Podcasts about lithograph

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 of Platemark, Ann sits down with Angelina Lippert, a poster historian and the curator and director of Poster House, to discuss the inception and growth of the first museum in the U.S. dedicated exclusively to the art and history of posters. They talk about what makes posters and fine art prints the same and different. And they discuss the challenges and processes of acquiring, preserving, and showcasing posters, the historical and cultural significance of early advertising posters, and the often-overlooked artistry involved in their creation.  Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Poster House website https://posterhouse.org/ Poster House IG @posterhousenyc   Poster House façade on 23rd Street. Courtesy of Poster House. Poster House's lobby/café. Photo by Elizabeth Berger. Max Beckmann (German, 1884–1950). Actors, 1941–42. Oil on canvas. Overall: 207.3 × 341.9 × 6.4 cm. (81 5/8 × 134 5/8 × 2 1/2 in.). Harvard Art Museums, Cambridge. Henri de Toulouse Lautrec (French, 1864–1901). The Jockey, 1899. Lithograph. Sheet: 51.7 × 36.3 cm. (20 3/8 × 14 5/16 in.). National Gallery of Art, Washington, D.C. Posters from Maîtres de l'Affiche, 1895–1900. Lithographs. Inter-Antiquariaat Mefferdt & De Jonge, Amsterdam. Pierre Bonnard (French, 1867–1947). L'Estampe et l'affiche, 1897. Lithograph. Sheet: 32 11/16 × 24 3/16 in. (83 × 61.5 cm.). Metropolitan Museum of Art, New York. Pierre Bonnard (French, 1867–1947). France-Champagne, 1891. Lithograph. Image 78 x 57.8 cm.; sheet 79.4 x 58.8 cm. National Gallery of Australia, Canberra. Dawn Baillie (American, born 1964). Movie poster for The Silence of the Lambs, 1991. Lithograph. Poster House, New York. Henri de Toulouse Lautrec (French, 1864–1901). Moulin Rouge: La Goulue, 1891. Lithograph. sheet: 74 13/16 x 45 7/8 in. (190 x 116.5 cm.). Metropolitan Museum of Art, New York. A.M. Cassandre (French, born Ukraine, 1901–1968). Nord Express, 1927. Lithograph. 41 3/8 x 29 1/2 in. (105.09 x 74.93 cm.). Minneapolis Institute of Arts, Minneapolis. Paula Scher (American, born 1948). The Diva is Dismissed, 1994. Lithograph. 46 x 30 1/8 in. (116.8 x 76.5 cm.). Museum of Modern Art, New York. Dafi Kühne (Swiss, born 1982). Tunnel III, 2023. Letterpress and linocut. 70 x 100 cm. Typographic Posters. Winston Tseng. Kamala, 2024. Lithograph. Courtesy of Winston Tseng's IG account. Nike. The Best on Earth/The Best on Mars, 1989. Lithograph. Courtesy of Poster House. Boris Bućan (Croatian, born Yugoslavia, born 1947). Voltaire: Candide, 1983. Lithograph. Courtesy of Poster House. Lester Beall (American, 1903–1969). Light/Rural Electrification Administration, 1937. Lithograph. Courtesy of Poster House.

In this episode of Platemark, I interview Cole Rogers, a master printmaker who recently co-founded C&C Editions after his long tenure at Highpoint Center for Printmaking in Minneapolis. Cole talks about his journey into printmaking, his approach to the creative process, and the importance of experimental collaboration with artists. We talk about the mission-driven establishment of Highpoint Center, which he co-founded with Carla McGrath, and which aims to support all stages of an artist's career. We talk about the transition to C&C Editions and establishing a new shop and publishing program. We cover a range of topics from the technical aspects of printmaking to the broader art ecosystem, emphasizing the importance of creativity and exploration in the art world. Episode photo by Joseph D.R. O'Leary   Mungo Thompson (American, born 1969). Pocket Universe (Copper) #16, 2016. Copper blind embossment. 24 x 20 in. Printed and published by Highpoint Center for Printmaking, Minneapolis. Willie Cole (American, born 1955). Five Beauties, 2012. Five intaglio and relief prints. Each: 63 ½ x 22 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis. Julie Mehretu (American, born Ethiopia, 1970). Entropia: Construction, 2005. Lithograph with Gampi chine collé. Image: 29 ½ x 39 ½ in.; sheet: 40 x 49 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis. Mungo Thompson (American, born 1969). Between Projects, 2011. Handmade pencils. Site-specific installation at Walker Art Center, Minneapolis. Mungo Thompson (American, born 1969). Coat Check Chimes, 2008. Nickel-plated aluminum and steel, 1200 pieces. Site-specific installation at the 2008 Whitney Biennial, New York. Photo: Joanne Kim. James Turrell (American, born 1943). Dividing the Light, 2007. Granite and steel. Pomona College, Claremont, CA. Studio shot, C&C Editions, Minneapolis. USEFUL LINKS www.candceditions.com IG @candceditions IG @cole.rogers.5836 FB https://www.facebook.com/candceditions

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith's passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½  in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver's Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.    

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  

Discussion about metal tins and trays with designs, their uses and where to find them.

In episode s3e48, Platemark host Ann Shafer speaks with Deb Chaney, Tamarind-trained master printer specializing in lithography. She has an eponymous imprint, Deb Chaney Editions and has started a new venture with Stéphane Guilbaud—D&S Fine Art Editions—to whom she is fairly recently married. They have studios in Upstate New York (studio to be built), Paris, and LaForce, France. Ann and Deb talk about the beauty of litho stones, common problems that come with printing lithographs, why litho inks are more saturated than other types of inks, how the Tamarind program works, why printers are the nexus of the whole system, and the surprising differences between the print ecosystem in France versus the United States. Deb is a delight and super knowledgeable. You'll learn more about the chemistry of lithography (adding to the history of litho we got from Michael Barnes in episode 25), and so much more.   Ethan Murrow (American, born 1975). Quietude, 2022. 4-color stone lithograph. 62 ½ x 47 in. Published by D&S Fine Art Editions. Dasha Shishkin (American, born Moscow, 1977). 9 Pickles, 2020. Portfolio of 9 stone lithographs. Each: 16 x 12 in. Published by Deb Chaney Editions. Deb Chaney sponging the stone for Dasha Shishkin's lithograph Good Night and Good Luck, 2021. Art Spiegelman (American, born Stockholm, 1948). Trump L'oeil, 2018. 7-color stone lithograph. 30 x 22 in. Published by MEL Publisher; printed by Deb Chaney Editions. Beauvais Lyons (American, born 1957). Flea Circus, 2015. Lithograph. Hokes Archives, University of Tennessee, Knoxville. Anita Jung (American, born 1960). Hole in the Sky, 2019. Acrylic on paper. 30 x 22 in. A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Dread Scott and Jenny Polak at work in D&S Fine Art Editions's studio, Paris. Dread Scott (American, born 1964) and Jenny Polak (American, born 1974). Délivré, 2023. 8-color stone lithograph. 37 1/2 x 28 ½ in. (96 x 72 cm.). Published by D&S Fine Art Editions. D&S Fine Art Editions's studio in La Force, Bergerac, France. Ethan Murrow at work in D&S Fine Art Editions's studio.  Deb Chaney (American, born 1978). La Habana, 2014. Monotype collage. 20 x 32 in. Publisher Spotlight: D&S Fine Art Editions. Installation at Print Center New York, 2023, featuring lithographs by Dread Scott and Jenny Polak, Ethan Murrow, and Dasha Shishkin. Stéphane Guilbaud (left) and team in the D&S Fine Art Editions's Paris studio. The giant Voirin Press in D&S Fine Art Editions's Paris studio with Ethan Murrow's Quietude, 2022.

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.

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 s3e42, Platemark host Ann Shafer talks with Lauren Rosenblum and Christina Weyl about their exhibition on view at Print Center New York through December, 23, 2023. A Model Workshop: Margaret Lowengrund and The Contemporaries is the first exhibition to explore the legacy of Lowengrund (1902–1957), a visionary artist-advocate and entrepreneur. In charting the institutional history of the hybrid print workshop-gallery she founded, The Contemporaries, and its later evolution into Pratt Graphic Art Center, A Model Workshop brings into focus the bustling printmaking scene of 1950s New York and reveals Lowengrund's impact on postwar printmaking. A Model Workshop: Margaret Lowengrund and The Contemporaries is curated by Lauren Rosenblum and Christina Weyl. It is on view September 21–December 23, 2023, at Print Center New York, 535 West 24th Street.   Maurice Berezov, Margaret Lowengrund at The Contemporaries, c. 1952–55. Woodstock Artists Association and Museum Archives. © Maurice Berezov Photograph Copyright A.E. Artworks, LLC. Image courtesy Woodstock Artists Association and Museum Archives, Woodstock, New York. A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. The Contemporaries Graphic Art Centre, c. 1954. 959 Madison Ave, New York. The Contemporaries Gallery of Sculpture and Graphic Art, 992 Madison Avenue at 77th Street, New York, 1955. Photo by Robert Delson. The Contemporaries Graphic Art Centre, c. 1955–56. 1343–45 3rd Ave, New York. The Pratt Graphic Art Center, c. 1959. 795 Broadway, New York. Stuart Davis (American, 1892–1964). Detail Study for Cliché, 1957. Lithograph. 15 3/4 × 18 3/8 in. (40 × 46.7 cm.). Printed by Arnold Singer at The Contemporaries Graphic Art Centre. Judd Foundation, New York. © Estate of Stuart Davis Arthur Deshaies (American, 1920–2011). Hornet's Nest, 1956. Plexi engraving. Image: 303 x 403 mm. National Gallery of Art, Washington, D.C. Dean Meeker (American, 1920–2002). Trojan Horse, 1952. Screenprint. Sheet: 20 × 26 in. (50.8 × 66 cm.); image: 18 1/8 × 25 ¾ in. (46 × 65.4 cm.). Whitney Museum oof American Art, New York. Fritz Eichenberg's Talk on His Trip to the Soviet Union with United States Information Agency, Graphic Arts Exhibit, 1963. Pratt Institute Archives, Pratt Institute Library. Pratt Graphic Art Center, November 1962. Pratt Institute Archives, Pratt Institute Library. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. Peter Lipman-Wulf (1905–1993). Man in the Moon, 1952. Lignum vitae. 24 ½ × 14 × 10 ½ in. Collection of Michael Henkel, East Hampton, NY.   USEFUL LINKS A Model Workshop webpage. https://www.printcenternewyork.org/a-model-workshop Christina's book: The Women of Atelier 17. https://www.atelier17.christinaweyl.com/#content Christina's article: “Missing Archives: Worden Day and Women Modernists.” https://christinaweyl.com/projects/2019-09-aaaj/ Rockefeller Archive Center, Sleepy Hollow, NY. https://rockarch.org/ Christina's IG: @christinaweyl Lauren's IG: @rosenbluuuum  

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  

Sun, 10 Sep 2023 02:00:00 +0000 https://geschichteeuropas.podigee.io/230-230 c1e8e70be39b98a54306ed213bc0a9d2 W: Epochenübergreifende Biographien Dies ist eine Auftragsproduktion für das Stadtmuseum Trier Die Sonderausstellung "In bester Gesellschaft – Johann Anton Ramboux als Porträtist der Trierer Oberschicht" Verknüpfte Folgen Düsseldorfer Zeitung, Die Ramboux'sche Sammlung (1846) (03.09.2023) Allgemeine Deutsche Biographie: Friedrich Anton Wyttenbach (1910) [Stadtmuseum Trier] (21.10.2023) Zum Podcast UNTERSTÜTZE DEN PODCAST BEI STEADY! Marlon unterstützt den Podcast seit März 2023 mit einem Betrag, der den monatlichen Hosting-Kosten entspricht. Dafür möchte ich ihm hier ganz besonders danken! Podcast-Blog mit Kommentarfunktion #historytelling - Netzwerk unabhängiger Geschichtspodcasts Schick mir Kommentare und Feedback als Email! Der Podcast bei Fyyd Der Podcast auf Twitter schwarze0fm auf Twitter Frag mich nach deiner persönlichen Einladung ins schwarze0-Discord! Die Episoden werden thematisch und nicht nach Erscheinungsdatum nummeriert. Für einen chronologischen Durchgang zur europäischen Geschichte sollten die Episoden nach Namen sortiert werden. schwarze0fm hatte als Hobbyprojekt begonnen - inzwischen habe ich aber durch Auftragsproduktionen und Crowdfunding die Möglichkeit gewonnen, mehr und bessere Folgen für Geschichte Europas zu produzieren. Das Prinzip "schwarze Null" bleibt - die Einnahmen werden verwendet, für mich Rahmenbedingungen zu schaffen, den Podcast zu betreiben und weiterzuentwickeln. In dieser Folge habe ich das ausführlich erklärt. This episode of "Geschichte Europas" by schwarze0fm (Tobias Jakobi) first published 2023-09-10. CC-BY 4.0: You are free to share and adapt this work even for commercial use as long as you attribute the original creator and indicate changes to the original. 230 full W: Epochenübergreifende Biographien no Deutschland,Neuere und Neueste Geschichte,Kunstgeschichte,Porträts,Lithographie,T

In s3e35, Platemark host Ann Shafer talks with Larissa Goldston, director and owner of Universal Limited Art Editions, usually referred to by its acronym ULAE. We talk about ULAE's founder Tatyana Grosman, and her harrowing escape from first Siberia following the assassination of Czar Nicholas, and then from the Nazis in France. Larissa talks about the early days of ULAE, growing up there, how they find artists to work with, and all her favorite print projects. Larissa‘s father, Bill Goldston, was its printer and director for many years. With his retirement, Larissa has taken the reigns. It's hard work, but the combination of the creative process and collaborative printmaking is where the magic happens. Larry Rivers (American, 1923–2002). Stones, 1957–59. Portfolio of 12 lithographs with poetry by Frank O'Hara. Each sheet: 19 x 23 1/4 in. (48.26 x 59.06 cm). Published by Universal Limited Art Editions, West Islip, NY. James Siena (American, born 1957). Backs, 2007. Set of 5 framed lithographs. Each: 23 ½ x 24 ½ in. (59.7 x 62.2 cm.). Published by Universal Limited Art Editions, West Islip, NY. Barnett Newman (American, 1905–1970). Untitled Etching #1, 1968–69. Intaglio with etching and aquatint. on J.B. Green Hayle Mill English paper. 22 1/2 x 31 3/4 in. (57.15 x 80.65 cm). Published by Universal Limited Art Editions, West Islip, NY. Lee Bontecou (American, ). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 in. x 25 in. (50.8 cm x 63.5 cm) Published by Universal Limited Art Editions, West Islip, NY. Helen Frankenthaler (American, 1928–2011). First Stone, 1961. Lithograph in 5 colors on Arches Satine paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY. Cy Twombly (American, 1928–2011). Untitled I, 1967–74, 1967. Intaglio with etching, open bite, and aquatint on handmade J. Green paper. 27 1/2 x 40 1/2 in. (69.85 x 102.87 cm). Published by Universal Limited Art Editions, West Islip, NY. Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph on Arches paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY. Jasper Johns (American, born 1930). Decoy, 1971. Lithograph with die-cut on Rives BFK paper. 41 x 29 in. (104.14 x 73.66 cm). Published by Universal Limited Art Editions, West Islip, NY. Jasper Johns (American, born 1930). Passage I, 1966. Lithograph on Italia paper. 28 x 36 in. (71.12 x 91.44 cm). Published by Universal Limited Art Editions, West Islip, NY. Bill Jensen (American, born 1945). Vanquished, 1989. Intaglio in 5 colors on Fabriano Esportazione paper. 22 1/2 x 17 3/4 in. (57.15 x 45.09 cm). Published by Universal Limited Art Editions, West Islip, NY. Terry Winters (American, born 1949). Knot, 2004. Lithograph in 4 colors on Rives BFK 280 gsm paper. 22 x 30 in. (55.88 x 76.2 cm). Published by Universal Limited Art Editions, West Islip, NY. Carroll Dunham (American, born 1949). Accelerator, 1985. Lithograph in 4 colors on Rives BFK paper. 42 x 29 3/4 in. (106.68 x 75.57 cm). Published by Universal Limited Art Editions, West Islip, NY. Christopher Wool (American, born 1955). Untitled, 2013. Lithograph in 2 colors on J. Whatman handmade paper. 30 1/2 x 22 1/2 in. (77.47 x 57.15 cm). Published by Universal Limited Art Editions, West Islip, NY. Charline von Heyl (German, born 1960). Shenanigan, 2020. Intaglio with relief and lithography on En Tout Cas paper. 24 5/8 x 20 1/8 in. (62.5 x 51.1 cm). Published by Universal Limited Art Editions, West Islip, NY. Jane Hammond (American, born 1950). Clown Suit, 1995. Three-dimensional lithograph and silkscreen in 24 colors on handmade Chiri paper. 55 x 39 x 10 in. (139.7 x 99.06 x 25.4 cm). Published by Universal Limited Art Editions, West Islip, NY. Elizabeth Murray (American, 1940–2007). Shack, 1994. Three-dimensional lithograph in 20 colors. Overall: 63 x 51 x 2 in. (160 x 129 x 5 cm.). Published by Universal Limited Art Editions, West Islip, NY.   Wyatt Kahn (American, born 1983). New Houston Street (9-color woodcut), 2022. Woodcut in 9 colors on Saunders Waterford paper. 71 1/2 x 55 3/4 in. (181.6 x 141.6 cm. Published by Universal Limited Art Editions, West Islip, NY. Wyatt Kahn carving woodblock at ULAE. Bruce Wankel printing Wyatt Kahn's woodcut, New Houston Street (9 color woodcut), 2022. Robert Rauschenberg (American, 1925–2008). Soviet/American Array I, 1988–89. Intaglio in 14 colors with collage on Saunders with Oriental rice paper. 88 1/2 x 53 1/2 in. (224.79 x 135.89 cm). Published by Universal Limited Art Editions, West Islip, NY. Suzanne McClelland (American, born 1959). Tea Leaves, 1996. Lithograph and screenprint in 4 colors with collage on Torinoko paper. 86 x 108 in. (218.44 x 274.32 cm). Published by Universal Limited Art Editions, West Islip, NY. Christopher Wool (American, born 1955). Untitled 1, 2021. Portfolio of four intaglios on Arches En Tout Cas paper. 20 x 17 in. (50.8 x 43.18 cm). Published by Universal Limited Art Editions, West Islip, NY. James Rosenquist (American, 1933–2017). Dog Descending a Staircase, 1980–82. Lithograph and intaglio on Arches Cold Press paper. 42 x 70 in. (106.68 x 177.8 cm). Published by Universal Limited Art Editions, West Islip, NY. Eddie Martinez (American, born 1977). Untitled, 2021. Monotype on En Tout Cas paper. 13 x 17 in. (33 x 43.2 cm). Published by Universal Limited Art Editions, West Islip, NY. Julia Rommel (American, born 1980). Untitled (Gowanus, March 2018), 2018. Intaglio in 9 colors on Revere Felt White paper. 13 3/16 x 10 3/8 in. (33.5 x 26.35 cm). Published by Universal Limited Art Editions, West Islip, NY. Sam Moyer (American, born 1983). R.R. Echo, 2022. Lithograph in 4 colors on Rives BFK Grey paper. 44 x 30 in. (111.8 x 76.2 cm). Published by Universal Limited Art Editions, West Islip, NY. Martin Puryear (American, born 1941). Untitled, 2022. Intaglio on Arches En Tout Cas paper. 28 ¾ x 29 ½ in. (73 x 74.9 cm.). Published by Universal Limited Art Editions, West Islip, NY. Joe Bradley (American, born 1975). 5 Lithographs, 2015. Set of 5 lithographs on various papers. 24 x 28 in. (60.96 x 71.12 cm). Published by Universal Limited Art Editions, West Islip, NY. Robert Rauschenberg (American, 1925–2008). Accident, 1963. Lithograph in 2 colors on Rives BFK paper. 41 x 29 in. (104.14 x 73.66 cm). Published by Universal Limited Art Editions, West Islip, NY. Helen Frankenthaler (American, 1928–2011). Savage Breeze, 1974. Woodcut in 7 colors on handmade laminated Nepalese buff paper. 31 1/2 x 27 in. (80.01 x 68.58 cm). Published by Universal Limited Art Editions, West Islip, NY. Helen Frankenthaler (American, 1928–2011). East and Beyond, 1972–73. Woodcut in 7 colors on handmade laminated Nepalese buff paper. 31 1/2 x 21 1/2 in. (80.01 x 54.61 cm). Published by Universal Limited Art Editions, West Islip, NY. Riva Castleman. Tatyana Grosman: A Scrapbook. West Islip, NY: Universal Limited Art Editions, 2008. USEFUL LINKS ULAE's website https://www.ulae.com/artists/ ULAE's Instagram @ulaestudio ULAE's Facebook https://www.facebook.com/ulaestudio  

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

What is the purpose of giving the Holy Spirit to the disciples and to us? The Spirit calls gives gifts that are to be used for the good of the Church and to make Jesus known through those gifts! Father Jeremiah explains this in his latest sermon.image: Tongues of fire descend on the apostles at Pentecost. Lithograph, See page for author, CC BY 4.0 , via Wikimedia Commons. Image Location: https://commons.wikimedia.org/wiki/File:Tongues_of_fire_descend_on_the_apostles_at_Pentecost._Lithog_Wellcome_V0034957.jpg Original location: https://wellcomecollection.org/works/qqwwq4dm

Aaron Sigmond, or as a lot of you may know him, Sig, is one of the more well known authors in the luxury space. You know that $1200 book from Assouline, The Impossible Collection of Cigars, well that's Sig. Or the Drive, Sea, and Air Time series, also Sig. Nonetheless, you've seen his books and if you know him, his love for cigars doesn't stop at writing about them. But as an author and collector, you can imagine being a bibliophile takes precedence. We talk about his upbringing and how collecting always remained top of mind in the household. And after getting acquainted with and mentored by a well-known film director and fellow bibliophile while in college, Sig's career went from being Editor In Chief at Smoke magazine, to being one of the most respected authors on life's luxuries. He was taught to never be envious of anyone else's possessions, which I think is what makes him a great collector. It's the same old story, buy what you love and what speaks to you the most. Sig's got some exciting projects on the horizon that he can't quite spill on yet. So for now, please enjoy, Aaron Sigmond, for Collectors Gene Radio.Sig's Books - https://aaronsigmondbooks.com/

Rastlos war er bis ins hohe Alter. Maler, Bildhauer, Zeichner, Lithograph, Keramiker. Pablo Picasso hat neue Stile wie den Kubismus mit entwickelt. Seine spanische Heimat liebte er, doch das Spanien Francos hasste er abgrundtief. Autorin: Gabriele Knetsch

Disraeli's second government was an administration of progressive conservatism, a strange moment in a general history of the Conservative Party as essentially, well, conservative. Partly that was politically expedient, looking for support among the working class, but partly it was sincere, based on a deep revulsion at the conditions in which most of it lived. Much of the reforming legislation was piloted by Richard Cross, Disraeli's imaginative, and bold, choice as Home Secretary. It included the conclusion of the long campaign led by many but above all by Lord Shaftesbury, to limit the hours worked by women and children. It also abolished the use of ‘climbing boys', the use of kids as chimney sweeps. It, astonishingly for a Conservative government, extended union rights, including decriminalising the right to picket. And it even included the introduction of the Plimsoll line on ships, to prevent overloading and the many sailors' deaths to which it led. On all these reforms, resistance was loud and strong from business interests. And, the final surprise of this time, they were being faced down by a Conservative government. Illustration: Samuel Plimsoll, Lithograph by by Richard Childs, 1874 National Portrait Gallery D42829 Music: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License.

A discussion with artist Lauren Quin. Quin is an abstract painter that builds paintings known for their vibrant colors and layer upon layer of mark making. In the conversation, we discuss her multistage process, her pursuit of intense colors, her love of Los Angeles and the meaning behind the name of her new show at Blum & Poe.

Travis, James and Kevin are chatting about a March 2022 auction held by their friends at Bertoia Auctions. Know as The Monique Knowlton Collection, this auction featured record setting examples of tin lithorgraph toys of comic character toys, German autos and cycles, Japanese Tin Robots, and early German made Disney toys. With pieces selling anywhere from a few hundred dollars to over two-hundred thousand dollars, Travis had to do some homework on this record setting auction.  Hosted by Travis Landry, James Supp, and Kevin Bruneau Please fill out the listener survey here! Follow us on Instagram! Subscribe on Apple Podcasts Subscribe on Spotify Subscribe on Google Podcasts Subscribe on Amazon Music

This episode is also available as a blog post: https://thecitylife.org/2022/04/21/the-museum-of-modern-art-and-neue-galerie-new-york-acquire-rare-color-self-portrait-lithograph-by-german-artist-kathe-kollwitz/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Cartoon Animation with Joseph MariamOn this episode of And I "Quote": Ryan talks with carton animation collector, specifically hand painted animation cels collector, Joseph Mariam. We will also be taking your questions so don't miss it! Joe's professional life has always centered on sales. In the early 70's he moved from L.A. to Chicago to peruse a career in radio broadcasting. After about two years he decided that the winters of the Mid West weren't for him and desired to move back to the west coast. He met a man named Kurt S. Adler who owned the largest importing company for Christmas Ornaments in the country. Adler offered him a showroom in San Francisco and the Northwest Territory. He spent the next 18 years in the gift and toy industry... In the early 90's he turned his thoughts to computers. He started a computer disc business. The company duplicated floppy discs for new programs and later replicated both CD/ROM & DVD media for computers as well as music. When “the cloud” all but eliminated the use of discs…CD's…or any other kind of media for computers and music… He turned his attention to one of his first loves…cartoon animation… particularly hand painted animation cels. He moved back to L.A. where his old friend Andy Heyward gave him his introduction to this world in the form of a warehouse containing hundreds of thousands of cels spanning the past 20 years of shows he had produced. Through dealers and auctions…he became widely recognized as one of the more knowledgeable collectors of cartoon animation. He built a successful business called “Life inside the Cel”…based on his belief that there is a different life (story) in each individual animation cel. He has represented various catalogues including Inspector Gadget, Ghostbusters, Sailor Moon, The Legend of Zelda, Jacye & the Wheeled Warriors, M.A.S.K. , Sonic The Hedgehog, Super Mario Brothers, Madeline, The Smurfs, The Simpsons, He Man & the Masters of the Universe to name a few.Now he has a chance to fulfill a lifelong dream and resurrect the category of Limited Edition Collectible Hand Painted and Lithograph cartoon animation.Follow Joseph Mariam on Social Media: Website: andyheywardanimationart.com Audio Version of And I Quote Available Here:https://www.spreaker.com/show/and-i-quoteMake Sure to LIKE, COMMENT, & SUBSCRIBE!Nerd Culture MERCH!!! www.nerdculture.threadless.comHWWS NC Merch - https://hwwswebtv.threadless.com/designDONATE to our Patreon: https://www.patreon.com/itsnerdcultureFollow:Twitch: https://www.twitch.tv/itsnerdculture/Instagram: https://www.instagram.com/itsnerdculteTwitter :https://twitter.com/itsNerdCultureFacebook: https://www.facebook.com/itsnerdculture

Jeremy is an award-winning photographer, artist, and entrepreneur whose mission in life is to "explore the intersection of creativity and empathy." Jeremy has published five books and is a sought-after speaker, having presented at TEDx, the United Nations, and creative conferences across the country. His latest endeavor is The Purpose Hotel, a planned global for-profit hotel chain designed to fuel the work of not-for-profit organizations. He's the founder of a global photography movement called Help-Portrait, an idea development community called “LIMINAL Society” and the inventor of the Lithograph, which is the evolution of light through a still photograph. He lives in Nashville, TN, with his wife and four children, two of whom they adopted from Haiti. Learn more about his work at https://www.jeremycowart.com Follow on Instagram @jeremycowart ________ Follow along and learn more about Finding Family at www.findingfamilypodcast.com Follow Julie on Instagram HERE and Chris HERE --- Send in a voice message: https://anchor.fm/finding-family/message

Retired FDNY Captain Brenda Berkman not only paved the way for more female firefighters, but in recent years has used art to process the trauma of her time as a first responder, including a series of lithographs titled Thirty-Six Views of One World Trade Center, which is part of the 9/11 Museum's permanent collection.

Bei Mario Derra, dem Künstler aus Gernsheim im hessischen Ried, hängt alles mit allem zusammen: Privatwohnung und Atelier, Lebensalltag und Kunstprojekte, Reisen und Werk. Und seine gesamte Kunst hängt auch mit der Literatur zusammen. (Wdh. vom 03.05.2017)

Wie findest du als Jugendlicher den perfekten Berufseinstieg? Wie gestaltest du als Erwachsener oder Eltern optimal die Zukunft der nächsten Generation ? Welche Verantwortung haben Eltern beziehungsweise Erwachsene, wenn es darum geht, jungen Menschen zu helfen, ihre Berufung zu finden oder den Berufseinstieg zu erleichtern? Wie gehen wir mit persönlichen Veränderungen in der jetzigen Zeit beziehungsweise bei der beruflichen Neuorientierung vor? In diesem Podcast führe ich ein Gespräch mit dem Team- und Projektleiter des Schulverlag Plus AG, Markus Trachsel. Markus hat seine Karriere als Lithograph gestartet und sich dann in verschiedenen Führungspositionen in Verlagen und Unternehmen behauptet. Heute ist er verantwortlich für das Programm und diverse Projekte innerhalb des Schulverlags und zeigt ein hohes Engagement für die berufliche Zukunftsgestaltung von jungen Menschen. In unserem Gespräch gehen wir ebenfalls auf die Frage ein, wie Eltern den Spagat zwischen den Optionen, opportunistische Berufswahl oder Berufung leben, finden. Denn einer von Markus' Söhnen hat bereits im Alter von 12 Jahren einen sehr unkonventionellen Weg als Balletttänzer gewählt, um seine Berufung zu leben. Ohne die Unterstützung seiner Eltern wäre dies wohl unmöglich gewesen. Und gerade in der jetzigen Zeit, in welcher die Eventbranche durch die Coronakrise hart gebeutelt wird, braucht es viel Mut, Durchhaltewillen und den Glauben an eine neue Zukunft, um den Weg einer solchen Berufung konsequent zu gehen. Mehr dazu erfährst du auf www.andreasdudas.com/40

Do you think you're better than everyone else? Well, over half of Americans do! We talk about that in today's episode, along with monitoring your sleep, lying to your tax software, top 100 sitcoms of all time, showering being less popular, and more!

Thank you for listening to this track produced by the Art Gallery of South Australia. Join us as Maria Zagala, Associate Curator of Prints, Drawings & Photographs, discusses Janet Dawson’s abstract lithograph Grand bruit from 1960 in Gallery 6. For more information please visit agsa.sa.gov.au Photo: Nat Rogers

Or Tanemoth Neutron, Book Circle, Lithogow Weed, School Scare, Preferred Viewing

This is a 4 part podcast series by National Museums NI, hosted by Curator of Art, Anna Liesching, which looks at exhibitions held in the Ulster Museum through the prism of the art of printmaking. In this episode, Anna chats to Dr Rachel Sloan, Assistant Curator of Works on Paper at The Courtauld, London, about the Ulster Museum’s latest exhibition, ‘Renoir and the New Era’, curated by Anna and which explores the Impressionists by taking Renoir’s masterpiece ‘La Loge’ as its centrepiece, alongside accompanying works on paper from the Ulster Museum’s collection. Anna and Rachel discuss prints in the exhibition, the place of printmaking in Impressionism and how important an artwork’s title can be for understanding its meaning. For a full audio tour of Renoir and The New Era, take the Smartify tour here or download the Smartify app. For further information on the artists and artworks discussed, follow the links below. Links Chicago Institute of Art  https://bit.ly/31wiQFG The Courtauld https://bit.ly/3od7WhI Courtauld Collections https://bit.ly/2HnQVAS Witt library https://bit.ly/3ofJEn8 Jacques Callot in The Courtauld collection https://bit.ly/3dPeQVy William Hogarth in The Courtauld collection https://bit.ly/3jkG4om Queue in front of butcher shop https://bit.ly/2XhIUmH Woman at a Window (1871-72) Edgar Degas (included Sickert’s anecdote in label) https://bit.ly/3jhFRlP Execution of the Emperor Maximillian Lithograph, Édouard Manet   https://bit.ly/2FPfF48 Berthe Morisot (1872) Edouard Manet (1832-1883) Ethcing  (in exhibition)  https://bit.ly/39RiJ95 Berthe Morisot with a Bouquet of Violets Edouard Manet (1832-1883) painting https://bit.ly/34pgjix Berthe Morisot (1872) Edouard Manet (1832-1883) Lithograph https://bit.ly/37sstJj Berthe Morisot drawing, with her daughter (1889) Berthe Morisot (1841-1895) (in exhibition) https://bit.ly/2wl4tHK Young Woman reclining  (1889) Berthe Morisot (1841-1895) (in exhibition) https://bit.ly/3e1su7R Marry Cassatt https://bit.ly/3kk4DTG Market at Gisors Camille Pissarro (1830-1903) (in exhibition) https://bit.ly/3aSGVsN An example of a Degas Monotype https://bit.ly/3kmwDpH Kermis at Hoboken (1559) Pieter Bruegel the Elder (ca. 1525-1569) original drawing https://bit.ly/31tcMNV Canaletto’s etchings of Venice https://bit.ly/34iJdR6

Artist and professor Yoonmi Nam comes on the podcast to discuss her art, collaborations, exhibitions, and more. Nam is a professor at KU in Lawrence, KS, and we discuss her inspiration that comes from the world around her including her neighborhood and kitchen table. Nam is a lithographer, and Moku Hanga artist, and connects her passion for technical processes with content that speaks to ephemerality and convenience. Most of her art examines liminal spaces between states of change, and contradictions that exist in the things we use like how we use "disposable" goods packaged in plastics that will be around for the next 10,000 years. Her collaborative group Wood/Paper/Box is a long running project between three artists and we discuss how the group works together while apart, and upcoming shows and travel that connect to the work of the artist trio. Today's Let's Get Technical dives into damp pack paper storage, which you may need someday...maybe.Check out Yoonmi online here.Her instagram is here.Follow The Print Cast on Instagram here.Check out more episodes online.Today's discussion involves:How art resembling takeout food takes on new meaning in the pandemic world.Toile wallpaperSGCI New Orleans - print exchangeHow construction and decay often look similar.Living in a run down neighborhood where new development impacts the vintage neighborhood.Flavor Paper - Brooklyn custom screen printed wallpaper Mustard Seed Garden Manual for PaintingWood/Paper/Box - a collaborative group where three artists exchange art works.Moku Hanga Conference in JapanAll works during one project are contained into one box and become an exhibition.Next exhibition of group due to happen in 2021 at The Beach Museum in Manhattan, KSThey are creating a custom edition as part of the show.Their projects are interactive to view because they have to be taken from the box, handled, and moved around to view all the contents.We talk about GAMPI!!! A favorite paper. So delicate, and yet so strong.She started making sculptural objects in response to paper prints.She likes to think about time in materialsThe contradiction that disposable things are made in ultra-durable materials like plasticStudying Moku Hanga in JapanViewing Mt. Fuji in daily life while in JapanDoing a print residency in Japan learning Moku HangaLet's Get TechnicalUsing a Damp Pack: Moku Hanga paper is typically prepared so that it is moist before printingHow to dampen your printing paper, not fully wet, but moist and ready to take inkUsing damp newsprint, and a sheet of plastic of trash bagTaking humidity and paper thickness into accountMaintain right amount of moisture throughout editioningDon't leave it sit for too many days, or the damp pack can grow bacteria and ruin paper

Dan uncovers the truth about a rare and ancient (1967) poster by Eduardo Paolozzi. (Warning: contains spoilers and some content may be triggering.)

Joining me on The Print Cast are Rudy Salgado Jr. and Susanna Crum of Calliope Arts in Louisville, KY. They are an artist couple who run their studio on the first floor of the building they live in near downtown Louisville. We talk about C-19, a print publishing project they started during quarantine that benefits KY and Southern Indiana artists. Our discussion about the pandemic transitioned into politics in their area including protests, BLM arrests at the mayor's residence, and the ongoing struggle to get justice for Breonna Taylor and others. Other mentions and topics are listed below. Take a listen and learn about Louisville's mainstay public printshop.Check out Calliope Arts OnlineFollow Calliope Arts on InstagramFollow Rudy Salgado Jr.Follow Susanna CrumFollow The Print CastMentions:Chickens and gardeningISU where she teachesCalliope ArtsCommunity Art Center in Danneville KYSpeed Art MuseumBeing an LLC instead of a non-profit for flexibilityC-19 Publishing Project launched as a pivot from COVID-19-artists work on a matrix and send it back for editioning-Artist Relief Trust - to help KY artists, partnership between the maker, the studio, and the relief trust. The project has raised over $1200 at the publishing of this episode.-Collect new prints and support a good cause-Jim James of My Morning Jacket made a print-Ron Whitehead made a print-Hannah Drake - local poet made a printLife during the pandemic in Louisville, KYThe oncoming reality of schools closing to in-person teaching for the rest of 2020Dirty looks and comments for wearing a mask in public.Developing curriculum for at-home learningBlack Lives Matter - Louisville perspectiveBreonna Taylor How police broke into Breonna Taylor's home and killed her while the suspect they were searching for was already in custodyDavid McAtee was killed by police at a summer protest in Louisville, and conveniently no body camera footage was available from the incident.Navigating a relationship with a neighbor who has polar opposite political beliefsYouth BuildEmbracing the introvert in you to survive a pandemicSusanna Crum is currently the President of Mid American Print Council, and she gives a MAPC 2020 Conference Update

Mike becomes an art connoisseur. Plus: a crime report, the car sale Odyssey continues, and Jerry Lewis. The post #2457: Lithograph appeared first on The Mike O'Meara Show.

Mike becomes an art connoisseur. Plus: a crime report, the car sale Odyssey continues, and Jerry Lewis.

Neste episódio: Entraremos na primeira Guerra Samnita. Conheceremos os heróis que garantem as vitórias romanas: Marco Valério Corvo e Publio Décio. Entre em contato conosco por romanuaecrua@gmail.com caso tenha qualquer dúvida, elogio, crítica ou sugestão. Mas lembre-se: sempre com o devido respeito ;) PADRIM: https://www.padrim.com.br/romanuaecrua FONTES: Podcast The History Of Rome VIRGÍLIO, Públio. Eneida: Arma uirumque cano. Século I a.C. LÍVIO, Tito. The Early History of Rome. Penguin Classics. Penguin Books Limited, 2002. BAKER, Simon. Ancient Rome: The Rise and Fall of An Empire. Reprint edition. BBC Physical Audio. 2007 Siga-nos nas xoxo mídias: Twitter: https://twitter.com/roma_nuaecrua Instagram: https://www.instagram.com/roma_nuaecrua/ Facebook: https://www.facebook.com/romanuaecrua/ Volatile Reaction by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5014-volatile-reaction License: http://creativecommons.org/licenses/by/4.0/ The Descent by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4490-the-descent License: http://creativecommons.org/licenses/by/4.0/ Strength Of The Titans by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5744-strength-of-the-titans License: http://creativecommons.org/licenses/by/4.0/ Music by DanoSongs Creative Commons Attribution (CC BY 4.0) terms and conditions https://creativecommons.org/licenses/by/4.0 Credit: Aurelius Cornelius Celsus. Lithograph by P. R. Vigneron. Credit: Wellcome Collection. Attribution 4.0 International (CC BY 4.0) --- Support this podcast: https://anchor.fm/romanuaecrua/support

It's the final day of the IFPDA Fine Art Print Fair and it's been quite an adventure. Yesterday I interviewed Leslie DiuGuid from Du-Good Press and so I go into a bit of what we talked about. Today some of my favorite programming is going to happen. First we'll be meeting some of the artists who have work up on the walls this year. That should be a great treat and following that at 2pm is a discussion with Swoon about contemporary etching with Jenny Gibbs who is the executive director of the IFPDA. I haven't heard Swoon talk much before, so it will be interesting to hear about her art and what she has been up to in recent years. Thanks for tuning into this special series of The Print Cast and thanks to the IFPDA for having me! Visit the IFPDA websiteFollow the IFPDA on InstagramVisit the Du-Good Press websiteFollow Du-Good Press on InstagramFollow Swoon on InstagramFollow The Print Cast, of course too ;)

Today on this mini episode of The Print Cast I recount a very busy day yesterday, Friday October 25th at the IFPDA Print Fair in New York. It was a busy day with Jeff Koons and Christophe Cherix discussing his work including his newest editions on view at The Two Palms booth here at the fair. It was a very illuminating talk that I can't wait to post here on the pod, but today I offer some brief details to entice you about what's to come on the show in the coming weeks. Next I did interviews with Karl LaRocca from Kayrock Screenprinting and master printer Kathy Caraccio, both who work here in the city. Each of those interviews were different in style and form, and you'll be able to hear those talks later after I have time to edit it all together for your listening pleasure. Kathy's interview was especially lively and funny, so I recount some of the more vibrant aspects of our time on stage. Two more talks finished the day from the fair programs. One was a conversation between artist Jamie Nares and JP Russell facilitated by Phil Sanders and a talk about how to collect prints with Helen Rosslyn from the London Original Print Fair. Not only all that, but I also detail what's coming next including an awards presentation and discussion with artists Mel Bochner and Matthew Day Jackson with print collector Jordan Schnitzer. Jim Dine is also joining us Saturday in conversation with Master Printers Ruth Lingen and Julia D'Amario. I'll also be interviewing Leslie DiuGuid at the end of the day, which I am very excited about. There's a lot going on, my voice is getting raspy and tired, and I hope you enjoy hearing about the fair and what you can look forward to in audio for the Print Cast coming soon. Everything I record here will be shared with the podcast and online with the IFPDA, so you can all look forward to some great audio content in the coming months. Stay tuned!Visit the IFPDA websiteFollow the IFPDA on InstagramFollow Kayrock on InstagramFollow Kathy Caraccio on InstagramFollow The Print Cast, of course too ;)

Coming to you live today at the IFPDA in New York. Check out this episode to hear what's going on in New York for Print Week if you can't be here to see it in person. Today I go over the happenings yesterday like my talk with master printer Craig Zammiello of Two Palms. We discussed photogravure, his specialty, and I give some detail today on how I think I've been misrepresenting that technique by calling all kinds of other printed things by that name. In fact, there is one material that is hardly available today that makes the process of photogravure possible, and Craig tells us all about it. I also get into the prints I've been seeing and some of my perspective on some prints that really have hit me. I'm exploring the publishers' booths at the fair each day to see who is making great new work, and trying to meet the people who facilitate that print work. Two artists I'm enjoying are Swoon and Mickalene Thomas, both of whom are printing with Tandem Press out of Madison, Wisconsin. Midwest in the house! I also love the woodcuts of Chitra Ganesh at Durham Press because they're simple, black and white, and carry a lot of power in the message behind the work.Today at the fair Jeff Koons talks about the state of multiples in the art world, and I'll be making time to interview Karl LaRocca of Kayrock Screenprinting and Kathy Caraccio who runs K. Caraccio Printshop where she is master printer and has been collaborative printing for 40 years. After that Phil Sanders leads a discussion also about collaborative printing. It seems to be the theme of this type of event, so you'll be learning a lot about how artists and printers navigate working together. More to come so keep following The Print Cast to hear more about what's happening around the big apple this weekend.

Today on this special edition of The Print Cast, I'll be recording at the IFPDA fine art print fair in New York. This is the first daily installment about what's going on here during Print Week including lots of up-close-and-personal content captured at the fair. The IFPDA is a big fair of galleries and print publishers showcasing some of the best prints being made today. Today I'll be on site recording a talk about collecting fine print works. Later I'll be doing my first live recording of the podcast! Master Printer Craig Zammiello will be on hand discussing his use of photograveur while working at ULAE and Two Palms here in New York. There's a lot to take in, and each day at the fair I'll be posting updates about happenings and events so stay tuned for more great audio.You can look forward to more content from the fair in the coming weeks being broadcast directly from The Print Cast feed. Some of this includes a discussion with Jeff Koons about the state of multiples today. Also Swoon will be on hand to discuss her latest installations and work, some of which is included in a new show about contemporary etching that opened this week at MOMA. All that and more from this special edition of The Print Cast. Subscribe so you don't miss out!Check out the IFPDA websiteFollow the IFPDA on InstagramFollow The Print Cast on InstagramCheck out The Print Cast website for more info

בעיר העתיקה בירושלים ישנו סולם בין 200 שנה שאסור להזיזו. למה? זה קשור למלחמה עצומה שהתרחשה באירופה באמצע המאה ה-19 בין המעצמות הגדולות של התקופה. המלחמה הזאת החלה בגלל שיפוץ קטן בירושלים...   האזנה נעימה! מחקר כתיבה והגיינה לקויה - תומר שלוש עריכה וקריינות - יובל מלחי עריכת לשון ואחות רחמנייה - ד"ר סמדר כהן מיקס, אפקטים וחצוצרות מלחמה - אסף רפפורט הפקה והסתערות עם הפרשים קלים - רני שחר ואייל שינדלר   http://traffic.omny.fm/d/clips/23f697a0-7e6a-4e96-a223-a82c00962b12/5d166961-3f93-4859-a8dd-a919008d592b/90ba60b6-30de-4f59-8c83-aa7700bf2a58/audio.mp3     סולם הסטטוס קוו הממוקם בכנסיית הקבר בירושלים  Drawn by Edwin T. Dolby (1838–1900). Lithograph by William Simpson (1823–1899)          

In Part 2 of Nick's interview with Enrique Chagoya, they do a deep dive into his art. They discuss the history of the codex book format, dating back to pre-columbian times, and why it's a relevant format for Chagoya's art. If you recall, it was a lithographic codex that was vandalized in Loveland, Colorado, and we recounted the entire incident in Part 1 of this interview. We go on to talk about appropriation and specifically artists who create art on top of other artists' work. Chagoya calls prints unique multiples, which implies they possess a similar aura like that of unique works of art. The artist shares how he maintains work-life balance, why meditation helps his daily life, and how he keeps going with a busy teaching and art career. 

Episode 3 of The Print Cast features an interview with painter Sandow Birk and ceramicist Elyse Pignolet; two artists who collaborate in marriage and in art. We talk about their numerous large scale printmaking projects over the years. Working with Master Printer workshops they execute intaglio, relief and lithographic editions delving into political topics ranging from war, democracy, to the constitution. By appropriating formats, compositions, and production methods from historical artists and printmakers, they manage to create art that is poignant and contemporary while also being timeless. We discuss projects like their woodcut Depravities of War, Imaginary Monuments, and their recent project American Procession. It's a great interview and gives a lot of perspective on the Master Printer and artist relationship from the artist's point of view. They also demonstrate the power of collaboration in art and in a marriage where two creatives are making powerful work for themselves and as a unit. Follow the show on Instagram@theprintcastFollow the artists@sandowbirk@epignolet

February 1 is World Hijab Day, which totally baffles Clarion's Shireen Qudosi as she explains in this podcast. And, remarkably, compares it to the Salem witch trials. Lithograph of the Salem Witch Trials, circa 1892. (Image: Baker, Joseph E., ca. 1837-1914, artist. Walker, Geo. H., & Co., lithograph. Library of Congress.

Stewart is joined this week by Cody Melcher and Peter-john Byrnes. This time Stewart has brought along some artwork  that is pet and animal-related. Cody gets emotional and Peter cracks jokes...and Stewart keeps the conversation moving along...a great episode!!

Back in episode 82, we first met Arian Buhler. The artist behind the majority of Guns N' Roses' "Not in This Lifetime" lithographs, box-set, and Shadow of Your Love video returns for part 2, to dig deeper into his masterful, and highly sought-after, artwork. Guest co-host for this conversation is Rich from Japan. He is the owner of lithorati.com, an online database of all of Arian's GNR work. Also the "Shotgun News" segment we follow up with Doug Goldstein's tweet to Fernando, and Alan Niven's reaction.

On this President's Day we spend our “Monday Minute in the Archives” looking at a signed (by 4 Presidents and 5 First Ladies) White House lithograph.

Andrew and Chris answer some listener questions about series, anime art, and the anime production process.

By: Nooten, Berthe Hoola van. - Depannemaeker, P. - Muquardt, C.Publication Details: Bruxelles, C. Muquardt, [1880]Contributed By: Missouri Botanical Garden, Peter H. Raven Library