art's artistic journey, his teaching experiences, working with litho crayon and white ground techniques, and his projects, including a series of circus-related prints and illustrations for 'The Godfather.' The episode concludes with Art offering to donate prints to educators reflecting his generous spirit and commitment to the printmaking community and highlighting the importance of supporting printmaking in an era dominated by digital techniques.   Episode photo by Karla Hackenmiller   https://artwerger.com/ IG @artwerger https://www.etsy.com/market/art_werger   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 Werger (American, born 1955). Still Pictures, from a 2020 Instagram post. 99 mezzotints with mouse bites. Courtesy of the Artist. Art Werger (American, born 1955). Still Pictures, 2005. 99 mezzotints with mouse bites. 25 ½ x 25 ½ in. Courtesy of the Artist. Art Werger (American, born 1955). Exposure, 2023. 1-plate color etching and aquatint, sugar lift, white ground, and softground etching, printed twice (warm and cool colors—double drop method). Courtesy of the Artist. https://www.youtube.com/watch?v=V7P_Q9hqVuY&t=401s Carding on cool colors on Exposure, 2023. Carding on cool colors on Exposure, 2023. Art Werger (American, born 1955). The Fool, 2024. 2-plate color etching. Courtesy of the Artist. https://www.instagram.com/reel/C3LqKuhRTnd/ Art Werger (American, born 1955). The Fool, 2024. 2-plate color etching (grid inked in warm colors for color tests). Courtesy of the Artist. Art Werger (American, born 1955). The Fool, 2024. 2-plate color etching (grid inked in cool colors for color tests). Courtesy of the Artist. Art Werger (American, born 1955). The Staggering Shambonys, 1981. Color etching and aquatint. Courtesy of the Artist. Art Werger (American, born 1955). Don't Invite the Ringlings to Dinner, 2024. Color etching. 22 x 17 in. Courtesy of the Artist. Art Werger (American, born 1955). Binge and Purge from The Godfather, 2024. Mezzotint. 9 ½ x 6 ¼ in. Courtesy of the Artist. Art Werger (American, born 1955). Circus, 2024. Color etching (6 cut plates). 18 x 22 in. Courtesy of the Artist. A la poupée inking cut plate for Circus, 2024. Courtesy of the Artist. Stencil inking cut plate for Circus, 2024. Courtesy of the Artist. Art Werger (American, born 1955). Balance, 2024. Color etching. 20 x 13 in. Courtesy of the Artist. Jonathan Beaumont Thomas (American, born 1973). Hibiscus, 2021/22. Color etching and aquatint. Courtesy of the Artist. Art Werger (American, born 1955). Montauk drawings, 2023. Prismacolor pencils on black paper. Courtesy of the Artist. Art Werger (American, born 1955). Nocturnal, 2024. Etching. 29 x 22 in. Courtesy of the Artist. Art Werger (American, born 1955). McMansions, 2019. Aquatint. 18 x 16 in. Courtesy of the Artist. Art Werger (American, born 1955). The Godfather, 2024. Portfolio of 16 mezzotints. Courtesy of the Artist.

In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art.  We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society's faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment. Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. Useful Links Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris. Inigo Jones (British, 1573–1652). Banqueting House, 1622. London. William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 paintings. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London. After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master's Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis. William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.

In this History of Western Prints (HoP) episode, Tru and I begin to explore the life and work of William Hogarth, the first British artist featured on Platemark's HoP series. Hogarth, renowned as the father of Western sequential art, is discussed through detailed analyses of three of his best known series: A Harlot's Progress, A Rake's Progress, and Marriage A-la-Mode. The episode delves into 18th-century London's morality, capturing the societal and artistic context of Hogarth's work. Highlights include discussions on the intricacies of Hogarth's prints, his depiction of social issues, the impact of his work on English law (copyright laws finally established!), and his mixed successes in various art forms. This first of two episodes on Hogarth sets the stage for part two when we look at his images around elections in Enlightenment England. Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ  Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF  Beer Street and Gin Lane video from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY 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   After Anton von Maron (Austrian, 1733–1808). Johann Winkelmann, after 1768. Engraving. After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. William Hogarth (British, 1697–1764). The Painter and his Pug, 1745. Oil on canvas. 35.4 x 27.5 cm. Tate Britain, London. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 × 38.5 cm. (19.5 in × 15.2 in.). Louvre, Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. Louvre, Paris. The Banqueting House, London. Saint Paul's Church, London. William Hogarth (British, 1697–1764). Self-Portrait, c. 1735. Oil on canvas. 21 1/2 x 20 in. (54.6 x 50.8 cm.). Yale Center for British Art, New Haven. William Hogarth (British, 1697–1764). An Emblematic Print on the South Sea, late 18th century. Engraving and Etching. Plate: 10 13/16 x 13 3/8 in. (27.4 x 33.9 cm.); sheet: 11 5/16 x 14 in. (28.7 x 35.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 1, 1732 or before. Etching and engraving. Sheet: 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. Chart identifying elements in Harlot's Progress Plate 1. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 2, 1732 or before. Etching and engraving. Sheet: 12 3/8 x 14 13/16 in. (31.4 x 37.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 3, 1732 or before. Etching and engraving. Sheet: 12 11/16 x 15 3/8 in. (32.2 x 39 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 4, 1732 or before. Etching and engraving. Sheet: 13 1/8 x 15 3/16 in. (33.3 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 5, 1732 or before. Etching and engraving. Sheet: 13 3/8 x 16 3/16 in. (34 x 41.1 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 6, 1732 or before. Etching and engraving. Sheet: 12 1/2 x 15 3/16 in. (31.7 x 38.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 1, 1735. Etching and engraving. Sheet: 15 13/16 x 19 1/16 in. (40.2 x 48.4 cm.). Metropolitan Museum of Art, New York. Gérard Jean-Baptiste Scotin (French, Paris 1698–after 1755), after William Hogarth (British, 1697–1764). A Rake's Progress, Plate 2, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 3, 1735. Etching and engraving. Sheet: 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 4, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36.1 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 5, 1735. Etching and engraving. Sheet: 15 5/8 x 18 13/16 in. (39.7 x 47.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 6, 1735. Etching and engraving. Sheet: 14 x 16 in. (35.5 x 40.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 7, 1735. Etching and engraving. Sheet: 15 5/8 x 18 3/4 in. (39.7 x 47.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 8, 1735. Etching and engraving. Sheet: 15 9/16 x 18 13/16 in. (39.6 x 47.8 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Eight oil on canvas paintings. Sir John Soane's Museum, London. Louis-François Roubiliac (French, 1702–1762). William Hogarth, c. 1741. Terracotta bust. Overall: 28 1/2 x 17 3/4 in. (72.4 x 45.2 cm.). National Portrait Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 1, The Marriage Settlement, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 2, The Tête-à-Tête, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 3, The Inspection, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 4, The Toilette, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 5, The Bagnio, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 6, The Lady's Death, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. Gérard Jean-Baptiste Scotin (French, 1698–after 1755), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 1, 1745. Etching and engraving. Sheet: 15 3/16 x 18 5/16 in. (38.5 x 46.5 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 2, 1745. Etching and engraving. Sheet: 15 1/16 x 18 1/4 in. (38.3 x 46.3 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 3, 1745. Etching and engraving. Plate: 15 3/8 x 18 1/2 in. (39 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 4, 1745. Etching and engraving. Plate: 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 5, 1745. Etching and engraving. Plate: 15 1/4 x 18 7/16 in. (38.8 x 46.9 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 6, 1745. Engraving. Plate: 15 3/16 x 18 3/8 in. (38.6 x 46.7 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.

In s3e67 of Platemark, I talk with Amy Namowitz Worthen, a distinguished engraver and curator, about her lifelong journey in printmaking. Influenced early by her artist mother, she pursued art education at Smith College and the University of Iowa, honing her artistic skills under Leonard Baskin and Mauricio Lasansky. Amy's career is marked by multi-faceted contributions to printmaking, including prestigious curatorial positions at Des Moines Art Center, along with helping to establish its Print Club. Her work bridges historical and contemporary practices, with publications and collaborations spanning across the globe, notably in Venice. Personal experiences, including significant tragedies, deeply influenced her art, shaping unique series and projects. Amy's legacy is celebrated through her continued involvement in the art community and her influential prints, which are showcased and valued internationally. Useful links FB https://www.facebook.com/amy.worthen IG @amynamowitzworthen Link to Hayter film: https://www.youtube.com/watch?v=wUIM9ZiMqzw Platemark links 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 Leonard Baskin (American, 1922–2000). Man of Peace, 1952. Woodcut. Image: 59 5/8 x 30 7/8 in. (151.5 x 78.5 cm.). Metropolitan Museum of Art, New York. Amy N. Worthen at the Scuola Internazionale de Grafica di Venezia, 1989. Courtesy of the Artist. View from Amy N. Worthen's Venice apartment. Courtesy of the Artist. Amy N. Worthen (American, born 1946). My Wisteria 25, 2023. India ink on Seichosen Tosa Kozo paper. 55 x 29 ½ in. Olson Larsen Gallery, Des Moines. Amy N. Worthen (American, born 1946). My Wisteria, Venice: Summer Shadows and Sunlight. View from my terrace looking towards Palazzo Zane Collalto, Ponte sant'Agostin, and Palazzo Morosini degli Spezieri (W. japonica floribunda macrobotrys), 2022/2023. India ink on Seichosen Tosa Kozo paper. 55 x 29 ½ in. Olson Larsen Gallery, Des Moines. Amy N. Worthen (American, born 1946). My Wisteria,Venice: Last year's seed pods, budding and flowering racemes, a falling blossom, terrace view towards Ponte sant'Agostin (W. japonica floribunda macrobotrys), 2023. India ink and watercolor. 30 x 22 in. Olson Larsen Gallery, Des Moines. Jacques Bellange (French, c. 1575–1616). Pietà, 1615. Etching with stippling and engraving. Sheet (trimmed): 12 3/16 × 7 13/16 in. (31 × 19.8 cm). Metropolitan Museum of Art, New York. Giorgio Morandi (Italian, 1890–1964). Natura morta a grandi segni, 1931. Etching. Plate: 9 5/8 x 12 1/2 in. (24.4 x 31.8 cm.); sheet: 15 1/8 x 20 in. (38.4 x 50.8 cm.). Metropolitan Museum of Art, New York. Amy N. Worthen (American, born 1946). Strumenti d'Incisione (Engraving Tools), 1995. Engraving, roulette, and mezzotint. Plate: 7 3/8 x 6 in. (18.9 x 15.6 cm.). Courtesy of the Artist. Amy N. Worthen in her home studio, Des Moines. Courtesy of the Artist. Amy N. Worthen (American, born 1946). The Law Library, from the series Real and Imagined Aspects of the Iowa State Capitol, 1977. Etching. Plate: 17 ½ x 14 ½ in. (44.5 x 36.8 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Terrace Hill with Peacock, 2008. Engraving. Plate: 13 7/8 x 16 ½ in. (35 x 42 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Sotoportego Pisano, from the series Sotoporteghi Veneziani, 1994. Engraving. 9 x 7 7/8 in. (22.7 x 20 cm.). Olson Larsen Gallery, Des Moines. Antonio del Pollaiuolo (Italian, 1431/32–1498). Battle of the Nudes, 1470s–80s. Engraving. Sheet: 42.4 x 60.9 cm. (16 11/16 x 24 in.); plate: 42 x 60.4 cm. (16 9/16 x 23 3/4 in.). The Cleveland Museum of Art. Amy N. Worthen (American, born 1946). House in Ruins, 1986. Engraving. Plate: 16 ¾ x 13 7/8 in. (42.5 x 35.3 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). House of Emblems, 1988. Engraving, roulette, and mezzotint. Plate: 24 x 18 in. (61 x 45.7 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Vanitas, 1987. Engraving. Plate: 14 ¾ x 11 7/8 in. (37 x 30.4 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). A Sphinx Fountain, 1971. Engraving. Plate: 14 1/8 x 12 ½ in. (36 x 31.7 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Melancolia II, 1973. Engraving. Plate: 8 1/8 x 14 7/8 in. (20.5 x 38 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). The Supreme Court, from the series Real and Imagined Aspects of the Iowa State Capitol, 1977. Engraving and etching. Plate: 13 7/8 x 16 ¾ in. (35.2 x 42.5 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). An Iowa Valentine, 1990. Engraving with hand coloring. Plate: 6 7/8 x 5 in. (17.5 x 12.7 cm.). Olson Larsen Gallery, Des Moines. Amy N. Worthen (American, born 1946). Iowa Alphabet, 1990. 25 engravings with watercolor. Overall: 19 7/8 x 15 in. (50.1 x 38.1 cm.). Courtesy of the Artist. Amy N. Worthen (American, born 1946). Iowa Alphabet: VOTE, 2020. Engraving printed in blue. Courtesy of the Artist. Amy N. Worthen (American, born 1946). Iowa Alphabet: VOTE, 2020. Engraving printed in blue with watercolor. Courtesy of the Artist. Amy N. Worthen (American, born 1946). Billboard with Iowa Alphabet: VOTE, 2020. Courtesy of the Artist. Get-Out-The-Vote postcards featuring Amy N. Worthen's Iowa Alphabet: VOTE, 2020. Courtesy of the Artist. Amy N. Worthen speaks in front of her Wisteria drawings at Olson Larsen Gallery, Des Moines, 2023. Courtesy of the Artist.

In this moving episode, we share an unforgettable story from Mark Eaton, author of And I Heard the Mourner Say. Join us as we journey through the life of Elijah, a young artist facing a devastating diagnosis of early-onset macular degeneration. With each fading sight, Elijah confronts the frailty of his dreams, the haunting beauty of memory, and the resilient hope that lights his darkest days. Listen as he strives to capture beauty without sight, leaving behind a legacy of raw, unflinching art that speaks to the soul.

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In this episode, host Mavi Rodriguez is joined by board-certified plastic surgeon Dr. Raja Mohan from Dallas, TX, to dive deep into the world of male ab etching and liposuction. Dr. Mohan explains the differences between high-definition and low-definition liposuction, and the growing trend of "Pilates bodies." He also sheds light on the critical importance of board certification, walking listeners through the certification process and why it's essential to choose a surgeon with the right credentials and experience. Dr. Mohan stresses the dangers of following plastic surgery trends without proper research and gives practical advice on how to verify a surgeon's certification.Whether you're considering body contouring procedures or just want to learn more about choosing the right plastic surgeon, this episode offers expert insights to help you make informed decisions. Tune in for everything you need to know about male ab etching, liposuction, and board certifications!For more information on Dr. Raja Mohan, visit www.rajamohanmd.com.Do you want help planning your surgery? Book a discovery call with Mavi Rodriguez. Join our online community! Visit our website www.bigbuttsnolies.com Plastic Surgery Podcast (@bigbuttsnoliespodcast) • Instagram photos and videosWatch the episodes on YouTube

Even in the holidays, TXDawg can feel your burning hell,Etching up rusty maps that take you to nowhere.CREDITS:David Ault as Ty BetteridgeLINKS:STICKERS/MAGNETS: https://ko-fi.com/woebegonepod/shopTWITCH: http://twitch.tv/woebegonepodPATREON: http://patreon.com/woe_begoneALIZA SCHULTZ: https://shows.acast.com/the-diary-of-aliza-schultzTRANSCRIPTS: http://WOEBEGONEPOD.comTWITTER: @WOEBEGONEPODMUSIC: http://woebegonepod.bandcamp.comDISCORD: https://discord.gg/pn9kjTBYPD Hosted on Acast. See acast.com/privacy for more information.

In this History of Prints episode of Platemark, host Ann Shafer and subject matter expert Tru Ludwig explore the extraordinary life and legacy of Maria Sibylla Merian. Celebrated for her pioneering work on insect metamorphosis and her detailed illustrations of flora and fauna, Merian's journey took her to Suriname where she documented local species with the help of native people and slaves. Despite the societal constraints of the 17th century, she made significant contributions to both science and art, influencing future generations. The discussion also situates her achievements within the broader context of the Enlightenment and printmaking evolution, drawing comparisons with other naturalists like Audubon. The episode concludes with a teaser for an upcoming feature on William Hogarth, noted for his political satire. George Peabody Library, Baltimore, MD. Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust. Maria Sibylla Merian (Dutch, 1647–1717) on the 500 Deutsche Mark. Maria Sibylla Merian (Dutch, 1647–1717) on a German postage stamp. Jacob Marrel (German, 1613–1681). Portrait of Maria Sibylla Merian, 1679. Oil on canvas. 59 x 50.5 cm. Kunstmuseum Basel. [DETAIL] Joachim von Sandrart I (German, 1606–1688) and Philipp Kilian (German, 1628–1693). Detail of Portraits of Michel le Blond, Aegidius Sadeler, Georg Petele, Matthaus Merian, Renbrant a Rhen, Carol Screta, c. 1683. Engraving. Plate: 12 1/4 × 7 7/8 in. (31.1 × 20 cm.); sheet: 12 3/4 × 8 3/8 in. (32.4 × 21.3 cm.). Detroit Institute of Arts, Detroit. Wenceslaus Hollar (Flemish, 1607–1677). Muff with a band of brocade, 1647. Etching. Plate: 11.3 x 8.3 cm. Museum of New Zealand Te Papa Tongarewa, Wellington,  New Zealand. Matthäus Merian (Swiss, 1593–1650). Todten-Tantz Wie derselbe in der Weitberümbten Statt Basel als ein Spiegel Menschlicher beschaffenheit gantz Künstlich mit Lebendigen Farben Gemahlet, nicht ohne nutzliche Verwunderung zusehen ist. Basel: Mieg, 1621. Thüringer Landesmuseum Heidecksburg. Jacob Marrel (German, 1613–1681). Four Tulips: (Boterman, Joncker, Grote geplumaceerde, and Voorwint), c. 1635–45. Watercolor on vellum. 13 3/8 x 17 11/16 in. Metropolitan Museum of Art, New York. Rachel Ruysch (Dutch, 1664–1750). Festoon with Flowers and Fruit, 1682. Oil on canvas. 38 x 33 cm. National Gallery of Prague. Maria Sibylla Merian (Dutch, 1647–1717 ). Plate 5 from volume 1 of Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679. Jan Goedaert (German, 1617–1668). Study for and engraving of metamorphosis of a moth. Tru Ludwig (American, born 1959). Dumb Luck, 2009. Two-plate etching, printed à la poupée. Plate: 37 ½ x 27 in.; sheet (42 x 30 in.). Courtesy of the Artist. Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving with hand coloring, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.   Maria Sibylla Merian (Dutch, 1647–1717). Neues Blumenbuch. Nuremberg: self-published, 1680. Maria Sibylla Merian (Dutch, 1647–1717). Blumenbuch. Nuremberg: Johann Andreas Graff, 1675. Maria Sibylla Merian (Dutch, 1647–1717). Illustration of a Turk's cap lily (Lilium superbum) from Merian's New Book of Flowers, 1680. Maria Sibylla Merian (Dutch, 1647–1717). Titlepage from Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679. Jim Dine (American, born 1935). The Temple of Flora, 1984. San Francisco, Arion Press, 1984. Maria Sibylla Merian (Dutch, 1647–1717). A Pineapple Surrounded by Cockroaches, c. 1701–05. Watercolor and gouache on vellum. British Museum, London. Maria Sibylla Merian (Dutch, 1647–1717). Merian's 'forest rat' or opossum (Didelphimorphia) carrying her young. Detail from plate 66 of Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (frog) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, 1702–03. Watercolor and gouache with gum arabic over lightly etched outlines on vellum. 43.5 x 28.8 cm. Royal Collection Trust, London. Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, from the book, Metamorphosis Insectorum Surinamensis. Amsterdam: Johannes Oosterwyk, 1718. Maria Sibylla Merian (Dutch, 1647–1717). Plate (praying mantes) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. [DETAIL] Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (croc eating snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (pineapple and cockroaches) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Watercolor study of Toucan for Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (black tegu) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.  Thomas Bewick (British, 1753–1828). Title page from History of British Birds. Newcastle: Beilby & Bewick, 1797. Thomas Bewick (British, 1753–1828). Title page from The Supplement to the History of British Birds. London: Longman and Co., 1821. Dr. Robert Thorton (British). Flowering Cereus from The Temple of Flora, 1807. Color mezzotint. London: self-published, 1812. Sotheby's auction house workers David Goldthorpe, left, and Mary Engleheart, go through a rare copy of a book of illustrations by John James Audubon's Birds of America, in central London, Thursday Sept. 9, 2010. (AP / Lefteris Pitarakis) John James Audobon (French-American, 1785–1851). The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Flamingo fron The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Carolina Parakeets from The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Northern Loons The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Hawks eating dinner from The Birds of America. London: self-published, 1827–38.      

As a 3rd year dental student, Mohammed wonders if the protocols that he's learning in dental school are applicable to real life. He sat down to interview Alan Mead about "real life dentistry."  Bonding protocols in real life Etching vs. self etch Alcohol vs. acetone based bonding agents Composite wedging and matrices Heated composite and "snowplow" Indirect workflow and lab communication Diagnosing cracked teeth/cracked tooth syndrome How do you know when a tooth is unrestorable? Some links from the show: Ultradent Peak Universal Ivoclar Adhese Universal Garrison Composi-tight Full Curve3D Fusion Sectional matrices Bioclear Evolve posterior matrices Garrison Composi-tight 3D Fusion Matrix Rings Bioclear Diamond Wedges DeNovo Preformed Matrix bands Bioclear HeatSync heater Cosmedent Renamel De-Mark flowable GC G-aenial Flo X Bulk EZ Cosmedent's Cosmecore Medit i700 Template and TempTray Traxodent Premier Knit Pack cord Itena Dentotemp Fuji Plus cement Join the Very Dental Facebook group using the password "Timmerman," Hornbrook" or "McWethy," "Papa Randy" or "Lipscomb!" The Very Dental Podcast network is and will remain free to download. If you'd like to support the shows you love at Very Dental then show a little love to the people that support us! -- Crazy Dental has everything you need from cotton rolls to equipment and everything in between and the best prices you'll find anywhere! If you head over to verydentalpodcast.com/crazy and use coupon code “VERYDENTAL10” you'll get another 10% off your order! Go save yourself some money and support the show all at the same time! -- The Wonderist Agency is basically a one stop shop for marketing your practice and your brand. From logo redesign to a full service marketing plan, the folks at Wonderist have you covered! Go check them out at verydentalpodcast.com/wonderist! -- Enova Illumination makes the very best in loupes and headlights, including their new ergonomic angled prism loupes! They also distribute loupe mounted cameras and even the amazing line of Zumax microscopes! If you want to help out the podcast while upping your magnification and headlight game, you need to head over to verydentalpodcast.com/enova to see their whole line of products! -- CAD-Ray offers the best service on a wide variety of digital scanners, printers, mills and even  their very own browser based design software, Clinux! CAD-Ray has been a huge supporter of the Very Dental Podcast Network and I can tell you that you'll get no better service on everything digital dentistry than the folks from CAD-Ray. Go check them out at verydentalpodcast.com/CADRay!  

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

Exploring Poetry with Jamie McKendrick: Memory, Mortality, and ArtIn this episode of 'Words That Burn', host Ben interviews Jamie McKendrick, one of Britain's leading poets and a foremost translator of Italian poetry. They walk through McKendrick's newest collection, 'Drypoint,' discussing themes of memory, mortality, art, and the intricate processes behind poetry writing. McKendrick shares insights into his fascination with etching, his (sometimes) laborious poetry process, and the interplay of ancient mythology with modern life. The episode also touches on broader themes like the nature of borders, the role of poetry in contemporary times, and the ecological concerns reflected in his work.[00:00] Introduction to the Interview[00:47] The Art of Etching and Poetry[03:52] Themes of Memory and Mortality[05:37] Crafting Poetry: Process and Criticism[12:08] Intertextuality and Influences[27:04] Liverpool's Influence and Historical Context[30:17] Exploring Borders and Ownership[34:44] Nature and Mythology in Poetry[38:15] Conclusion and Final ThoughtsIf you enjoyed this interview, or know someone who might, please consider sending it to them directly or leaving me a review wherever you listen.Follow the Podcast:Read the Script on SubstackFollow the Podcast On InstagramFollow the Podcast on X/TwitterFollow the Podcast on Tiktok Hosted on Acast. See acast.com/privacy for more information.

Bird poops suck, heres how I stop them.  The Gloss Boss: https://jimbosdetailing.com/products/the-gloss-boss The Product I Wish Existed...  the Pod and get the Jimbo's Detailing Products: https://jimbosdetailing.com/ or on Amazon - https://amzn.to/3QAhoM6 use code 'PODCAST' for FREE shipping.  Watch the torture test video: https://www.youtube.com/watch?v=OmE-1XArSwA&t=2s SUBSCRIBE TO MY CHANNEL: https://www.youtube.com/user/jbalaam?sub_confirmation=1  CONNECT WITH JIMBO: INSTAGRAM: https://www.instagram.com/jimbobalaam/ PODCAST: http://www.AutoDetailingPodcast.com FACEBOOK: http://www.Facebook.com/AutoDetailingPodcast or http://www.facebook.com/jimbo.balaam

Enlightenment publications on human anatomy changed the way artists understood their place in the world. Check out these examples of life-changing images brought to you by prints in books!   In s2e31 of Platemark's History of Prints series, Tru and Ann continue their discussion of the Enlightenment. This time they look at several publications that put forward new discoveries about human anatomy: William Hunter's The Anatomy of the Human Gravid Uterus, Bernhard Siegfried Albinus' Tabulae sceleti et musculorum corporis humani, and Jacques Fabien Gautier d'Agoty's Myologie complette en couleur et grandeur naturelle. They conclude with Denis Diderot's Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, a 17-volume tome that attempted to define and codify all of human knowledge.   At the end of the episode, Ann and Tru wax philosophical about how incredible this blossoming of human knowledge is, and how talking about it makes each of them think about our place as humans on the planet. It gets a bit deep, but worthwhile. A. Hadamart. Exhibition of the Royal Academy of Painting and Sculpture in the Grande Galerie of the Louvre, 1699. Engraving. Gabriel de Saint-Aubin (French, 1724–1780). Vue du Louvre en l'année 1753, 1753. Etching. Plate: 5 13/16 x 7 1/8 in. (14.8 x 18.1 cm.); sheet: 6 ¼ x 7 5/8 in. (15.8 x 19.3 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1785, 1785. Etching. Plate: 10 7/8 x 19 1/8 in. (27.6 x 48.6 cm.); sheet: 14 1/4 x 20 3/4 in. (36.2 x 52.7 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1787, 1787. Etching. Plate: 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). The Exhibition of the Royal Academy 1787, 1787. Engraving. Plate: 36.1 x 49.9 cm. British Museum, London. Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris. Sir Joshua Reynolds (British, 1723–1792). Lady Sarah Bunbury Sacrificing to Graces, 1765. Oil on canvas. 242.6 × 151.5 cm. (95 1/2 × 59 3/4 in.). Art Institute of Chicago. Sir Joshua Reynolds (British, 1723–1792). Lord Heathfield of Gibraltar, 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London. Pietro Antonio Martini (Italian, 1738–1797). Salon de 1787: view of the Salon Carre at the Louvre during the painting exhibition in Paris, 1852. Engraving. From Frank Leslie's Popular Monthly. Jean-Antoine Houdon (French, 1741–1828). Voltaire Seated, 1781. Terra-cotta. 120 cm. tall. Musée Fabre, Montpellier. Jean Honoré Fragonard (French, 1732–1806). Les hasards heureux de l'escarpolette (The Swing), c. 1767–68. Oil on canvas. 81 x 64.2 cm. The Wallace Collection, London. Jean-Antoine Houdon (French, 1741–1828). Benjamin Franklin, 1778. Marble. 23 1/8 × 14 1/2 × 11 1/4 in. Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague. William Hunter (British, 1718–1783). Title page from The Anatomy of the Human Gravid Uterus. Birmingham: John Baskerville, 1774. Jan van Rymsdyk (Dutch, c. 1730–1790). Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the female genetalia and fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London. Roman copy of Greek marble. The Dying Gaul, late 3rd century BCE. Marble. Capitoline Museums, Rome. William Pink (British, 1809–1857), after Agostini Carlini (British, born Italy, c. 1718–1790). Smugglerius, c. 1834. Plaster. Royal Academy of Arts, London. Thomas Banks (British, 1735–1805). Anatomical Crucifixion (James Legg), 1801. Plaster cast. Royal Academy of Arts, London. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Title page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.  Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.  Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.  Leonardo da Vinci (Italian, 1452–1519). Sketchbook page, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.  Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London. Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.  Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.  Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie générale des viscères. Paris: 1752. Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London. Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie des parties de la génération de l'homme et de la femme. Paris, 1773.' Pregnant Woman Jean-Antoine Houdon (French, 1741–1828). Denis Diderot (1713–1784), 1773. Marble. Height (bust): 15 3/4 in. (40 cm.); height (stand): 4 11/16 in. (11.9 cm.). Metropolitan Museum of Art, New York. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Anatomy pages from the Encyclopedia Britannia, 1963. Flags pages from the Encyclopedia Britannia, 1963. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.

In Platemark's History of Prints series, we are leaving the Baroque behind and are turning to the Enlightenment. The late seventeenth and eighteenth century is a fascinating time when social ideas focused on the value of knowledge in all sectors. Rationalism and empiricism led to the scientific revolution, the separation of church and state, literary salons, and for the purposes of this episode, art academies. The era saw the establishment of taxonomies, dictionaries, encyclopedias, and studies of foreign cultures. The results of all of these studies led to both good and bad, leading Tru and I to discuss alternate terms for the era beyond the Enlightenment: the Endarkenment and the Enwhitenment. Listen in as we parse out this fascinating moment in history.   You can listen to Platemark or watch a video version. Links to all the possibilities are on the episode page at www.platemarkpodcast.com.   George Peabody Library, Johns Hopkins University, Baltimore. Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Aerial view of Versailles. Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris. Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles. Façade of the Louvre Museum. Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago. Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust. Raphael (Italian, 1483–1520). School of Athens, 1509–11. Stanza della Segnatura, Apostolic Palace, Vatican. Roman. Laocoön and His Sons, 27 BCE–68 CE. Marble. 208 × 163 × 112 cm. (82 × 64 × 44 in.). Museo Pio-Clementino, Vatican City.   Wax ecorché figure. Science Museum, London. Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London. Anton von Maron (German, 1733–1808). Portrait of Johann Joachim Winkelmann, 1767. Oil on canvas. 136 x 99 cm. (53 ½ x 38 7/8 in.). Collection of Schloss Weimar, Weimar, Germany. Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris. Jan van Riemsdyck, Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving. 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. Denis Diderot (French, 1713–1784). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris : André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

How will Falk and his special guest star cope without a narrator? How many wall angles does this polygon have? You do everything a child says? Listen to find out!No Large Bills, episode 107 of This Gun in My Hand, was created from dues paid by one person, Rob Northrup. This episode and all others are available on Youtube with automatically-generated closed captions of dialog. Visit http://ThisGuninMyHand.blogspot.com for credits, show notes, archives, and to buy my books, such as Little Heist in the Big Woods and Other Revisionist Atrocities. What keeps me from paying ransom with large bills? Being broke. And also – This Gun in My Hand!Show Notes:1. Enjoy ZaSu Pitts in The Crooked Circle (1932)https://youtu.be/mH--iCfpMqk?si=gnz_vRf7OqVu5eYMSo's Your Aunt Emma! (1942)https://youtu.be/yv4HtlLmgeg?si=mWRSID-fboPfAp76 2. During my experience of the 1980s, Thursday night at 8 o'clock was time for Michigan Outdoors on your local PBS station, one of my dad's favorite shows. Astro Police were inspired by the announcer on the radio series Space Patrol (1952-1955), and their activities were inspired by the Dead Kennedys song “Police Truck” (1980) and the rather problematic James Caan and Alan Arkin film which set the standard for buddy cop movies, Freebie and the Bean (1974). 3. Wikipedia says bungalows are single story. I just throw out architectural terms that sound legit. What's ranch style? What's Tudor? What's a “cornice?” I have no idea.4. Actual old time radio dramas name-checked in this episode: Jack Armstrong, The All-American Boy; The Air Adventures of Jimmie Allen. Not actual old time radio shows: Little Orphan Ayn; Father Clogin; InfoMars with Alex Johansen; Astro Police.  Credits:The opening and middle theme music clips were from The Sun Sets at Dawn (1950); the music used in the Astro Police ad was from Chapter ten of Flash Gordon's Trip to Mars (1938); and the closing music was from Killer Bait (1949), all three films in the public domain. Most of the music and sound effects used in the episode are modified or incomplete versions of the originals.Sound Effect Title: Striking a Match, Burning, Extinguishing By nebulousflynnLicense: Creative Commons Attribution 4.0https://freesound.org/s/221554/ Sound Effect Title: Whoosh02.wavLicense: Public Domainhttps://freesound.org/people/kingsrow/sounds/181578/Sound Effect Title: footsteps cellar.wavLicense: Public Domainhttps://freesound.org/people/gecop/sounds/545030/Sound Effect Title: Deep Space Ship EffectBy hykenfreakLicense: Creative Commons Attribution 4.0https://freesound.org/s/214663/Sound Effect Title: House Front Door Inside 3.wavLicense: Public domainhttps://freesound.org/people/saturdaysoundguy/sounds/388027/# Sound Effect Title: Victorian Twist Doorbell 01License: Public Domainhttps://freesound.org/people/Dionysuspsi/sounds/464230/Song Title: Sassy Jazzy By LaFaenaLicense: Creative Commons Attribution 4.0 International Licensehttps://freemusicarchive.org/music/lafaena/not-shift-free-will/sassy-jazzy/Sound Effect Title: knock-window-glass.aiff By stereostereoLicense: Creative Commons Attribution 4.0 https://freesound.org/s/124536/Sound Effect Title: Cutlery drawerLicense: Public Domainhttp://soundbible.com/591-Cutlery-Drawer.htmlSound Effect Title: Glass Bottle Breaking License: Public Domainhttps://freesound.org/people/IENBA/sounds/607910/Sound Effect Title: Gun FireBy GoodSoundForYouLicense: Creative Commons Attribution 3.0http://soundbible.com/1998-Gun-Fire.htmlSound Effect Title: G28-27-Crowd Fast Walla Applause.wavLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/438387/The image accompanying this episode is a modified detail of the front of a 1928 two dollar bill, and both sides of a 1928 one dollar bill.

In s3e60 of Platemark, podcast host Ann Shafer speaks with Ron Rumford, director of Dolan/Maxwell, a private gallery in Philadelphia. Dolan/Maxwell deals in 20th century art, with a particular specialty in the prints of Stanley William Hayter and the associated artists of Atelier 17, as well as Black artists of the same era, such as Bob Blackburn, Norma Morgan, Elizabeth Catlett, Ed Clark and more. While they could have spent the entire time talking about Hayter (they'll get to that in the History of Prints series), Ron wanted to highlight an exhibition focused on Dox Thrash, which is on view at the African American Museum of Philadelphia through August 4, 2024.   They talk about Thrash and his invention of the carborundum mezzotint, Bob Blackburn's Printmaking Workshop and its relationship to Atelier 17 and Hayter, the monumental importance of the WPA printmaking division, and Ballinglen, an artist residency and gallery founded by Peter Maxwell and Margo Dolan in Ballycastle, a tiny farming town in County Mayo, Ireland.   Dox Thrash (American, 1893–1965). Sunday Morning, c. 1939. Etching. Sheet: 12 5/8 x 10 5/8 in.; plate: 8 7/8 x 7 7/8 in. Metropolitan Museum of Art, New York. L-R: Krishna Reddy, Stanley William Hayter, Robert Blackburn, and friend, 1980s, at Reddy's studio. Hayter at the press with lithography press behind him, Atelier 17 in New York. Photo of Pennerton West with fellow artists including Augusta Savage and Norman Lewis. Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Georgia Cotton Crop, c. 1944–45. Carborundum mezzotint. Plate: 8 7/16 x 9 7/8 in.; sheet: 11 ¼ x 11 3/4. in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Ebony Joe, c. 1939. Lithograph. Sheet: 10 5/8 x 8 7/8 in. Saint Louis Art Museum, St. Louis. Dox Thrash (American, 1893–1965). Octoroon (Study for a Lithograph), c. 1939. Brush and ink wash over graphite. Sheet: 16 7/8 x 12 ¼ in. Philadelphia Museum of Art, Philadelphia. Dox Thrash (American, 1893–1965). Octoroon, c. 1939. Lithograph. Sheet: 22 13/16 x 11 9/16 in. Collection of John Warren, Philadelphia. Dox Thrash (American, 1893–1965). Charlot, c. 1938–39. Carborundum mezzotint. Plate: 8 15/16 x 6 15/16 in. Dolan/Maxwell, Philadelphia. Michael Gallagher (American, 1895–1965). Lackawanna Valley, 1938. Carborundum mezzotint. Plate: 7 3/8 x 12 11/16 in.; sheet: 9 3/8 x 14 in. Philadelphia Museum of Art, Philadelphia.   Hugh Mesibov (American, 1916–2016). Homeless, 1938. Carborundum mezzotint. Plate: 5 3/8 x 10 3/8 in. Pennsylvania Academy of Fine Arts, Philadelphia. Dox Thrash (American, 1893–1965). One Horse Farmer, c. 1944–48. Carborundum mezzotint. 9 x 6 in. National Museum of American History, Smithsonian Institution, Washington, D.C. John Ruskin (British, 1819–1900). The Garden of San Miniato near Florence, 1845. Watercolor and pen and black ink, heightened with whie gouache, over graphite. Sheet: 13 7/16 x 19 3/8 in. National Gallery of Art, Washington, D.C. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio). Sheet: 495 x 647 mm. (19 1/2 x 25 1/2 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), and green (screen, relief). Sheet: 460 x 660 mm. (18 1/8 x 26 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving and softground etching; printed in black (intaglio), orange (screen, relief), and purple (screen, relief). Sheet: 510 x 666 mm. (20 1/16 x 26 1/4 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), green (screen, relief), orange (screen, relief), and purple (screen, relief). Sheet: 488 x 668 mm. (19 3/16 x 26 5/16 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.       Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland. USEFUL LINKS Imprint: Dox Thrash, Black Life, and American Culture. African American Museum in Philadelphia, March 23–August 4, 2024. https://www.aampmuseum.org/current-exhibitions.html John Ittmann. Dox Thrash: An African American Master Printmaker Rediscovered. Philadelphia: Philadelphia Museum of Art, 2001.  https://archive.org/details/doxthrashafrican00ittm Dox Thrash House, Philadelphia: https://doxthrashhouse.wordpress.com/ Ballinglen Arts Foundation: https://www.ballinglenartsfoundation.org/fellowship/ Dolan/Maxwell's IG: @dolan.maxwell Ron's IG account: @ron.rumford Ron's artist website: www.ronrumford.com  

In s3e59, Platemark host Ann Shafer sits down with David Avery to talk shop. David is an etcher, who restrains his work in both size and palette, but manages to tackle big topics. His social commentary is stinging and remarkable in that it comes in such a small package. These etchings pack a punch. Ann and David talk about absurdist literature, standing on the shoulders of giants (Dürer, Max Klinger, Della Bella), how prescient Goltzius's Disgracers are, and how we could never have imagined the state of our politics—reality is outstripping our imaginations.   Cover image: Patricia Avery Max Klinger (German, 1857–1920). Abduction (plate 9 from Paraphrase on the Finding of a Glove), 1881. Etching, drypoint, and aquatint on chine collé. Sheet: 18 15/16 x 26 in. Metropolitan Museum of Art, New York. David Avery (American, born 1952). Obeliscolycny, 2013. Etching. Plate: 27 ¾ x 5 in.; sheet: 33 5/8 x 10 in. Courtesy of the Artist. David Avery (American, born 1952). Safe, Clean, Cheap: Phaethon in the 21st Century, 2011. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist. David Avery (American, born 1952). Too Close to the Sun, 2013. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist. David Avery (American, born 1952). Running on Empty, 2016. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist. David Avery (American, born 1952). Mendacia Ridicula (The Wheel of Ixion), 2018. Etching. Plate: 6 x 6 in.; sheet: 12 x 11 in. Courtesy of the Artist. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). The Four Disgracers, 1588. Engraving. Metropolitan Museum of Art, New York. David Avery (American, born 1952). Ship of Fools (Das Narrenschiff), 2018.Etching. Plate: 14 ¼ x 7 ½ in. Courtesy of the Artist. David Avery (American, born 1952). After the Deluge, 2022. Etching. Plate: 10 ½ x 7 ¾ in. Courtesy of the Artist. David Avery (American, born 1952). Becalmed, 2023. Etching. Plate: 6 x 15 ¾ in.; sheet: 10 x 18 ¾ in. Courtesy of the Artist. David Avery (American, born 1952). Concerning The Great Ship MOUR-DE-ZENCLE, 2016. Etching. Plate: 12 ¾ x 6 ¼ in.; sheet: 18 ¼ x 11 in. Courtesy of the Artist. David's galleries  https://www.inclusionsgallery.com/  https://www.warnockfinearts.com/david-avery            https://childsgallery.com/artist/david-avery/

Dam Internet, You Scary! hosts Patrick Cloud and Tahir Moore break down the disturbing but interesting stories on the internet! This episode is sponsored by Better Help. Guest: Wes Armstrong https://www.instagram.com/wuzgood https://www.instagram.com/vigilantethefilm/ s/o to our sponsors BetterHelp https://www.betterhelp.com/diys Blue Chew https://www.bluechew.com promo code: diys Mando Control Body Odor ANYWHERE with @shop.mando and get $5 off off your Starter Pack (that's over 40% off) with promo code DIYS at shopmando.com! #mandopod #sponsored  https://www.shopmando.com  Join our Patreon now!!  https://www.patreon.com/DamInternetYouScary

Emteaz Hussain is a playwright and performance poet. As a performance poet she has toured both nationally and internationally. As a writer, her plays include Social Distancing, Etching and writing as part of the Royal Court's Living Newspaper. Her latest play Expendable, will play in the Royal Court's Jerwood Theatre Upstairs later this year.

In s3e53 of Platemark, hosts Ann Shafer and Tru Ludwig conclude their conversation with Carol Wax, artist and author of The Mezzotint: History and Technique. Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints. They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol's dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts. Carol Wax (American, born 1953). Singer I, 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II, but totally different experience and different result). Carol Wax (American, born 1953). Singer II, 1985. Mezzotint. 14 ½ x 7 3/4 in. Courtesy of the artist. This was a brittle copper – two of several state proofs illustrating process of solving technical problem and the finished state. This process led directly to historical research that resulted in my writing The Mezzotint: History and Technique. John Martin (British, 1789–1854). Belshazzar's Feast, 1826. Mezzotint. Plate: 23 ½ x 32 in. Metropolitan Museum of Art, New York. Martin's large plate was printed with up to eight different inks to enhance the tonal range and compensate for the peculiarities of mezzotints engraved on steel. Richard Earlom (British, 1743–1822), after Frans Snyder (Flemish, 1579–1657). A Game Market, 1783. Mezzotint and etching. Plate: 16 ½ x 22 ¾ in. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece, 1778. Etching (early state before mezzotint). Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Yale Center for British Art, New Haven. [Right] Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece, 1778. Mezzotint and etching. Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Baltimore Museum of Art, Baltimore. J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4), 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago. [DETAIL] J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4), 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago. Thomas Goff Lupton (British, 1791–1873), after Thomas Girtin (British, 1775–1802). Chelsea Reach, Looking toward Battersea, from the series Gems of Art, 1825. Mezzotint and engraving. Sheet: 260 x 341 mm. (10 1/4 x 13 7/16 in.); plate: 168 x 252 mm. (6 5/8 x 9 15/16 in.). Baltimore Museum of Art, Baltimore. Carol Wax (American, born 1953). The Old Clothesline, 1983. Mezzotint. 11 x 11 in. Courtesy of the artist. Carol Wax (American, born 1953). Fanfare, 1983. Mezzotint. 16 x 11 in. Courtesy of the artist. This was the first image I did with a mechanical subject and the first time I subtracted so much of the background. Carol Wax (American, born 1953). Singer I, 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II, but totally different experience and different result). Carol Wax (American, born 1953). Under Wraps, 2008. Mezzotint. 16 x 20 in. Courtesy of the artist. One of many images of animate/inanimate objects. This series turns the table and uses fabric to objectify a living subject. This project is also an example of how different grounds can be used creatively: the plate was ground with an 85-gauge rocker, but the dog parts were scraped down and reground with a 120-gauge roulette to differentiate textures between fabric and fur. The whiskers were engraved with a burin. Carol's wall of inspiration. [Left] Carol Wax (American, born 1953). Remington Noiseless, 1986. Mezzotint. 20 x 16 in. Courtesy of the artist. Remington Noiseless illustrates stylized shadows before working for Philip Pearlstein. [Right] Carol Wax (American, born 1953). Remington Return, 1993. Mezzotint. 18 ½ x 24 1/2 in. Courtesy of the artist. Reflects Pearlstein's influence as well as more sophisticated technique and confidence acquired while writing the book. Carol Wax (American, born 1953). Glad Tidings, 1993. Two relief intaglio holiday cards. Each: 3 x 2 9/10 in. Courtesy of the artist. Carol Wax (American, born 1953). Missing Peace, 2001. Relief intaglio. 5 x 1 1/2 in. Courtesy of the artist. Carol Wax (American, born 1953). Fortune's Fool, 2020. Gouache. 8 ¼ x 9 1/4 inches. Courtesy of the artist. This clown puppet represents Trump, seen here being devoured for lunch by the Chinese, and while he thinks he's sticking it to their butt (the pencil sharpener from Chinatown), he's only sharpening their strategies. Carol Wax (American, born 1953). Butterfly Effect, 2018. Gouache. 22 x 14 in. Courtesy of the artist. The pulley is a commentary on our convoluted election system that is subject to all kinds of whims. Carol Wax (American, born 1953). Rigged, 2018. Gouache. 20 x 24 in. Courtesy of the artist. This image is about how the system is rigged. Carol Wax (American, born 1953). Underhanded, 2020. Gouache. 21 x 14 in. Courtesy of the artist. This image is about a few things (manipulation, power, etc.), but think “George Floyd.” The political undertones of my paintings have found their way into recent mezzotints. Frederick Mershimer (American, born 1958). Various states of The Great Divide/42nd Street, 1994–97. Mezzotint. Mershimer is a master at making corrections/changes–the likes of which have not been seen since the 17th century. Here is a prime example where he seamlessly changed the focus of a print by removing and moving figures and reissued the plate with a [deservedly] different title.   USEFUL LINKS Carol's website https://www.carolwax.com/ Jennifer Melby's link https://www.jennifermelby.com/ Conrad Graeber's link https://conradgraeber.com/  

In this week's WMYW podcast we talk to Creative Director James Arnett about Blenko Glass Company's annual Festival of Glass. This year's theme is space age design and takes place in Milton, West Virginia, on April 5 & 6. You can attend classes, demonstrations, and a concert by Grown Ass Folks.  Some of the things you can get into include hands-on glass experiences like Blow-Your-Own Water Bottles and guided classes such as Nightlight and Etching.  The event also celebrates West Virginia's glass heritage with a reproduction of Don Shepherd's 'Moonscape' Vase and introduces the Blenko Glass Foundation's inaugural fundraising event. For more information and to sign up for experiences go here: https://blenko.com/

In s3e52 of Platemark, hosts Ann Shafer and Tru Ludwig talk with Carol Wax, artist and author of The Mezzotint: History and Technique. Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints. They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol's dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts. [Top] Carol Wax (American, born 1953). Eleven Shells, 1982. Mezzotint. 2 ¾ x 5 inches. Courtesy of the artist. First mezzotint I felt comfortable signing and which shows the influence of Hamaguchi. {Bottom] Yozo Hamaguchi (Japanese, 1909–2000). Shells. Mezzotint. John Raphael Smith (British, 1751–1812), after Henry Fuseli (Swiss, 1741–1825). The Weird Sisters (Shakespeare, MacBeth, Act 1, Scene 3), 1785. Mezzotint. Sheet: 18 1/16 x 21 7/8 in. (45.8 x 55.5 cm.). Metropolitan Museum of Art, New York. [Left] John Raphael Smith (British, 1751–1812), after Sir Joshua Reynolds (British, 1723–1792). The Infant Jupiter, 1775. Mezzotint. Plate: 20 x 14 in. New York Public Library, New York. [Right] Valentine Green (British, 1739–1813), after Sir Anthony Van Dyck (Flemish, 1599–1641). The Earl of Danby, 1775. Mezzotint. Sheet: 20 7/8 x 13 7/8 in. Chazen Museum of Art, University of Wisconsin, Madison. Carol Wax. The Mezzotint: History and Technique (2nd Edition). Atglen, PA: Schiffer Publishing, 2023. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm.). Metropolitan Museum of Art, New York. Ludwig von Siegen (German, 1609–after 1676). Amelia Elizabeth Landgravure of Hesse-Kassel, 1642. Mezzotint. Sheet: 16 7/16 x 11 15/16 in. (41.8 x 30.3 cm.). Metropolitan Museum of Art, New York. Prince Rupert (German, 1619–1682). Head of the Executioner, 1662. Mezzotint. Cooper Hewitt, Smithsonian Institution, New York. Theodor Caspar von Fürstenburg (German, 1615–1675). Salomé, 1656–75. Mezzotint. 191 x 149 mm. British Museum, London. David Lucas (British, 1802–1881), after John Constable (British, 1776–1837). The Rainbow, Salisbury Cathedral, 1855. Mezzotint. Sheet: 24 ¼ x 28 ¼ in. (61.5 x 71.7 cm.). Christie's. Thomas Frye (British, 1710/11–1762). Head of a Man Wearing a Turban, 1760. Mezzotint. Plate: 19 7/8 × 13 15/16 in. (50.5 × 35.4 cm.); sheet: 23 3/8 × 16 15/16 in. (59.4 × 43 cm.). Metropolitan Museum of Art, New York. Valentine Green (British, 1739–1813), after Joseph Wright of Derby (British, 1734–1797). A Philosopher Shewing an Experiment on the Air Pump, 1769. Mezzotint. Plate: 19 × 23 in. (48.3 × 58.4 cm.). Sheet: 19 7/8 × 25 5/8 in. (50.5 × 65.1 cm.). Metropolitan Museum of Art, New York. Joseph Pennell (American, 1857–1926). Hail America, 1908. Mezzotint. Plate: 8 7/16 × 14 11/16 in. (21.5 × 37.3 cm.); sheet: 9 7/8 × 15 3/4 in. (25.1 × 40 cm.). Metropolitan Museum of Art, New York. Reynold Weidenaar (American, 1915–1985). The Bridge and the Storm, Mackinac Straits, 1957. Mezzotint. Sheet: 19 5/8 x 15 ½ in. Richard and Jane Manoogian Mackinac Art Museum, Mackinac. Mario Avati (French, 1921–2009). Le Goût acide du jaune citron, 1982. Mezzotint. 29 x 37.7 cm. Fitch Febvrel Gallery. Yozo Hamaguchi (Japanese, 1909–2000). The Three Lemons, 1956. Color mezzotint. Cleveland Museum of Art, Cleveland. Art Werger (American, born 1955). Clarity, 2021. Mezzotint. 24 x 36 in. Courtesy of the artist. Craig McPherson (American, born 1948). Memento Mori, 2013. Mezzotint. 13 5/8 x 16 ½ in. Courtesy of the artist. Judith Rothchild (American, born 1950). Le nid, 2005. Mezzotint. 7 13/16 x 11 5/8 in. Annex Galleries, Santa Rosa. Jacob Crook (American, born 1985). Nightrise II, 2019. Mezzotint. 8 ½ x 11 in. Courtesy of the artist. Julie Niskanen (American, born 1983). Sanctuary, 2007. Mezzotint. Courtesy of the artist. Charles Ritchie (American, born 1954). House II, 2012–19. Mezzotint. Plate: 6 x 3 7/8 in.; sheet: 13 ½ x 10 in. Courtesy of the artist. J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Norham Castle on the Tweed (Liber Studiorum, part XII, plate 57), 1816. Etching and mezzotint. Plate: 7 x 10 5/16 in. (17.8 x 26.2 cm.); sheet: 8 1/4 x 11 1/2 in. (21 x 29.2 cm.). Metropolitan Museum of Art, New York. Frank Short (British, 1857–1945), after J.M.W. Turner (British, 1775–1851). Liber Studiorum—Frontispiece, 1885. Etching and mezzotint. Plate: 124 x 185 mm. Tate, London.   EXTRA IMAGES Carol Wax (American, born 1953). Type Face, 2002. Mezzotint. 9 ¼ x 9 ¼ inches. Courtesy of the artist. An example of (perhaps more than any other) anthropomorphizing subjects and the use of modulating, repeating patterns to suggest animation, as well as the humor and humanity I see in manufactured objects. Carol Wax (American, born 1953). Sew What, 2022. Mezzotint. 20 x 12 inches. Courtesy of the artist. This was printed from two plates: a black-and-white key plate rocked with an 85-gauge rocker and a color plate ground selectively with roulettes and wiped selectively. These images demonstrate the dialogue between my current work in painting and mezzotint. [Left] Carol Wax (American, born 1953). Pipe Dream, 2003. Mezzotint and engraving. Plate: 2 ½ x 1 ½ in. Courtesy of the artist. [Right] Carol Wax (American, born 1953). Serpentdipity, 2003. Mezzotint. Plate: 2 ½ x 1 ½ in. Courtesy of the artist. These two show burin engraving through a mezzotint ground.   Carol Wax (American, born 1953). Binder Spiral, 2023. Graphite. 127 x 23 in. Courtesy of the artist.   USEFUL LINKS Carol's website https://www.carolwax.com/ Jennifer Melby's link https://www.jennifermelby.com/ Conrad Graeber's link https://conradgraeber.com/

A Handful of Richmond auto service shops are offering free etching of partial VIN numbers onto catalytic converters in order to help aid in the increasing theft of the converters. Guest: Corporal Dennis Hwang, Richmond RCMP Learn more about your ad choices. Visit megaphone.fm/adchoices

184. No Story Lost - Etching Your Real Estate Legacy in Stone

In s3e50, Platemark host Ann Shafer talks with Allison Tolman, a private dealer handling prints by contemporary Japanese artists. The Tolman Collection has branches in Tokyo and New York and works with a range of artists. Allison is a second-generation dealer—her father heads up the Tokyo branch while Allison is holding down the fort in New York. She enjoys personal relationships with her artists and is a tireless promoter of prints from the other side of the world. Ann and Allison talk about cultural differences relating to aesthetics, manner of working, and business dealings. They also talk about managing a business without a bricks-and-mortar space and their love of this admittedly tiny corner of the art world. SHINODA Toko (Japanese, 1913–2021). Awakening, 2017. Original painting. 24 3/4 x 40 1/2 in. The Tolman Collection of New York. YAMAMOTO Kanae (Japanese, 1882–1946). Fisherman, 1904. Woodcut. 12 3/8 x 10 11/16 in. Cleveland Museum of Art, Cleveland. HOKUSAI Katsushika (Japanese, 1760–1849). Under the Wave off Kanagawa, from the series Thirty-six Views of Mount Fuji, c. 1830–32. Woodblock print. 10 x 15 in. (25.4 x 38.1 cm.). Metropolitan Museum of Art, New York. KAWAMURA Sayaka (Japanese, born 1990). I Dream of Floating, 2021. 27 5/8 x 27 5/8 in. The Tolman Collection of New York. YOSHIDA Hadaka (Japanese, 1926–1995). Night (drops), 1954. Woodblock print. 16 x 10 7/8 in. (40.5 x 27.5 cm.). Scholten Japanese Art, New York.   KURODA Shigeki (Japanese, born 1953). Yellow Flow. Etching. 7 x 11 in. Gilbert Luber Gallery, Philadelphia. KAWACHI Seiko (Japanese, born 1948). The Flying (Metropolitan Government-I), from the series One Hundred Views of Tokyo, Message to the 21st Century, 1989–99. Color woodblock print. 27 x 20 in. (68 x 50 cm.). Art Institute of Chicago, Chicago. TAKAHASHI Hiromitsu (Japanese, born 1959). Blizzard of Blossoms, 2013. Stencil print. The Tolman Collection, Tokyo.   USEFUL LINKS Artists | The Tolman Collection of New York Japanese Woodblock Print Search - Ukiyo-e Search What is an Original Print? | Print Council of America Lucas Martineau. Takahashi Hiromitsu: The “DyEing” Art of Kappazuri, 2020. Takahashi Hiromitsu “DyEing” Art of Kappazuri Lucas Martineau | Tolman Collection of Tokyo (tolmantokyo.com)  

https://thinkfuture.com | https://aidaily.us | In a thought-provoking episode, the focus turns to the ethical boundaries of AI and the fears surrounding its potential to turn rogue. The discussion starts with a clear explanation that generative AI, contrary to popular fears, is simply a tool that reassembles existing human-created data in new forms, far from achieving true intelligence or autonomy. The episode then dives into the concerns about AI crossing ethical lines once it reaches the level of Artificial General Intelligence (AGI). The response of tech giants like OpenAI and Google, who have formed ethics teams, is highlighted. These teams are envisioned to act like a Chief Philosophy Officer, ensuring AI stays within ethical guidelines. A significant portion of the talk revolves around the idea of 'etching' ethical rules, akin to Asimov's three laws of robotics, directly into the silicon hardware of AI systems. This concept, though seemingly a robust solution, is debated for its practicality and adaptability. Concerns are raised about the changing nature of ethics and the dilemma of hard-coding rules that might need to evolve over time. The episode concludes by questioning who gets to decide these ethical boundaries, considering the diversity in human beliefs and values. The potential risks of imprinting biases like racism, sexism, or religious views into AI are discussed, indicating the complexity and sensitivity of the issue. The conclusion suggests that while etching ethics into AI is an interesting concept, it might be premature and perhaps unnecessary, given the evolving nature of technology and ethics. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thinkfuture/message Support this podcast: https://podcasters.spotify.com/pod/show/thinkfuture/support

In s3e49, Platemark host Ann Shafer talks with Valpuri Remling, collaborative printer and manager of the pro workshop at Tamarind Institute, University of New Mexico, Albuquerque, which was established in 1960 by the legendary June Wayne in order to preserve and promote the art of lithography. Valpuri, a native of Rovaniemi in Finnish Lapland, graduated from the program in 2009. After working at Helsinki Litho with Matti Hintikka and Kalle Berg, Valpuri returned to Albuquerque in 2015 to assume the position of printer and workshop manager from Bill Lagattuta, Tamarind's longtime collaborative printer. In her role, Valpuri collaborates with visiting artists, manages multiple publishing projects, and advises other workshops and manufacturing entities on best practices in lithography. Every year she directs the research of Tamarind apprentice printers and mentors the next generation of lithographers. Ann and Valpuri talk about growing up on the Artic Circle, how the two Tamarind shops function side by side, research into new lithograph tools and techniques, the printshop ballet, collaborating with artists, being true to oneself, and the surprising opportunity for artists to have work printed at Tamarind by students. Brandon Gunn, Tamarind Master Printer, Director of Education, and Professor of Practice. Arikah Lynne, 2023–24 Apprentice Printer. Brandon Gunn demonstrating a rainbow roll for a cohort. Bill Lagattuta, Marjorie Devon, and Rodney Hamon. Rodney Hamon and Bill Lagattuta with a cohort. Alyssa Ebinger and Valpuri Remling in the pro shop. Kylee Aragon Wallis, Gallery Director. Tamarind founder June Wayne. Garo Antreasian and Clinton Adams. Diana Gaston, Director. Marge Devon, retired Director. Matti Hintikka, Valpuri Remling, and Kalle Berg at Helsinki Litho. Adam Ostreicher. The Procession, 2007. 5-plate etching and aquatint. Tru Ludwig. Ask Not…, 1997. Etching and aquatint, engraving, and softground etching. 36 x 24 in. Tusche test stone. Jeffrey Gibson (American, Mississippi Choctaw-Cherokee, born 1972). Mighty Real, 2021. Four-color lithograph. Sheet: 36 11/16 x 25 ¼ in. Published by Tamarind Institute; printed by Valpuri Remling and Lindsey Sigmon.   USEFUL LINKS Tamarind Institute website: www.tamarind.unm.edu Map to find Tamarind-trained shops and printers: www.tamarind.unm.edu/map/fatp_map.html# Instagram accounts @tamarindinstitute @tamarindeducation @valpuriremling   Other printmaking podcasts Platemark Hello, Print Friend The Unfinished Print NewsPrint Podcast The Print Cast All About Printmaking with Phil and Amy  

As the US and other countries ponder how to prevent dangerous uses of AI, some researchers suggest building limitations into crucial chips like GPUs to cap the power of algorithms. Read this story here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Danny Bohn a 3rd Generation driver watching his father race throughout the years and then got to hop in a seat himself Danny Bohn started his racing career at Wall Stadium running bandoleros and started winning right away capturing 13 wins out of a 16 race seasonHe then moved up to a SK Light the following year where he continued his winning ways where he clicked off 6 wins and then the following year another 7 wins both resulting in championships along with a Turkey Derby win in 2006Became good friends with long time chassis guru Ray Everham and moved his operation down south where he jumped into a dirt modified after making a deal with Ray when he got down there Did that for a couple years which resulted in a championship at East Lincoln Got his feet wet for the first time at Bowman Gray at 2011 Jumped into a Whelen Southern Modified and went racing full time in 2012 with his father where they started with a couple wins but 2013 was his kick in the nuts year which resulted him destroying a car not once but 2 times in about the span of a month but had a great season none the less the trouble finishing with in the top 10 of points of a heavily fledged field of modified racers down south.2014 he double dutied running a car at Bowman Gray full time along with the Whelen Southern Modified Tour winning a handful of races at Bowman Gray and stamped his championship down that year at Bowman by winning the 150 lap season finale at Bowman. Etching his name in the record books at the mad house that is flooded by Burt Myers and Tim Brown. Along with that has won every big modified race you possibly can at Bowman including the North South Shootout 199 2 times (2014/2015) before they got rid of the race.Fast forward to 2018/2019 he got a call from a guy to run a modified down south at On Point Motorsports to where he glanced over at their team Nascar Truck sitting there and said "I really wanna drive that" After getting some funding from a close friend that knew Brantley Gilbert and made a deal come together at the end of the 2019 season Danny made his first Nascar Truck start at Martinsville Speedway. Even got to party backstage with Brantley himself after unveiling the truck. Danny first race was a eye opener heavier chassis different gauges 27 people yelling at you over the radio but he stayed competitive throughout the whole race all the way to the checkered where a maylay ensued sandwiching Danny and popping both his right side tires as he crossed the finish line in 8th place, which was the best finish first start by a rookie in Nascar Trucks until most recently.He went to finish out the year with On Point Motorsports racing at Phoenix and Homestead which was a big eye opener for a guy that was use to just running modifieds with nerf bars to being 2 feet off a fence at 160 mph plus at Homestead or running a hard dog leg at Phoenix.2020 he came back to On Point Motorsports half way through the season where he got a little taste of a full season in what we claim the big leagues of stock car racing. Best finish that year was again Martinsville finishing 7th so you can say he had that tracks number but really opened his eyes to the bigger tracks like Talladega, Las Vegas, Kansas, Texas, Richmond, Darlington and a couple others.2021 is when Covid affected all of the world and made a guy that barely got his feet wet make his practice time put into a climb in and start the race situation.Daytona being his first start there that year was a big eye opener almost went full flight miles that race aswell but didnt get the FULL experience or seat time throughout that year which played dividends to his learning curve to it all.2022 made his first start in a Xfinity Car at Daytona finishing 8th which is crazy and then ran one more race at Darlington before he went back to his roots of Modified racing. Dont get me wrong Danny was running a modified sometimes double duty while doing all this throughout 2019 to 2022 This guy spent 3 hours talking with us while trimming up body panels on his modified to sweeping his floor in the shop sharing his story I can say Danny got to experience some cool moments from running Bandos as a kid to running full blown modifieds around Charlotte Legends tracks to running a full season in trucks and slinging dirt at Eldora and almost taking flight at Daytona It was awesome to talk to him and we hope you enjoy it as well ! Become a supporter of this podcast: https://www.spreaker.com/show/roughing-fenders-podcast/support.

Mark A. Latta, D.M.D., M.S., professor of general dentistry,served as dean of the School of Dentistry from 2011 to 2021.  Prior to the dean's appointment, he served as the Associate Dean for Research at Creighton University School of Dentistry since 1995.  He personally has been awarded more than 140 research grants on prosthetic dental restorative materials, adhesives and bonding and dental material clinical trials.  A speaker and lecturer of international renown, he has published more than 85 manuscripts and more than 200 abstracts and presented at numerous state and national dental association meetings and throughout the world. Prior to joining Creighton, Latta served as director of Research and Development for the Trubyte Division of Dentsply International, York, PA.  During his industrial career he contributed to or was responsible for more than 20 new dental product introductions and is an inventor or co-inventor of numerous patents.   He earned his dental degree at the University of Pennsylvania School of Dental Medicine in 1983, and his master's degree in oral biology from the University of Maryland Baltimore College of Dental Surgery in 1995. He also spent one year in hospital general practice residency at York Hospital, York, PA.   Dr. Latta, a Fellow in the American College of Dentists and the International College of Dentists is also a member of Omicron Kappa Upsilon, the national honorary dental society.  He has also served as president of the Dental Materials Group and the International Association for Dental Research.

Leading off 2024's series three episodes is s3e47 in which Platemark host Ann Shafer speaks with Adam McCoy, Senior Specialist in Fine Art, Rago Auctions. Adam has worked in various auction houses for many years, including Christies and Artsy. Ann relished the chance to pepper Adam with questions.   In the episode Adam and Ann talk about the business of the business including what to expect when you decide to sell something at auction, the vagaries of the market, the authentication process, the bidding process (by phone, online, or in person), the value of old school auction catalogues, and which of Picasso's prints holds the record price.   Edvard Munch (Norwegian, 1863–1944). Madonna, 1895. Lithograph. Image: 600 x 440 mm.; sheet: 640 x 480 mm. Munch Museum, Oslo. Pablo Picasso (Spanish, 1881–1973). Femme qui pleure, 1937. Drypoint, aquatint, and etching. plate: 27 3/16 x 19 ½ in. (69 x 49.5 cm.); sheet: 30 1/2 x 22 9/16 in. (77.4 x 57.3 cm.). Museum of Modern Art, New York. Andy Warhol (American, 1928–1987). Marilyn, 1967. Portfolio of 10 screenprints. Each: 36 x 36 in. Robin Rile Fine Art, Miami. Pablo Picasso (Spanish, 1881–1973). Rembrandt with a Palette, from the Vollard Suite, 1934, printed 1939. Etching. Plate: 10 15/16 x 7 13/16 in. (27.8 x 19.8 cm.); sheet: 17 9/16 x 13 7/16 in. (44.6 x 34.1 cm.). Metropolitan Museum of Art, New York. Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph. Sheet: 69.9 x 54 cm (27 1/2 x 21 1/4 in.). National Gallery of Art, Washington, D.C. Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA. Scott Kahn (American, born 1946). Ingersoll's Branch, 1989, printed 2022. 26-color screenprint. Avant Arte. Ursula von Rydinsvard (German, born 1942). CISZA, 2021-22. Cedar. 149 x 79 x 82 in. George J. Stengel (American, 1872–1937). The Quarry, New Habor, Maine. Oil on canvas. 25 ¼ x 30 1.8 in. Questroyal Fine Art, New York. Kate Reno Miller (American, 1874–1929). Sunlit Path, 1920. Oil on board. 11 x 14 in. Cincinnati Art Galleries. Wharton Esherick Museum, Paoli, PA. (photo: Emma Lee, WHYY) B.J.O. Nordfeldt (American, 1878–1955). The Skyrocket, 1906. Color woodcut. Image: 8 ¾ x 11 ¼ in. (22.2 x 28.6 cm.). Smithsonian American Art Museum, Washington, DC.

Welcome to Mysteries to Die For.I am TG Wolff and am here with Jack, my piano player and producer. This is a podcast where we combine storytelling with original music to put you in the heart of a mystery. All stories are structured to challenge you to beat the detective to the solution. These are arrangements, which means instead of word-for-word readings, you get a performance meant to be heard. Jack and I perform these live, front to back, no breaks, no fakes, no retakes.This is Season 6, Things that Go Jack in the Night. This season contains truly imaginative mysteries around one of the most common words in the English language. From the brandy distilled from hard cider known as applejack to that nefarious one-eyed jack, to the animals, vegetables, fruits, tools, weapons, and slang, the way the word “jack” is used in the English language is truly unique, inventive, and too numerous for us to count. And yes, it is also the name of my piano player and producer. For Episode 13, Jack Frost is the featured jack. This is Jack Frost's Last Etching by TG WolffWelcome to our last show of Season 6 and of 2023. This had been a fun season with our authors delivering great takes on the word “Jack.” You never know what you are going to get when you create a theme or a prompt. We thank you for being part of mysteries to die for and hope you enjoy this final jack story.ABOUT Jack FrostAccording to Wikipedia, Jack Frost has origins in Anglo-Saxon and Norse winter customs. The personification of winter in some places and autumn and winter in others, there are versions of Jack Frost found in Finnish, Swedish, and Russian folklore. Like many traditions born from folklore, there are as many differences as commonalities. In some, Jack is more monstrous, nipping fingers and toes in cold weather, and the more deadly danger of sleet, ice, and freezing cold. Beginning in the last 1800s, we started being depicted as more of a sprite-like character, sometimes mischievous, something sinister, sometimes heroic. Jack Frost was said to leave frosty, fern patterns on windows. He is sometimes depicted with a paint brush and bucket for painting leaves. https://en.wikipedia.org/wiki/Jack_FrostWRAP UPThat wraps this episode of Mysteries to Die For. Please do support our show by subscribing, telling a mystery lover about us, and giving us a five-star review. Check out our website TGWolff.com/Podcast for links to this season's authors.Mysteries to Die For is hosted by TG Wolff and Jack Wolff. Jack Frost's Last Etching was written by TG Wolff. Music and production are by Jack Wolff. Episode art is by TG Wolff.

In Platemark s3e45, host Ann Shafer talks with Bob Schneider, who is best known for his music but is a serious artist as well. You may know some of his best-loved songs like 40 Dogs (Like Romeo and Juliet), Honeypot, Deep Blue Sea, and Peaches, but you will be delighted to learn about his print output. These are gorgeous etchings primarily made with Katherine Brimberry at Flatbed Press in Bob's hometown, Austin, TX.  In the episode, Bob and Ann talk about all sorts of things including anxiety, AI, and creativity. Their discussion about creativity is fascinating: he's a surrealist at heart and subscribes to the idea that images emerge unbidden from his subconscious. In fact, he believes he is just cultivating things that are already there. Numerous etchings by the artist are online at flatbedpress.com. As you look through them online, you can guess which one is in Ann's collection. His digital compositions, collages, and paintings are available at Yard Dog Gallery.  Bob plays a lot of live shows in Texas, including weekly Monday nights sets at Saxon Pub in Austin. He plays select shows in other places; check his website for tour dates near you. He's a consummate performer and is worth seeking out.  USEFUL LINKS Bob's website bobschneider.com YouTube Music music.youtube.com/channel/UCfzxdvRc4RzUyYeQiIyHASQ Spotify open.spotify.com/artist/4YOxTnmYogOpUPxrNTacvQ Facebook facebook.com/bobschneidermusic Instagram instagram.com/bob_schneider_music X (Twitter) twitter.com/Bob_Schneider FRUNK bobschneidermusic.bandcamp.com Merch bobschneider.myshopify.com   Bob Schneider (American, born 1965). The Night Way, 2008–17. Etching. Plate: 29 x 22 ¼ in.; sheet: 45 x 34 ¾ in. Published by Flatbed Press, Austin. Bob Schneider (American, born 1965). Atama, 2008. Etching. Plate: 26 7/8 x 24 3/8 in.; sheet: 43 ¾ x 34 ¾ in. Published by Flatbed Press, Austin. Bob Schneider (American, born 1965). Lucretia, 2000. Etching. Plate: 18 x 24 in.; sheet: 22 x 30 in. Published by Flatbed Press, Austin. Bob Schneider (American, born 1965). Woman, 2000. Etching and aquatint. Plate: 42 ½ x 30 in. Published by Flatbed Press, Austin. Bob Schneider (American, born 1965) and Justin Barker (American, born 1979). Illustration for Bob's graphic novel, FAYM. Bob Schneider (American, born 1965) and Justin Barker (American, born 1979). Illustration for Bob's graphic novel, FAYM. Bob Schneider and Justin Barker at Saxon Pub, Austin, November 2023. Bob Schneider (American, born 1965). We're Never Really Sure if the Life We Live Here Belongs to Us. Digital print on Hahnemühle 100% cotton photo rag fine art paper. 21 x 15 ¾ in. Yard Dog Gallery, Austin. Bob Schneider (American, born 1965). Abe II. Digital print on Hahnemühle 100% cotton photo rag fine art paper. 21 x 15 ¾ in. Yard Dog Gallery, Austin. Bob Schneider (American, born 1965). Who Isn't Born Again Into Heaven. Oil on canvas. 20 x 16 in. Yard Dog Gallery, Austin.   Bob Schneider (American, born 1965). Each Moment is a Place You've Never Been. Oil on canvas. 20 x 16 in. Yard Dog Gallery, Austin.  Digital art by AI and Bob Schneider for FRUNK, recordings of each of Bob's performances. Bob Schneider and Clint Wells's podcast I'm OK, you're OK; I'm not OK, you're not OK. Bob Schneider prints spread out at Flatbed Press, Austin.    

In s3e43, Platemark host Ann Shafer talks with Craig Zammiello, an artist and collaborative printer with over 40 years of experience in all areas of printmaking. He worked for 25 years at Universal Limited Art Editions, where he collaborated with numerous artists, including Jasper Johns, Elizabeth Murray, James Rosenquist, Kiki Smith, and Robert Rauschenberg. Currently, he is a collaborative printer at Two Palms working with Mel Bochner, Ellen Gallagher, Chris Offili, Elizabeth Peyton, and Dana Schutz.  He is author of a studio manual on photogravure, as well as Conversations from the Print Studio published by Yale University Press. Ann and Craig talk about Woodburytypes, working with Robert Rauschenberg at ULAE, and helping Matthew Barney grow copper nodules on a Woodburytype and then gold plating them. They talk about Craig's transition to Two Palms and how that studio works outside of the traditional print studio model. Find out about a lifelong interest of Craig's that has resulted in his collection being acquired by the American Museum of Natural History (no, it's not prints), and what band would he most like to join on tour. Zammiello received an MFA from The State University of New York, Stony Brook in 1995. He is currently Adjunct Faculty at the School of the Arts at Columbia University. Zammiello has taught workshops and classes at New York University, Yale University, The Robert Blackburn Printmaking Workshop and the Flemish Center for the Graphic Arts in Belgium. Episode image: Elizabeth Zammiello Matthew Barney (American, born 1967). In Vain Produced, All Rays Return, Evil Will Bless, and Ice Will Burn, 2015. Set of 4 Woodburytype prints on copper with electro-formed copper, nickel and 24 carat gold, in red oak frames. Framed dimensions: 11 1/2 x 15 ½ in. Printed by F-Zero Project and published by Two Palms, New York. Lead printing plate for Brad by Chuck Close (American, 1940–2021). 9x12 in. The finished Woodburytype print for Brad, Chuck Close (American, 1940–2021), with the ink overflow around the edges. 11x14 inches. Published by Two Palms, New York. R. Crumb (American, born 1943). Keep on Flushin', 2022. Etching. Sheet: 13 ½ x 11 ½ in. Printed by Craig Zammiello and published by Two Palms, New York. Mel Bochner (American, born, 1940). Is This It?, 2023. Cast and pigmented paper. 69 ¾ x 67 ¼ x 5 5/8 in. Published by Two Palms, New York. Lee Bontecou (American, 1931–2022). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 x 25 in. (50.8 x 63.5 cm.). Published by Universal Limited Art Editions, Bayshore, New York. Robert Rauschenberg (American, 1925–2008). Wall-Eyed Carp/ROCI JAPAN, 1987. Acrylic and fabric collage on canvas. 203.2 x 617.2 cm (80 x 243 in.). National Gallery of Art, Washington, D.C. Lisa Hodermarsky and Craig Zammiello. Conversations from the Print Studio: A Master Printer in Collaboration with Ten Artists. New Haven: Yale University Art Gallery, 2012.   USEFUL LINKS Craig Zammiello's video on photogravure techniques: https://www.youtube.com/watch?v=t3HAoyIsrDY  Craig's website: https://www.zammiello.com/ IG: @craigzammiello

In Platemark s3e41, host Ann Shafer talks with Susan Tallman, an art historian and essayist who co-founded the journal Art in Print and served as its editor for its entire run, 2011–2019. A regular contributor to New York Review of Books and The Atlantic Monthly, she has authored and co-authored many books, most recently No Plan At All: How the Danish Printshop of Niels Borch Jensen Redefined Artists Prints for the Contemporary World, as well as the new catalogue raisonné of prints by Kerry James Marshall. Ann and Susan talk about the word "original" as an unhelpful term to describe fine art prints, last summer's blockbuster Vermeer exhibition at the Rijksmuseum in Amsterdam, Gerhard Richter's 2020 exhibition at the Metropolitan Museum in New York, and the state of the state of the print world. In the end you'll understand why Susan loves ambiguity in art.  William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum block. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa. Julie Mehretu (American, born Ethiopia, 1970). Treatises on the Executed (from Robin's Intimacy), 2022. 10-panel etching and aquatint from 50 plates. 93 1/2 x 173 1/8 in. (237.5 x 439.7 cm.). Gemini G.E.L., Los Angeles. Edvard Munch (Norwegian, 1863–1944). The Vampire, 1895. color lithograph and woodcut with watercolor [trial proof]. sheet: 38.9 × 55.7 cm (15 5/16 × 21 15/16 in.). National Gallery of Art, Washington, D.C. Susan Tallman. The Contemporary Print from Pre-Pop to Postmodern. London and New York: Thames and Hudson, 1996. Jasper Johns (American, born 1930). Target, 1960. Lithograph. 12 1/16 x 12 3/16 in. (30.7 x 30.9 cm.); sheet: 22 13/16 x 17 13/16 in. (57.9 x 45.2 cm.). Published by ULAE. Museum of Modern Art, NY. Jasper Johns (American, born 1930). Target, 1961. Encaustic and newpaper on canvas. 167.6 × 167.6 cm. (66 × 66 in.). Art Institute of Chicago, Chicago. Susan Tallman. Kerry James Marshall: The Complete Prints. New York: Ludion/D.A.P., 2023. Vermeer. Rijksmuseum, Amsterdam. February 10–June 4, 2023.   Johannes Vermeer (Dutch, 1632–1675). Allegory of the Catholic Faith, c. 1670–72. Oil on canvas. 45 x 35 in. (114.3 x 88.9 cm.). Metropolitan Museum of Art, New York. Johannes Vermeer (Dutch, 1632–1675). Woman with Pearl Necklace, c. 1664. Oil on canvas. 55 × 45 cm. (21 5/8 × 17 3/4 in.). Gemäldegalerie, Staatliche Museen, Berlin. Johannes Vermeer (Dutch, 1632–1675). Woman Holding a Scale, c. 1664. Oil on canvas. 42.5 x 38 cm (16 3/4 x 14 15/16 in.). National Gallery of Art, Washington, D.C. Kouros, c. 530 B.C. Getty Museum, Los Angeles. Calouste Gulbenkian Foundation, Lisbon. Terra Cotta Warriors: Guardians of China's First Emperor. National Geographic Museum, Washington, D.C. November 19, 2009–March 31, 2010. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Oil on canvas. 6.77  × 9.94 m (267  × 391 in.). Louvre Museum, Paris. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Factum Arte digital copy. 6.77  × 9.94 m (267  × 391 in.). San Giorgio Maggiore, Venice. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Anonymous Andean painting hanging in Susan's home. Jan Wierix (Netherlandish, 1549–1615), after Martin de Vos (Netherlandish, 1532-1603). Annunciation, 1549-before 1585. Engraving. Plate: 265 × 197 mm. Rijksmuseum, Amsterdam. Gerhard Richter: The Birkenau Paintings. Met Fifth Avenue. September 5, 2020–January 18 2021. Credit: Charlie Rubin for The New York Times. Stanley William Hayter (British, 1901–1988). Père Lachaise from the portfolio Paysages urbains, 1930. Engraving and drypoint. Sheet: 283 × 381 mm. (11 1/8 × 15 in.); plate: 208 × 268 mm. (8 3/16 × 10 9/16 in.). Baltimore Museum of Art, Baltimore. Edge of Visibility. IPCNY, New York. October 4–December 2018.   USEFUL LINKS Susan's website: https://www.susan-tallman.com/ Art in Print on Jstor: https://www.jstor.org/journal/artprint The Getty's Paper Project: https://www.getty.edu/projects/paper-project/ New York Public Library. The Miriam and Ira D. Wallach Division of Art, Prints, and Photographs. https://www.nypl.org/locations/schwarzman/wallach-division/print-collection Factum Arte: https://www.factum-arte.com/pag/38/a-facsimile-of-the-wedding-at-cana-by-paolo-veronese  

Platemark hosts Ann Shafer and Tru Ludwig offer up a bonus HoP episode featuring a conversation about a single work of art. Occasionally we will drop a BONUS EP ONE PRINT, which will take a single work and pull it apart with an eye toward exploring subject matter, technique, style, and composition. The first of these episodes features the etching Battlefield, 1907, by Käthe Kollwitz.   We hope this new kind of conversation resonates, and we'd love to hear your feedback and suggestions for other great prints worthy of a 90-minute episode.   Fun fact: Käthe is pronounced KAY-tuh, not Cathy; in Kollwitz, the W sounds like a V.   Episode image: Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.   Pierre-August Renoir. (French, 1841–1919). Luncheon of the Boating Party, 1881. Oil on canvas, The Phillips Collection, Washington, D.C. John Constable (English, 1776–1837). The Hay Wain, 1821. Oil on canvas. 130.2 × 185.4 cm. National Gallery, London. Wassily Kandinsky (Russian, 1866–1944). Composition IV, 1911. Oil on canvas. 62.8 × 98.6 in. (159.5 × 250.5 cm.). Kunstsammlung Nordrhein-Westfallen, Düsseldorf. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Jackson Pollock (American, 1912–1956). Number 1, 1950 (Lavender Mist), 1050. Oil, enamel, and aluminum on canvas. 221 x 299.7 cm (87 x 118 in.). National Gallery of Art, Washington, DC. Marcel Duchamp (American, born France, 1887–1968). The Bride Stripped Bare by Her Bachelors, Even (Large Glass), 1915–23. Oil, varnish, lead foil, lead wire, and dust on two glass panels. 9 ‘ 1 ¼” × 70” x 3 3/8” (277.5 × 177.8 × 8.6 cm). Philadelphia Museum of Art, Philadelphia. Rembrandt (Dutch, 1606–1669). Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch (commonly known as The Night Watch), 1642. Oil on canvas. 437 x 363 cm. City of Amsterdam. Henri Matisse (French, 1869–1954). The Blue Nude (Memory of Biskra), 1907. Oil on canvas. 36 1/4 x 55 1/4 in. (92.1 x 140.3 cm.). Baltimore Museum of Art, Baltimore. Mark Rothko (American, 1903–1970). No. 17, 1957. Oil on canvas. 232.5 x 176.5 cm. (91.5 x 69.5 in.). Christies. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAILS] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). The Ploughmen, no. 1 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 31.5 x 45.7 cm (12 3/8 x 18 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Raped, no. 2 from the series Peasants War, 1907–08. Etching, drypoint, sandpaper and softground etching. Plate: 308 x 529 mm. (12 1/8 x 20 13/16 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Sharpening the Scythe, no. 3 from the series Peasants War, 1908. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 11 3/4 × 11 11/16 inches (29.8 × 29.7 cm). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Arming the Vault, no. 4 from the series Peasants War, 1906. Etching, drypoint, aquatint, and softground etching. Plate: 19 1/2 x 12 7/8 in. Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. Jean-François Millet (French, 1814–1875) The Gleaners, 1957. Oil on canvas. 83.8 × 111.8 cm. (33 × 44 in.). Musée d'Orsay, Paris. Jean-François Millet (French, 1814–1875). The Gleaners, 1955. Etching. 192 x 253 mm. Rijksmuseum, Amsterdam. Käthe Kollwitz (German, 1867–1945). Self-Portrait, 1926–36. Bronze. Käthe Kollwitz Museum, Cologne. Georges Seurat (French, 1859–1891). Landscape, 1876–86. Black Conté crayon. 24.9 × 31.6 cm (9 13/16 × 12 1/2 in.). Art Institute of Chicago, Chicago. Ernst Barlach (German, 1870–1938). The Avenger, 1914. Bronze. 22.9 x 44.5 x 61 cm. Harvard Art Museums, Cambridge. Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. [DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. [DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. Mary Cassatt (American, 1844–1926). The Banjo Lesson, c. 1893. Color drypoint and aquatint with monoprint inking. Plate: 29.85 × 23.81 cm (11 3/4 × 9 3/8 in.); sheet: 41.9 x 29.2 cm (16 1/2 x 11 1/2 in.). National Gallery of Art, Washington, DC. Andrea Mantegna (Italian, c. 1431–1506). Lamentation over the Dead Christ, c. 1483. Tempera on canvas. 680 x 810 mm. Pinacoteca di Brera, Italy. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Baltimore Museum of Art, Baltimore. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam.

In s3e39, Platemark host Ann Shafer speaks with Sue Coe, an artist and social activist. The pair were joined in the conversation by Tru Ludwig (Sue is one of Tru's art heroes) at Sue's home in the Catskill Mountains, New York.   Sue creates art that goes right to the heart of an issue, whether it be animal cruelty, capitalism, authoritarianism, women's rights or any other progressive ideal. Images are sometimes difficult, (TRIGGER WARNING) and the conversation touched on some topics that may be distressing for listeners. Please know the discussion ranges from slaughterhouses and mass killings of animals to sexual violence against women, along with a number of other tough topics. There are also plenty of expletives coming from all corners. Consider this fair warning.   Sue, Ann, and Tru talked about veganism, the environment, Käthe Kollwitz, Galerie St. Etienne and famed dealer Hildegard Bachert, placing work at an institution (Sue calls Ann “you poor, sad creature”), and starting a museum just for printmaking. It's quite a conversation. Sue Coe on her deck, our temporary recording studio, Deposit, NY. Sue Coe (English, born 1951). Auschwitz Begins…, 2009. Woodcut. Sheet: 15 ½ x 52 in. (39.4 x 132.1 cm.). Galerie St. Etienne. Sue Coe (English, born 1951). Depopulation, 2020. Linoleum cut. Sheet: 10 3/8 x 8. ½ in. (26.4 x 21.6 cm.). Galerie St. Etienne. Shiko Munakata (Japanese, 1903–1975). The Visit, 1959. Woodcut. Sheet: 130 1/16 x 15 in. (33.2 x 38.1 cm.) Museum of Modern Art, New York. James Gilray (British, 1756–1815). Edward Jenner vaccinating patients in the Smallpox and Innoculkation Hospital of St. Pancras; the patients develop features of cows, 1802. Etching with watercolor. Wellcome Collection, London.   Sue Coe (English, born 1951) and Eric Avery (American, born 1949). Zoonotic Spillover, 2023. Linoleum cut with hand coloring. Sheet: 30 x 36 ¾ in. (76.2 x 93.3 cm.). Published by Tarantula Press, Texas A&M University. Sue Coe's carving station. Sue Coe in her studio. Sue Coe pulls open the flat files. Sue Coe (English, born 1951). Fighting the New Jim Crow, 2021. Woodcut. Sue Coe (English, born 1951). Woman Walks into Bar–Is Raped by Four Men on the Pool Table–While 20 Watch, 1983. Mixed media. 7' 7 5/8" x 9' 5 1/4" (232.7 x 287.7 cm.). Museum of Modern Art, New York. Otto Dix (German, 1891–1969). Shock Troops Advance under Gas (Sturmtruppe geht unter Gas vor) from The War (Der Krieg), 1924. Etching, aquatint, and drypoint, from a portfolio of fifty prints. Plate: 7 5/8 x 11 5/16 in. (19.3 x 28.8 cm.); sheet: 13 11/16 x 18 5/8 in. (34.8 x 47.3 cm.). Museum of Modern Art, New York. Sue Coe (English, born 1951). Bush Aids, 1990. Photoetching. Sheet: 15 x 10 7/8 in. (38.1 x 27.6 cm.). Pennsylvania Academy of Fine Arts, Philadelphia. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants' War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Sue Coe (English, born 1951). Woman Tied to Pole, 1984. Photoetching. 13 1/4 x 9 1/4 in. (33.6 x 23.5 cm.). Installation shot from Sue Coe: Graphic Resistance. MoMA PS1, June 3–September 9, 2018. Ann Shafer and Sue Coe, June 3, 2023.

In this week's episode of Platemark (s3e38), host Ann Shafer talks with Jillian Ross, collaborative master printer and publisher with an eponymous imprint, Jillian Ross Print, in Saskatoon, Saskatchewan, Canada.   Ross returned to her native Saskatoon after many years in Johannesburg, South Africa, where she was the master printer at the David Krut Workshop (DKW) from 2003 to 2020.  There, she worked with over 100 South African and international artists, most notably William Kentridge. Ross and partner Brendan Copestake founded Jillian Ross Print in 2021 in Saskatoon, where they continue working on collaborative projects in South Africa as well as developing new relationships abroad.   Ross has collaborated with William Kentridge since 2006 on major, complicated, and multi-part print projects, including the Triumphs and Laments Woodcuts (2016–21), The Universal Archive (2011–15), The Noses (2006–10) at DKW, and the recently released Studio Life Gravures (2020–22) from Jillian Ross Print (co-published with DKW). Her collaboration with Kentridge continues.   Other recent projects include a partnerships with Latitudes Online, South African artists Cinthia Sifa Mulanga and Puleng Mongale, and the technical team at The University of Alberta in Canada. Ross recently realized an exhibition, William Kentridge: The Colander, at Griffin Art Projects in Vancouver, BC, with curator Lisa Baldissera, the Kentridge Studio, and David Krut Projects in Johannesburg.   Throughout her work, particularly in the publicly accessible open-studio format of DKW at Arts on Main in Johannesburg, Ross has promoted and enhanced artist, collector, and public knowledge of printmaking through mentorship, educational workshops, and knowledge sharing.   Episode image: Lucy MacGarry   USEFUL LINKS https://www.jillianrossprint.com https://www.instagram.com/jillianrossprint_/ https://www.facebook.com/jillian.ross.520 https://www.linkedin.com/in/jillianrossprint https://www.griffinartprojects.ca/exhibitions/william-kentridge-the-colander https://latitudes.online/artworks.html https://latitudesartfair.com/about-the-event/ https://remaimodern.org/about/remai-modern-museum/   Jillian Ross working on William Kentridge's photogravure plates at the University of Alberta, Edmonton. Jillian Ross (on ladder) working on William Kentridge prints at David Krut Workshop, Johannesburg, South Africa. William Kentridge looks at a print with (from l-r) Brendan Copestake, David Krut, Jillian Ross, Roxy Kaczmarek, and Kim-Lee Loggenberg. Jillian Ross (right) inspecting proofs with (from l-r) Sarah Judge, David Krut, and William Kentridge at David Krut Workshop, Johannesburg, South Africa. William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with Arakaji Natural Gampi and White Gampi MM20 chine collé on Hahnemühle Natural White 300gsm paper. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 ¼ x 16 ½ in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Universal Archive: Big Tree, 2012. Linoleum cut on 15 sheets of Encyclopedia Britannica pages. Sheet: 82 x 90 cm. (32 ¼ x 35 3/8 in.); image: 77 x 72.4 cm. (30 3/8 x 28 ½ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Nose: #25, 2009. Drypoint, etching, and liftground aquatint. Plate: 35 x 14.9 cm. (13 ¾ x 6 in.); sheet: 40 x 35 cm. (15 ¾ x 13 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. Jillian Ross creating assembly instructions, charts, and maps for Kentridge's Triumphs and Laments, 2018–19. Jillian Ross working on the complicated print Triumphs and Laments: Refugees, 2018–19, by William Kentridge. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum cut on Somerset Velvet Soft White 300 gsm. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge | The Colander. Exhibition curated by Lisa Baldiserra. Griffin Art Projects, Vancouver, BC. May 29–September 4, 2021. William Kentridge and DKW printer Kim-Lee Loggenberg. A scene from William Kentridge's Self-Portrait as a Coffee Pot. Giorgio Morandi (Italian, 1890–1964). Grande natura morta con la caffettiera (Large Still Life with Coffeepot), 1933, printed later. Etching. Plate: 11 11/16 x 15 3/8 in. (29.7 x 39 cm.); sheet: 15 1/16 x 20 1/8 in. (38.3 x 51.1 cm.). Published by Calcografia Nazionale, Rome. Museum of Modern Art, New York. William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published by Jillian Ross. William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with chine collé. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 ¼ x 16 ½ in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge in studio. Components of William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published David Krut Projects, Johannesburg, South Africa. David Krut watches William Kentridge work in his studio on Eight Vessels. Installation view of William Kentridge | The Colander. Exhibition curated by Lisa Baldiserra. Griffin Art Projects, Vancouver, BC. May 29–September 4, 2021, featuring Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge's Triumphs and Laments, Tiber River. William Kentridge (South African, born 1955). Tree (17), 2022. Direct gravure with drypoint on gampi chine with red pencil. 563.5 x 62.9 cm. Published by David Krut Workshop and Jillian Ross Print. Cinithia Sifa Mulanga (South African, born 1997). Vulnerable, 2022. Direct gravure with photogravure on chine collé and collage. Plate: 40.5 x 30.2 cm.); sheet: 51 x 40.5 cm.). Published by David Krut Projects, Johannesburg, South Africa. Puleng Mongale signing the edition of Grounded, 2021. Photogravure with etching with color roll on surface Gampi chine collé. 48.5 x 62.5 cm. Co-published by Latitudes Online and Jillian Ross Print. William Kentridge (South African, born 1955). The Old Gods Have Retired, 2022. Photogravure with liftground aquatint, direct gravure, drypoint and chine collé with found ledger paper and hand painting. Sheet: 175 x 210 cm. Co-published by David Krut Projects and Jillian Ross Print. Jillian Ross assembling a multi-part Kentridge print. William Kentridge working on Mantegna from the Triumphs and Laments series. Latitudes Online website. Shepstone Gardens, site of the RMB Latitudes Art Fair. Johannesburg, South Africa. RMB Latitudes Art Fair. Johannesburg, South Africa. Remai Modern Museum, Saskatoon, Sasketchawan. Nick Cave (American, born 1959).  Spinner Forest, 2020. Installation view at Remai Modern, 2023. Photo: Carey Shaw. Chad Cordiero and Sbongiseni Khulu printing one of 77 elements for Kentridge's Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. Robyn Penn prints in process. Lithographs on Awagami Kitkata chine collé pn Zerkall White. Each: 76 x 63.5 cm. Published by Jillian Ross Print. William Kentridge at work. William Kentridge and David Krut inspect an impression of Tree (17).

Southern Utah University Art History student Becca Hughes joins Dr. Becky Bloom and Emily Ronquillo to discuss her undergraduate internship in which she created an online exhibition of prints in SUMA's collection. During her research, Becca was surprised to find some of the prints were frauds while others had authenticated provenance. Becca also discovered some artists who made it problematic for collectors to ensure they were purchasing authentic prints. Dr. Bloom agreed that printmaking is a medium that is easily forged, especially lithography. This episode is perfect for those curious about the process of printmaking and collecting. Dr. Bloom and Becca provide some helpful tips for collectors to ensure the print they are purchasing is not a fraud.  For more information about printmaking techniques and processes: The Metropolitan Museum of Art Britannica - Printmaking, Etching, Engraving, Relief  View Becca's exhibition The Printmaking Renaissance: 19th and 20th Century Prints by Prominent Artists on SUMAs CatalogIt HUB.

In the second part of their conversation, Ann Shafer and  printer/publisher Phil Sanders continue talking about the state of the printmaking ecosystem.    They talk about why supporting artists is important even if you don't like what they are doing, why that new Julie Mehretu set of etchings costs $250K, the imminent brain drain among our elder printers, and the importance of art and creativity to humanity's survival. Cynthia Bringle (American, born 1939). Blue Covered Jar with Fish. Ceramic. 21 inches tall. Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York. Pablo Picasso (Spanish, 1881–1973). Woman with Bangs, 1902. Oil on canvas. 61.3 x 51.4 cm. Baltimore Museum of Art, Baltimore, MD. Joan Mitchell (American, 1925–1992). Bracket, 1989. Oil on canvas. 102 1/2 x 181 7/8 in. (260.35 x 461.96 cm.). San Francisco Museum of Modern Art, San Francisco, CA. ©Estate of Joan Mitchell. Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA. Phil Sanders giving tour of the booth of Kingsland Editions at the Baltimore Fine Art Print Fair, 2023. Still from Stanley Kubrick's 2001: A Space Odyssey.   USEFUL LINKS PS Marlowe https://psmarlowe.com/ Phil's IG @phil_sanders_studio Phil's FB https://www.facebook.com/phil.sanders.printmaking

In s3e34, Platemark host Ann Shafer speaks with Jason Scuilla, artist and professor at Kansas State University in Manhattan, KS. The university is hosting the Mid America Print Council conference in the fall of 2024, and Jason was eager to talk about the conference and its call for proposals of all sorts. The deadline is the end of September 2023; the link is https://fromtheashes.k-state.edu/. In addition to the MAPC conference, Ann was eager to speak with Jason about his research into electrolytic etching, a non-toxic method of creating superbly detailed, precise, and rich etchings. They also talk about teaching undergrad and grad students, sabbaticals, as well as Jason's own work.   Episode image: Melissa Scuilla   Konza Prairie, Flint Hills, Kansas. Mid America Print Council conference homepage. Hale Library Great Hall, Kansas State University, Manhattan, KS. Crayola's Colors of the World markers. Michelangelo (Italian, 1475–1564). The Last Judgment, 1536–41. Fresco. 13.7 m × 12 m (45 × 39 ft.). Sistine Chapel, Vatican City. Rembrandt (Dutch, 1606–1669). The Windmill, 1641. Etching. Sheet: 5 7/8 x 8 5/16 in. (15 x 21.1 cm.). Metropolitan Museum of Art, New York. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York. Student interpretations of Goya Caprichos etchings for the first project in Intro to Printmaking Techniques class at Kansas State University. Student interpretations of Goya Caprichos etchings for the first project in Intro to Printmaking Techniques class at Kansas State University. Frank and Dorothy Getlein. The Bite of the Print: Satire and Irony in Woodcut, Engravings, Etchings, and Lithographs. New York: Bramhall House, 1963. Francisco de Goya (Spanish, 1746–1828). Plate 11 from The Disasters of War (Los Desastres de la Guerra): Neither do these (Ni por esas), c. 1810. Etching, drypoint, and burin. Plate: 6 5/16 × 8 3/8 in. (16.1 × 21.2 cm.); sheet: 8 3/8 × 12 3/4 in. (21.3 × 32.4 cm.). Metropolitan Museum of Art, New York. Jason Scuilla (American, born 1980). Veduta. Electrolytic etching. 12 x 9 in. Jason Scuilla (American, born 1980). Echoes of Rome: Villa with Spirits. Multiplate electrolytic etching. Plate: 16 x 12 in. Jason Scuilla (American, born 1980). Monk with Fantastic Digit. Electrolytic etching. 12 x 9 in. Jason Scuilla (American, born 1980). Proxy War Monument (King Covid). Electrolytic etching. Plate: 32 x 24 in. [DETAIL] Jason Scuilla (American, born 1980). Proxy War Monument (King Covid). Electrolytic etching. Plate: 32 x 24 in. Jason Scuilla (American, born 1980). Plate for Proxy War Monument (King Covid). Electrolytically etched copper plate. Plate: 32 x 24 in. Jason Scuilla (American, born 1980). Arsenale. Multi-plate electrolytic etching and acid etching. Plate: 12 x 9 in. Jason Scuilla (American, born 1980). Stone Head. Monotype, stencil, relief, and drawing. 22 x 15 in. Jason Scuilla (American, born 1980). Proxy War Monument with Abductee. Color etching. Plate: 16 x 12 in. Jason Scuilla (American, born 1980). Proxy War Monument (Self Portrait). Multiplate color electrolytic etching. Plate: 16 x 12 in. Large bath for electrolytic etching, Kansas State University. Testing area for electrolytic etching, Kansas State University. Didactic explaining the NEA grant for electrolytic etching, Kansas State University. Jason Scuilla welcoming members of the Print Council of America to the printshop at Kansas State University in 2019. Copper plate going into the bath for electrolytic etching, Kansas State University.   USEFUL LINKS Jason's website: www.jasonscuilla.com Instagram: @jscuilla Mid America Print Council:  www.mapc2024.com MAPC conference website: https://fromtheashes.k-state.edu/ KState grad program: https://art.ksu.edu/ Link to Leonardo article: https://direct.mit.edu/leon/article-abstract/54/4/427/97277/An-Optimized-Nontoxic-Electrolytic-Etching Link to MET lecture: https://www.metmuseum.org/events/programs/met-speaks/free-lectures/conversation-etchings The Bite of the Print book:  https://www.amazon.com/Woodcuts-Engravings-Etchings-Lithographs-Serigraphs/dp/B0006AY31Q Course Trailer: Printmaking during Civil Unrest and Challenging Times: https://youtu.be/5MNQiYl_xPk   This episode exists as a YouTube video as well. Here's the link: https://youtu.be/tjsvRWdC8V0   

Rich People Tips, What is Love, Switzerland, Etching in the Wall, Job List, Arguing About Christ, Shelled Pistachios, God's Timetable, Talking on the Phone, Get Back Up, Nerd Glasses, Brant's 3 Things; Quotes: “Just watch your finances explode.” “Our culture can't define love.” “Once again America and Canada dominated.” “I was recently in a medieval prison…”