Podcasts about Printmaking

This week, some of the stories on our show inspired college student art — including a vivid image of a bear smashing a clarinet.Also, a Hare Krishna community in West Virginia serves vegetarian food made in three sacred kitchens. And, COVID-19 exposed the contempt society has for marginalized people. One author says, these folks are anything but passive. You'll hear these stories and more this week, Inside Appalachia.

Paula Rego: Visions of English Literature developed by the Hayward Gallery Touring opened at the Newlands House Gallery, Petworth on Thursday May 21.Dame Paula Rego, a Portuguese-British artist (1935-2022) is regarded as one of the most significant figurative artists of the late 20th and early 21st centuries. The exhibition explores Rego’s lifelong engagement with storytelling and literature through the medium of printmaking. Gilly Fox, Associate Director of Haywards Gallery Touring, and Dr Loucia Manopoulou of Newlands House Gallery spoke to Noni Needs about this new exhibition.Newlands House Gallery showcases three of the artist’s most ambitious and profound series of works in printmaking: Nursery Rhymes, Peter Pan and Jane Eyre, made across a decade of the artist’s life. Each series is accompanied by a variety of personal items from the artist, many of which have never been publicly displayed before. Unseen preparatory sketches, etching plates and Rego’s very own childhood copy of Peter Pan. The exhibition offers an insight into the artist’s lifelong fascination with literature and into how the artist transformed this material into startlingly original and unexpected pictures.The exhibition run until September 6, 2026.For more information go to Newlands House Gallery@hayward.gallerySee omnystudio.com/listener for privacy information.

Giulio Noccesi by Ethan James Green Giulio Noccesi (b. 1996, Florence, Italy) is a painter based in Turin, Italy. He has participated in group exhibitions at Minor Gallery, Copenhagen, DK (2025); Monti8, Rome, IT (2024); Candysnake Gallery, Milan, IT (2024); and D Contemporary Gallery, London, UK (2023). He received a degree in Printmaking from Fine Arts Academy, Florence in 2018. “In Maurilia, the traveler is invited to visit the city and, at the same time, to examine some old postcards that show it as it used to be: the same identical square with a hen in the place of the bus station, a bandstand in place of the overpass, two young ladies with white parasols in the place of the munitions factory. If the traveler does not wish to disappoint the inhabitants, he must praise the postcard city and prefer it to the present one…” – Italo Calvino In Italo Calvino's novel Invisible Cities, Marco Polo recounts his explorations along the Silk Road to the emperor Kublai Khan, each chapter detailing its own city. Calvino's non-linear, combinatory prose asks us to think beyond the borders that separate cities, presenting metaphysical themes that are specific to each place described, yet which permeate the text as a whole. We are implored to consider the relationship between history and memory; above all, we must consider how ideas take shape across chapters to form a composite aesthetic experience. The paintings on view in Fermo per sempre make a similar demand of the viewer. Like Calvino's postmodern cartography, Giulio Noccesi's paintings construct a subjective map of his native Italy, an intricate network of isolated yet interrelated scenes. Each painting is simultaneously autonomous and contingent, an intimate, self-contained reflection of his life and a reference to the Italian art historical canon that animates his compositions. Giulio Noccesi, La tua ex con un altro (Your ex with someone else), 2024. Oil on canvas, 19.75 x 19.75 in (50 x 50 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY. Giulio Noccesi, Paesaggio di campagna (Countryside landscape), 2025. Oil on canvas, 15.75 x 11.75 in (40 x 30 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY. Giulio Noccesi, Renault Scenic, 2024. Oil on canvas, 23.5 x 23.5 in (60 x 60 cm). © Giulio Noccesi; Courtesy of New York Life Gallery, NY.

The significance of printmaking within the history of art is often underplayed, obscured or misunderstood. The Story of Printmaking: A Global History of Art (Yale UP, 2026) by Holly EJ Black tells the story of artist prints from across the globe in a manner that is accessible and engaging. It demystifies how prints are made – from woodblock to etching – and explores how, throughout history, printmaking has defied easy categorisation, straddling ‘fine' art practices and commercially minded production. In fact, it has been employed as much for creative experimentation as it has for disseminating information. Beginning in ancient East Asia and travelling through Renaissance Europe, revolutionary Mexico, and post-Apartheid South Africa, these ten chapters celebrate the interconnected nature of the printed image and its multiple histories, while illuminating the lesser-known players who have been deliberately or erroneously overlooked. Whether formed by slicing linoleum or plunging plates into acid, then distributed via bound books or pasted posters, the print has not just replicated the world, it has shaped it. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The significance of printmaking within the history of art is often underplayed, obscured or misunderstood. The Story of Printmaking: A Global History of Art (Yale UP, 2026) by Holly EJ Black tells the story of artist prints from across the globe in a manner that is accessible and engaging. It demystifies how prints are made – from woodblock to etching – and explores how, throughout history, printmaking has defied easy categorisation, straddling ‘fine' art practices and commercially minded production. In fact, it has been employed as much for creative experimentation as it has for disseminating information. Beginning in ancient East Asia and travelling through Renaissance Europe, revolutionary Mexico, and post-Apartheid South Africa, these ten chapters celebrate the interconnected nature of the printed image and its multiple histories, while illuminating the lesser-known players who have been deliberately or erroneously overlooked. Whether formed by slicing linoleum or plunging plates into acid, then distributed via bound books or pasted posters, the print has not just replicated the world, it has shaped it. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The significance of printmaking within the history of art is often underplayed, obscured or misunderstood. The Story of Printmaking: A Global History of Art (Yale UP, 2026) by Holly EJ Black tells the story of artist prints from across the globe in a manner that is accessible and engaging. It demystifies how prints are made – from woodblock to etching – and explores how, throughout history, printmaking has defied easy categorisation, straddling ‘fine' art practices and commercially minded production. In fact, it has been employed as much for creative experimentation as it has for disseminating information. Beginning in ancient East Asia and travelling through Renaissance Europe, revolutionary Mexico, and post-Apartheid South Africa, these ten chapters celebrate the interconnected nature of the printed image and its multiple histories, while illuminating the lesser-known players who have been deliberately or erroneously overlooked. Whether formed by slicing linoleum or plunging plates into acid, then distributed via bound books or pasted posters, the print has not just replicated the world, it has shaped it. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today's poem is Intaglio by Emma Aylor.The Slowdown is your daily poetry ritual. In this episode, Maggie writes… “When we hear the word “print' in regards to a painting, we might think of a copy or duplicate — in other words, not the real thing. There's Gustav Klimt's famous painting “The Kiss,” worth millions of dollars, and then there are poster prints of the original, which anyone can buy and hang in their home. Printmaking as a technology began just before the invention of movable type allowed for the mass production of books — in both cases, opening the floodgates of knowledge and ideas. Today, many forms of printmaking are practiced as a craft and as an art. Some printmaking, like intaglio, is used to create both limited-edition art that would hang in a museum or a piece of paper money.”This show is supported by gifts from listeners. Support The Slowdown with a donation and get access to the sponsor-free version of The Slowdown today. Slowdownshow.org/donate

This week, Wes and Todd reconnect with their friend, multidisciplinary artist, Joey Kerlin. Joey discusses beauty, ceramics, the catalyst to getting back into teaching, critical thinking, teaching philosophy, writing & reading, art weirdos, the book “Art & Fear”, imposter syndrome, literacy, Catholic churches, transubstantiation, beholding, Marina Abramoić, how teaching informs his art practice, arts & education, bean pots, boredom, vulnerability & relationships, art & loneliness, titles, the “OFF-PRINSTE” exhibition, borders, birds & women, chairs, divergent vs. convergent thinking, the “Black Ink” fundraiser, this year's “Hearsay” exhibition and the piece he's submitting, and the challenges & virtues of being an Artist.Join us for a thought provoking conversation with Joey Kerlin!Follow Joey Kerlin on social media:Instagram - www.instagram.com/radiusstudios/ - @radiusstudios See Joey's work in person at these exhibitions; OFF-PRINSTE – March 3rd – April 26thThe People's Building9995 E. Colfax AvenueAurora, CO 80010Secondary Reception: April 3rd, 5pm - 8pm Black Ink – a fundraiser for Mo' Print – Month of Printmaking Colorado@moprintcoloradoSaturday, April 4th, 6pm – 11pmHigh Dive Denver7 S. BroadwayDenver, CO 80223All prints - $10  Hear/Say – Groundbreaking Art Exhibition Exploring the Effects of High-Concentration Cannabis May 29th - May31st, 2026Center for Creativity200 Matthews StreetFort Collins, CO 80524Opening reception – May 29th, 6pm – 8pm  June 5th – June 26th, 2026Cottonwood Center for the Arts427 E. Colorado AvenueColorado Springs, CO 80903Opening reception – June 5th, 6pm – 8pmSend us Fan MailFollow us on Instagram:@tenetpodcast - www.instagram.com/tenetpodcast/@wesbrn - www.instagram.com/wesbrn/@toddpiersonphotography - www.instagram.com/toddpiersonphotography/ Follow us on Facebook:www.facebook.com/TenetPodcast/Email us at todd@toddpierson.com If you enjoyed this episode or any of our previous episodes, please consider taking  a moment and leaving us a review on your favorite podcast platform.Thanks for listening! 

Mokuhanga is a medium that invites an adventurous side to ones personality. It can carry your ambitions to different places, allowing you to explore and grow—not only in your work, but in yourself.   Raluca Iancu joins me, a mokuhanga printmaker who investigates her practice through other forms of printmaking, travel, and learning from diverse teachers and instructors from around the world.   Raluca speaks with me about how she discovered mokuhanga, how her work is shaped by other printmaking mediums, and how her travels and residencies have influenced her practice. We also discuss her time with MI Lab and her role as Associate Professor of Art & Visual Culture, Printmaking at Iowa State University, and how these experiences inform her mokuhanga work.   And finally, we explore if  mokuhanga can be a medium for change—whether it can serve as an act of activism or a tool for transformation. Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on my website andrezadoroznyprints.com Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. If there are any issues with something you've heard in the episode please don't hesitate to email.  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Raluca Iancu  - website, Instagram More notes to come © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Introduction music while working - Oscar Peterson Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  

Pippa Hudson speaks to style and design correspondent Bianca Resnekov about the Print Making Fair and a new craft school that’s opened in Cape Town. Lunch with Pippa Hudson is CapeTalk’s mid-afternoon show. This 2-hour respite from hard news encourages the audience to take the time to explore, taste, read and reflect. The show - presented by former journalist, baker and water sports enthusiast Pippa Hudson - is unashamedly lifestyle driven. Popular features include a daily profile interview #OnTheCouch at 1:10pm. Consumer issues are in the spotlight every Wednesday while the team also unpacks all things related to health, wealth & the environment. Thank you for listening to a podcast from Lunch with Pippa Hudson Listen live on Primedia+ weekdays between 13:00 and 15:00 (SA Time) to Lunch with Pippa Hudson broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/MdSlWEs or find all the catch-up podcasts here https://buff.ly/fDJWe69 Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

In this episode, Ann sits down with Sangmi Yoo—artist, educator, and Professor of Printmaking at Texas Tech—to discuss how she navigates the "in-between." Her work isn't just about ink on paper; it's about how we build our identities out of architecture, memory, and the ghosts of colonial history. www.sangmiyoo.com IG: @sangmiyooliving Show me the images!!    

This month, Mary got to spend time with Heather Bentz, a nationally rejowned artist and all around cool person. Heather was raised by artists, and by the natural world she adventured into throughout her childhood. She holds a BFA in Printmaking from Pennsylvania State University, and an MFA in Painting from Montana State University.Following her rapt attention to play and adventure in nature as a child, Heather whimsically engages with a variety of materials in her art practice of collage, drawing and painting. In her career, she also supported the education of artists even as she continued creating. She served as Assistant Dean of the college of Arts and Architecture at Montana State University, and later as Assistant Dean of the College of Visual and Performing Arts at the University of Massachusetts, Dartmouth.These days, her pieces hold found and recycled materials and often reference the plants around her and those she observed as a child.As Heather puts it, "My art is a physical record of how I process the world around me, organizing and layering its frenetic bits to create surfaces that have history and hold the energy that went into their making. The imagery is reminiscent of something familiar. They're places in which I like to let my mind play and poke around." Enjoy listening to this episode of HILFH, when Heather and Mary poke around to learn more about how nature and humans dance with each other to create art.You can learn more about Heather Bintz by visiting her website. You can also follow her on Instagram @heather_bentz where she posts her bobcat sightings and shares her art.Heather's art is also featured in two current shows in Tucson, AZ - Small Works at the Untitled Gallery and Beneath the Surface, showing at Steinfeld Warehouse. She has standing exhibitions at ten Space Gallery in Denver and at the Art3 Gallery in Manchester, NH - both of these galleries serving to represent her work.In our conversation, Heather mentioned the artist, Clyde Aspevig - a creator worth checking out. And now, as you move into your next days and weeks, take Heather's advice to do what you can to support climate repair - and make sure to pay renewed (and renewing) attention to the light.MUSICPiano Background Music. Music by Dmitrii Kolesnikov from PixabayBackground Piano. Music by Nikita Kondrashev from PixabayRelaxing Piano Ambient. Music by Mircea Iancu from PixabayOriginal theme music composed and performed by Gary Ferguson.

This week, some of the stories on our show inspired college student art — including a vivid image of a bear smashing a clarinet.Also, a Hare Krishna community in West Virginia serves vegetarian food made in three sacred kitchens. And COVID exposed the contempt society has for marginalized people. One author says, these folks are anything but passive.  You'll hear these stories and more this week, Inside Appalachia. 

Episode 513 / Langdon GravesLangdon Graves is a Virginia-born, New York City-based artist who holds a BFA from Virginia Commonwealth University in Painting & Printmaking and an MFA from Parsons School of Design. She is adjunct faculty at Parsons and Assistant Professor in the Graduate Fine Arts program at Pratt Institute. Langdon has shown her work throughout the United States, Canada, Europe and Australia with solo and group exhibitions that include Dinner Gallery, TEI's Art in Buildings, Mrs., Tilton Gallery, Deanna Evans Projects, Grimm, Taymour Grahne Projects, STONELEAF and the Delaware Contemporary Museum. Langdon has attended the Fountainhead Residency in Miami, the Kunstenaarsinitiatief Residency and Exhibition Program in the Netherlands, the Object Limited residency in Bisbee, Arizona and STONELEAF Retreat in upstate New York. She is a recipient of Canson & Beautiful Decay's Wet Paint Grant and has been featured in Artnet, Art in America, Hyperallergic, Vice Creators Project, Juxtapoz, Art F City, The Wall Street Journal, the Artmatters podcast and Madeline Schwartzman's See Yourself X.

At a time when it feels like our social fabric is being torn apart, today's show is about the power of art to pull people back together. Host Ali Muldrow is in conversation with Issis Macias, Lesley Numbers, and Emily Popp about the current exhibit at Art + Literature Laboratory, Pulling Together: Work from Madison's Roundhouse Studios. Roundhouse Studio houses 47 artists, and each of their studios is like a little train car, “chugging down the track” to affordable and sustainable art careers, says Popp. Roundhouse Studios opened in January 2025 as a collaborative project between Arts + Literature Laboratory and Apex Property Management to address Madison's critical shortage of affordable artist workspace. Popp says that the exhibit is a good display of the talent at Roundhouse, representing all different kinds of mediums. Even though everyone has the capacity to be creative, there are financial barriers to being an artist and our economy and culture make it hard for everyone to pursue the arts. Our guests debunk the myths about art being a solo, frivolous activity, and praise the ways that their colleagues at Roundhouse root for each other. They also talk about how motherhood is the inspiration for their artistic practices and why it’s so important to have studio space for their work. Numbers says that she first knew she was an artist when she was giving birth to her child. Macias says she turns to art for healing, and she embraces art as a refuge. She translates all kinds of emotions through vibrant colors and textures. They wind down the conversation by discussing the ways that their current political moment, including the killing of Renee Good last week by ICE, will impact their art.  Issis Macias is a self-taught artist and daughter of Mexican immigrants whose work explores the emotional spectrum of human experience through vibrant, intuitive abstraction. Born in Los Angeles and now based in Madison, Wisconsin, she began painting during a transformative period of motherhood and career transition amid the pandemic. Working with acrylic and oil pastels, Macias draws upon memory, intuition, and shared emotion to create her dynamic, layered compositions. She was named the 2025 Latina Artist of the Year and received the 2024 Micaela Salinas Artist Fellowship, sponsored by Latinos Organizing for Understanding and Development. Macias was also a 2023–2025 Bridge Work artist at Arts + Literature Laboratory, a 2023 Forward Art Prize finalist through the Women Artists Forward Fund, and is an active member of the Madison Art Guild. Her work is held in private collections across the United States, Mexico, and Europe. Lesley Anne Numbers is an artist, educator, mother and earth-tender, born and raised in Madison. She earned a B.S. in Art Education and an MFA in Printmaking, both from the University of Wisconsin-Madison. Her art practice is rooted in a sense of spirit, curiosity and love and her imagery is inspired by daily walks with her dogs, the living world, music, poetry and dreams. Currently, Lesley serves as Director of Youth Education at Arts + Literature Laboratory, creates art at Roundhouse Studio and helps run Polka! Press, a printmaking cooperative. Emily Popp is a fashion and costume designer, teaching artist, performer, and creator of the small handmade fashion brand The Popp Town Mall. Her artistic practice centers on the repurposing and transformation of found and secondhand materials. Emily's definition of fashion includes anything worn on the body. She considers fashion to be one of the most accessible art forms, a means of individual artistic and intimate expression shared daily.  Emily currently works as a costume designer for the University of Wisconsin Opera and as Director of Adult Education at Arts + Literature Laboratory. Emily holds a Master’s degree in Fashion and Textiles from the University of Wisconsin-Madison and a Post-Baccalaureate in Fashion from the School of the Art Institute of Chicago.  Featured image from the Pulling Together exhibit, courtesy of Art + Literature Laboratory. Did you enjoy this story? Your funding makes great, local journalism like this possible. Donate hereThe post Mother Artists Unite! appeared first on WORT-FM 89.9.

Episode 509 / Terra KeckTerra Keck is a Brooklyn based artist and performer. She received her MFA in Printmaking from the University of Hawai'i at Mānoa in 2018, and her BFA in Drawing from Ball State University in 2013. She moved to Brooklyn in the summer of 2018 and works in East Williamsburg. Terra's work featured in publications such as Hyperallergic, The Art Newspaper, and Oxford American Arts as well as in permanent institutional collections in Japan, Australia, New Zealand, Italy, Hawaii, and California. She's had solo shows at Field Projects, Sweet Lorraine, the Honolul Museum of Art amongst other venues and group shows at Maia COntemporary, Here to Sunday, Immaterial Porjects and many others. Terra is a founding member of the international artist collective GRRIC Contemporary, an experimental art space, happening, omnipotence. In 2017 she co-curated the show “Afterschool Special” at the Honolulu Museum of Art and several shows through the GRRIC Contemporary Art Gallery in Honolulu. Terra also co-hosts the comedy podcast “Witch, Yes!” which seeks the humor and humanity of the occult, folklore, and witchcraft in its relationship to history, identity and contemporary politics. 

Plan Dulce Host Bryan Lima (he/him) is joined by Álvaro D. Márquez (they/them/theirs), an artist, researcher, and philanthropy professional in Los Angeles County. They discuss Álvaro's personal life experiences in education, art making, research and inquiry into history and cartography and how it all informs their practice creating visual art through printmaking, fiber-art, installation and sculpture.Bio and Links:Álvaro D. Márquez (they/them/theirs) is an artist, researcher, and philanthropy professional. They grew up in the working-class immigrant community of East Salinas, CA and reside in Los Angeles County. Descendant of three generations of migrant field workers, they hold a BA in U.S. history from Brown University, an MA in American Studies and Ethnicity from the University of Southern California, and an MFA in Printmaking from CSU Long Beach. They are also currently pursuing a PhD in Cultural Studies from Claremont Graduate University. Their work explores displacement as a key modality in the development of Western, settler-colonial expansion, encompassing issues around Indigenous dispossession, homelessness, segregation, and gentrification. At the root of their interdisciplinary practice is an examination of the privatization of land as a commodity, and the long-lasting effects of settler colonialism on the built and natural environment. Their work is situated in the intersection of printmaking, installation, and sculpture. They have exhibited their work across the US, Mexico, and Germany, and their work has been collected by the Los Angeles County Museum of Art, the Lucas Museum of Narrative Art, the Hood Museum of Art at Dartmouth College, and the U.S. Library of congress. They currently work as Senior Officer for Communications and Arts at the California Community Foundation, and have previously taught as Adjunct Faculty at the University of Southern California Roski School of Art and Design, CSU Long Beach School of Art, and CSU Los Angeles Department of Chicana/o and Latina/o Studies.Learn more about:https://www.alvarodmarquez.com/ https://www.instagram.com/alvarodmarquez/  https://www.aminextla.org/  --------------------------------------Plan Dulce is a podcast by members of the ⁠⁠Latinos and Planning Division⁠ of the American Planning Association⁠. The information, opinions, and recommendations presented in this Podcast are for general information only. Want to recommend our next great guests and stay updated on the latest episodes? We want to hear from you! Follow, rate, and subscribe! Your support and feedback helps us continue to amplify insightful and inspiring stories from our wonderfully culturally and professionally diverse community.This episode was conceived, written, edited and produced by Vidal F. Márquez (he/him) and co-produced and hosted by Bryan Lima (he/him).Connect:Instagram:https://www.instagram.com/plandulcepodcast/ Facebook:⁠https://www.facebook.com/LatinosandPlanning/⁠Youtube:Subscribe to Plan Dulce on Youtube LinkedIn:⁠https://www.linkedin.com/groups/4294535/⁠X/ Twitter:⁠https://twitter.com/latinosplanapa?lang=en⁠—----

Prints from a Minnesota studio are among those on display as a part of novel exhibit at the Print Center New York. The project, called “Data Consciousness: Reframing Blackness in Contemporary Print,” is inspired by the ground-breaking data visualization work of W.E.B. Du Bois presented at the 1900 Paris Exposition, which sought to present various aspects of Black life after Reconstruction. This contemporary exhibit draws on updated data from official records, archives and oral testimonies to provide a contemporary look into the same themes explored by Du Bois.MPR News host Nina Moini talked with one of the artists behind the show, William Villalongo, along with Alex Blaisdell, gallery director at Highpoint Center for Printmaking in Minneapolis.

When science and art meet they create a nexus where inspiration and education combine to create impactful outcomes. From illustrated ID guides to building-sized murals, art has been interwoven into science communications for thousands of years and its value has continued to persist. Xerces has harnessed the power of images and we are excited to explore this topic.In this episode, we are sitting down with Jane Kim and Thayer Walker, who founded Ink Dwell, an art studio that produces stunning murals and other works that celebrate the natural world. Jane is a visual artist and science illustrator. She received a Bachelor of Fine Arts in Printmaking from Rhode Island School of Design and then attended California State University Monterey Bay, where she earned a master's certificate in science illustration. She has created large-scale public art across the country, including the Wall of Birds at the Cornell Lab of Ornithology in Ithaca, and produced works for the National Aquarium in Baltimore, the de Young Museum in San Francisco, and more. Thayer manages Ink Dwell's operations and is an author and correspondent who has written about science, adventure, exploration, and the natural world for nearly two decades—and along the way had some adventures of his own. (I read something about 20 days on a desert island and escaping the jaws of a jaguar…) With Jane, he co-authored The Wall of Birds, a book about that monumental mural at the Cornell Lab of Ornithology.---Photo: Benjamin ZackThank you for listening! For more information go to xerces.org/bugbanter.

Printmaking is a fun and easy way to capture our impressions of nature and can be incorporated into our nature journaling practice. In this prompt episode I chat about different printmaking techniques and how they can be used to explore our world.To revisit my podcast conversation with printmaker Suzy Sharpe you can find that recording here. You can also see Suzy's botanical monoprints over on her website.If you would like to share ideas or inspiration for your own printmaking experiences, you can leave a comment below this episode on the Journaling With Nature website.-----------------Sign-up for Journaling With Nature's Newsletter to receive news and updates.You can support Journaling With Nature Podcast on Patreon. Your contribution is deeply appreciated.Thanks for listening!

In this episode of Platemark, Ann talks with Evan Summer, who shares his journey from studying chemistry to becoming a printmaker and educator. We talk about the technical aspects and challenges of collagraph, a lesser-known printmaking technique, discussing its potential and common pitfalls. Evan also offers some essential hot tips on the technique. Evan explains the intersection of science and art in printmaking, emphasizing safety and technical precision. We also explore his dark, apocalyptic-themed landscapes contrasted with his occasional, whimsical animal prints. We talk about his his influential teachers and his teaching career at Kutztown University, as well as his experiences with international artist residencies in places like Venice and China. The episode highlights the artistic and technical expertise required in printmaking, while Evan provides valuable insights and anecdotes from his extensive career.   USEFUL LINKS www.evansummer.com IG @evansummer https://www.facebook.com/evan.summer/   Show me the images!!

Tarot Emblemata is a magical and mystical tarot deck based on the 1551 book of emblems by Claude Paradin. Renaissance emblems are intimate illustrations with accompanying mottos that allegorically and symbolically express sentiments, concepts, societal concerns, and parables. These Renaissance emblems are a didactic genre of interpretive art and, within them, author and creator Nitasia Roland has discovered that their enigmatic imagery and “mottos” correspond dynamically and align perfectly with the seventy cards of the Major and Minor Arcana of the tarot.Among the many ancient and iconic images this deck portrays—plumes, helmets, swords, gemstone rings, coins, wands, clouds, wreaths, flowers, animals, and trees—Roland sees the evolution of tarot's wands, swords, cups, and coins, as well as evocative glimmers of the Major Arcana archetypes. Both secular and religious, Renaissance emblems were meant to crystallize virtue or vice and cover every sphere of early modern knowledge: ethics, natural philosophy, politics, science, religion, love, war, and everyday life, very much in the same way that modern tarot imagery provides insight and clarity today.The Tarot Emblemata deck will help readers expand on their path of embodiment, spiritual gnosis, inspired destiny, and empowerment. The accompanying guidebook presents tarot interpretations and elucidations on the symbolism of the emblems. Tarot Emblemata features a ribbon lift and gilded cards. It is an accessible deck for beginners and those familiar with the Rider-Waite-Smith system, while more experienced readers will enjoy a new and refreshing perspective. Find the deck and Natasia:Tarot Emblemata Deck: https://amzn.to/4mRCHWGWebsite: www.uraniapress.comInstagram: https://www.instagram.com/nitasia_roland/ and https://www.instagram.com/urania_press/Nitasia Roland is a poet and writer of nonfiction with a focus on dovetailing the wisdom and practices of Western Esotericism, magic, myth, and mysticism. She resides in Maine, USA, surrounded by 75 acres of pastoral New England countryside. Nitasia works from home as an artist, independent researcher, editor, and indie tarot deck creator at her publishing company Urania Press. For her Interdisciplinary Master's Degree, she studied English, Poetry, Printmaking, Photography, and Design. In 2019 she received her MFA in Creative Writing. The current of Nitasia's Synchromystic path syncs a mélange of curios into a body of research, contemplation, and practice with poetic trance, synchronicity, Synthēmata & Symbola, theurgy, Hellenistic household worship, daimon & deity devotion, witchcraft, hedgecraft, divination, and ceremonial & planetary magic. 

  This week, we print big or go home. Bad at Sports cast their eyes to New York from the safe confines of the Chicago Architectural Biennial booth at EXPO 2025 to talk with the legendary Two Palms studio in the guise of Alex Slattery. If you've ever stood slack-jawed in front of a monoprint the size of a small car or a woodblock cut so large it needed its own logistics plan, chances are Two Palms was behind it. Since the 1990s, David Lasry and company have been redefining what printmaking can be—working with artists like Carroll Dunham, Elizabeth Peyton, Mel Bochner, Cecily Brown, Terry Winters, Chris Ofili, Dana Schutz, Richard Prince, Chuck Close, Jeff Koons, and yes, even channeling the ghost of Andy Warhol. From delicate gestures to total madness with ink and paper, the studio's collaborations are as unpredictable as they are radical. We talk risk, scale, failure, and discovery—the alchemy of artist–printer collaborations that make Two Palms a force in contemporary art. Along the way we wander through stories of impossible woodblocks, ink disasters turned into triumphs, and why printmaking might just be the most punk medium of them all. So pour a glass, sharpen your barens, and get ready to nerd out about the future of prints.   Two Palms https://www.twopalms.us/ @twopalmsnyc   Name-Drop  Carroll Dunham — https://www.presenhuber.com/artists/carroll-dunham#tab:slideshow Elizabeth Peyton — https://www.davidzwirner.com/artists/elizabeth-peyton Mel Bochner — http://www.melbochner.net/ Cecily Brown — https://gagosian.com/artists/cecily-brown/ Terry Winters —https://www.terrywinters.org/ Chris Ofili — https://www.davidzwirner.com/artists/chris-ofili/survey Dana Schutz — https://www.davidzwirner.com/artists/dana-schutz Richard Prince — http://www.richardprince.com/ Chuck Close — https://www.pacegallery.com/artists/chuck-close/ Jeff Koons — https://www.jeffkoons.com/ Two Palms — https://www.twopalms.us/ Marilyn Minter — https://www.twopalms.us/featured-works/marilyn-minter Stanley Whitney — https://www.twopalms.us/featured-works/stanley-whitney Ana Benaroya — https://www.twopalms.us/featured-works/ana-benaroya David Paul Lasry — https://www.nga.gov/artists/21067-david-paul-lasry Alex Slattery — https://www.instagram.com/alexslattery/ EXPO CHICAGO - https://www.expochicago.com/ Chicago Architectural Biennial 6 - https://chicagoarchitecturebiennial.org/ Institutions that love these prints: Whitney Museum of American Art — https://whitney.org/ MoMA — https://www.moma.org/ The Met — https://www.metmuseum.org/  

Artist Kristen Huizar joins What's My Thesis? to reflect on drawing, printmaking, and the act of documenting Los Angeles. Born and raised in Commerce, CA, she traces her path from community college to Cal State Long Beach, where persistence and community shaped her practice. Working with wax pastels on plastic vinyl, hand stitching, and large lino cuts, Huizar explores repetition, process, and the archival impulse. Her drawings function as reportage—capturing overlooked city views, everyday details, and the rapid changes of East L.A. The conversation considers Chicana identity, community studios, and the politics of representation, offering insight into how artists both preserve and reimagine the city.

In this interview, artist and screen printer Zeb Love takes us deep into his process—discussing everything from transparent ink layering and hand-pulled technique to his philosophy on storytelling through visual art. We explore his roots in gig posters, his work with bands like Pearl Jam and Dead & Company, and how he approaches gallery exhibitions versus festival booths. With quiet clarity and technical insight, Zeb shares how he builds meaning into each layer, and why analog craft still matters in a digital world.Support the showThe Ghost of Hollywood Website The Ghost of Hollywood Instagram

In this episode of What's My Thesis?, Los Angeles printmaker Israel Campos shares how his work bridges Mesoamerican codices, Mexican revolutionary art, and the mural traditions of his South Central upbringing. Known for his meticulous intaglio prints, Campos reclaims visual histories disrupted by colonization—collapsing linear perspective, weaving ancient mythologies, and drawing on the political legacies of artists like José Clemente Orozco. From growing up in a garment factory household to exhibiting at Charlie James Gallery, Campos has shaped a practice that circulates both within galleries and directly to his community, merging economic sustainability with political intent.

Victoria Bilogan is a professional musician and artist originally from Odessa, based in Melbourne. The winner of numerous art awards, PhD, former art director and performing artist in the first line-up of the band "Bi-2". In this podcast we talk about prints, sketches, the closeness of printmaking and playing the piano, as well as the impact of printmaking on health and modern, more environmentally friendly methods. - Виктория Билоган — профессиональный музыкант и художник родом из Одессы, живет в Мельбурне. Обладательница многочисленных художественных наград, доктор философии, в прошлом арт-директор и выступающая артистка в первом составе группы "Би-2". В этом подкасте мы говорим о гравюрах, скетчах, близости принтмейкинга и игры на пианино, а также о том, какое влияние на здоровье оказывает создание гравюр, и о современных более экологичных методах работы художников.

For many artists, an art career takes many twists and turns—an adventure shaped by different mediums, jobs, and ways of sustaining creative work  while at the same time, educating oneself with the histories of your chosen path.  On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with printmaker Charles Spitzack. We talk about his discovery of mokuhanga and how it connects to his broader printmaking practice. Charles shares his early experiences making mokuhanga, his teaching methods, and how his understanding of the medium developed through a Western American perspective. He also speaks about his time at the Mokuhanga Project Space, and his thoughts on the differences between oil-based and water-based mokuhanga. Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Charles Spitzack - website, Instagram Seattle Print Arts - is a printmaking association based in Seattle, Washington, United States. It maintains a membership and is dedicated to the exchange of knowledge related to various printmaking practices. More info can be found, here.  High Point Center for Printmaking -is located in Minneapolis, Minnesota, United States. It is dedicated to increasing the understanding of printmaking and operates a co-op, gallery, and educational programs. More info can be found, here.  Cornish College of the Arts - is an independent art college located in Seattle, Washington, United States. Its programs emphasize experimentation and critical thinking. More info can be found, here.  Mokuhanga (木版画) - is a Japanese word meaning "wood" and "print." Traditionally, it refers to a relief printing method using woodblocks, water, natural handmade papers, and water-based pigments. With the rise of the sōsaku hanga (creative print) movement in the early to mid 20th century, mokuhanga expanded to include works made with Western oil pigments as well. Today, mokuhanga can be difficult to define, as many artists experiment with new approaches while others remain dedicated to traditional water-based methods. This balance between innovation and tradition shows that mokuhanga is limitless, continually evolving while still grounded in its past. sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Stephen Hazel (1934-20120 - was a painter and printmaker based in the Pacific Northwest. He created works on paper, and educated upon the subject. More info can be found, here.  Beautiful Display 10: Beauties of Chinatown (1977) 24" x 17 11/16" Katheleen Rabel - is an American printmaker, painter and sculptor. More info can be found, here.  Penedo Alto (sōsaku hanga) 50″ x 39″ Hideo Hagiwara (1913-2007) - was a mokuhanga printmaker who came of age during the sōsaku hanga period of the mid 20th Century in Japan. He studied printmaking with Un'ichi Hiratsuka (1896-1997). Hagiwara made prints that were expressive of the self and abstract. He taught at Oregon State University in 1967.   Lady No. 6 (1975) 24.75" x 18.25"  kentō - is the registration system used by printmakers in order to line up the colour woodblocks with your key block, or outline block, carved first.   floating kentō - is like the traditional kentō registration technique but is carved on an "L" shaped piece of wood, and not onto the wood block.  monotype print - is a unique print created from an image painted or drawn on a smooth surface, such as glass or metal, and then transferred to paper. Unlike most printmaking methods, where multiple copies of the same image can be produced, a monotype typically has a single, one-of-a-kind image. It's called a "mono" type because it is not part of an edition like traditional prints (e.g., lithographs, etchings), where you can make multiple copies.  Mike Lyon  -  is an American artist. His medium has varied throughout his career such as "square tiles," or "pixels," through to making mokuhanga, monoprinting, and machine-assisted etching, drawing and mezzotint. Mike Lyon also has a large woodblock print collection which he has curated for the public, here. More information about his work can be found, here. Mike's interview with The Unfinished Print can be found, here.  Grass 4 (2010) 77" x 22" Naoko Matsubara - is a Japanese/Canadian contemporary artist, and sculptor, who lives and works in Oakville, Ontario, Canada.  She has focused much of her artistic life on making mokuhanga and has gained critical acclaim for it.  Naoko Matsubara's interview with The Unfinished Print can be found, here.  Conducting (2004) 22.05" × 15.59" Katsutoshi Yuasa - is a Japanese contemporary artist, and sculptor, who works predominantly in mokuhanga. He has  produced an incredible mount of work. Katsu's interview with the Unfinished Print can be found, here.  On The Dawn of Night and Fog (2025) 39.37" in × 78.74" Antonio Frasconi (1919-2013) - was a Urugyuan printmaker who lived and worked in the United States. He cerated coloured woodcuts and was an educator and author. Frasconi's themes could be political in nature. More info can be found, here.  Cows (1955) 7 1/2" x 12 15/16" The Arts and Crafts Movement in America - flourished from the late 19th to early 20th century, emphasizing simplicity of design, and the use of natural materials as a response to industrial mass production. Inspired by the ideals of John Ruskin (1819-1900) and William Morris (1834-1896) in Britain, the movement in the United States was closely tied to architecture, furniture making, and decorative arts, promoting honesty and a functional beauty.  There was a link with social reform, criticizing modernity and industry and fostering communities of makers across the country. In Japan this folk movement was explored in the mingei movement of the early 20th Century.  William S. Rice (1873-1963) - was a painter, educator and woodblock artist from the United States. Having moved to California early in his life, Rice made landscape prints and paintings of California. At the 1915 Panama Pacific International Exhibition, Rice had a chance to see Japanese mokuhanga in person and was influence by those prints in his woodcuts.  The Windy Summit (1925) 9" x 12" Arthur Wesley Dow (1857-1922) - was an American printmaker who was greatly influenced by Japanese ukiyo-e. He wrote a book on the subject of printmaking called Composition which was published in 1905.    Lily (Ipswich Prints x 1901) 5½" x 4⅛"   Toledo Museum Shin Hanga Exhibitions (1930 & 1936) - were held at the Toledo Museum of Fine Arts in the United States. These two exhibitions played an important role in introducing Japanese woodblock prints to the American market. They were curated by J. Arthur MacLean and Dorothy L. Blair. Artist Hiroshi Yoshida (1876-1950) had traveled to the United States in the 1920s, helping to set the stage for these exhibitions. More info can be found, here.    Walter J. Phillips (1884–1963) - was a British-Canadian printmaker who began his career as a commercial artist. After moving to Canada, he produced etchings, watercolors, and color woodcuts. Influenced by Japanese ukiyo-e, Phillips's prints offer a distinctive view of Canada in the early to mid-20th century.My interview with Sophie Lavoie of The Muse/Lake Of The Woods/Douglas Family Arts Centre about the life and times of Walter J. Phillips can be found, here.      Warren's Landing, Lake Winnipeg (1931) 6.30" × 9.45"   Kathleen Hargrave - is a printmaker and kiln formed glass maker. Kathleen explored various printmaking methods but uses mokuhanga in her practice. Kathleen's mokuhanga is abstract and uses colour in a fantastic way. More info can be found, here.      Resilience 5   Pratt Fine Arts Center - is a nonprofit arts educator in Seattle, Washington. It offers classes and instruction on various artistic expressions such as blacksmithing, glass, jewelry, paintings and printmaking. More info can be found, here.     Mokuhanga Project Space - is a mokuhanga residency located in Walla Walla, Washington, USA. It was established in 2016 and is led by printmaker Keiko Hara. My interview with Keiko Hara and Benjamin Selby of MPS can be found, here. More info can be found, here.    Shoichi Kitamura - is a woodblock carver and printmaker based in Kyoto, Japan. Shoichi has been involved in MI Lab through his demonstrations on carving. More info can be found, here.    Utagawa Kuniyoshi - from The Series Bravery Matched With The Twelve Zodiac Signs. A Modern Reproduction 4.13" x 11.15" (2017) printed and carved by Shoichi Kitamura   April Vollmer - is an established artist who works predominantly in mokuhanga. Her book Japanese Woodblock Print Workshop is one of the most authoritative books on the subject and has influenced many mokuhanga artists. April's interview with The Unfinished Print can be found, here.     It Happened To Me  (1995) 11" x 14"   Andrew Stone - is an American mokuhanga printmaker based in Florence, Italy. He is also a baren maker. The baren is a mokuhanga specific tool. Andrew's interview with The Unfinished Print can be found, here.    Tutto Bene? (2024)   Davidson Galleries - is a gallery situated in Seattle, Washington. Opening in 1973 Davidson Galleries focus on works on paper. In their stable of artists is Charles Spitzack and Andy Farkas. More info can be found, here.    SGC International - the Southern Graphics Council is a member supported printmaking organization which supports printmakers throughout the world. It is located in Kennesaw, Georgia, United States. More info can be found, here.    Karen Kunc - is an American printmaker and Professor Emeritus at the University of Nebraska Lincoln and is based in Nebraska. Karen Kunc works in various artistic and printmaking styles but has worked in mokuhanga for many years. My interview with Karen Kunc for The Unfinished Print can be found, here. More information can be found on her website, here.      Weight of Air (2018) 12" x 24" Woodcut, etching, pochoir, watercolor   Tollman Collection  - is a well known Japanese art gallery located in Daimon, Tokyo, Japan and New York City, NY. More information can be found, here.    Ballinglen - is an arts foundation based in Ballycastle, Co Mayo, Ireland. The groups aim is to "enhance cultural awareness," of North County Mayo. This is done via fellowships, education, exhibitions and workshops. More info can be found, here.    Pomegranate - is a company which sells items such as jigsaw puzzles, holiday cards, etc using different types of artists  and their work in these pieces. More info can be found, here.    Gustave Baumann (1881-1971) - was a colour woodcut printmaker, and painter of German descent who made his life in the United States. More info can be found, here.      Marigolds (1960) colour woodcut 12 7/8" x 12 7/8" © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Intro music by Oscar Peterson, I Got It Bad (And That Ain't Good)  from Night Train (1963) Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know.  ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                  

A new exhibit at Northern Illinois University's Art Museum is an ambitious look at the school's vaunted printmaking program, which is in its 60th year. It also marks the end of a chapter for the museum. In the latest Under Rocks podcast, curator Peter Olson takes us on a tour of the exhibit and clues us into what the future holds for the campus museum.

In Platemark's history of prints series, Ann Shafer and Tru Ludwig present a second installment of their ONE PRINT series, this time on Peter Milton's The Train from Munich, 1991. In this episode, Ann and Tru take a single work considered to be a high point in the history of prints, and pull it apart to explore its subject matter, technique, style, and composition. It's a deep, deep dive into a single work--what a luxury. All images of Peter's art are © 2025 Peter Milton / Artists Rights Society (ARS), New York. Show me the images!!

Send us a textIn this episode of the Art Wank Podcast, we sit down with Michael Kempson, one of Australia's leading master printers. With a career spanning over three decades, Michael has made a profound impact on the field of printmaking through his own practice as well as his work as a mentor, collaborator and educator.Michael is best known as the founder and director of Cicada Press, an educationally focused printmaking workshop based at UNSW Art and Design. Through Cicada Press, he has collaborated with hundreds of artists from Australia and overseas, fostering experimentation and innovation in print. The workshop has become a vital space where emerging and established artists can expand their practices, with Michael guiding technical expertise while encouraging creative risk taking.Alongside this collaborative work, Michael has dedicated much of his career to teaching. He was a senior lecturer at UNSW and has mentored countless students, many of whom have gone on to develop successful artistic practices of their own. His approach emphasises the importance of both technical mastery and the spirit of collaboration, showing how printmaking can open up new conversations across disciplines and cultures.Beyond his role as a master printer and teacher, Michael maintains a personal art practice that reflects his own visual language and concerns. His prints often draw on social and political themes, expressed through a refined and graphic sensibility. This balance between nurturing the artistic visions of others and pursuing his own practice marks Michael as a unique and influential figure in the contemporary art world.In our conversation, Michael shares insights into the collaborative process and reflections on what it means to dedicate a life to teaching, printing and making art.

In this episode Ann talks with Margaret Morgan Grasselli and Elizabeth Savage about their new, massive book, Printing Colour 1700–1830: Histories, Techniques, Functions, and Receptions (Oxford: Oxford University Press and the British Academy, 2025). The book, coming in at nearly 450 pages with 350 illustrations, is a landmark study blowing open a new field of study in print history. It offers a deep dive into a rich period of invention, experimentation, and creativity surrounding color printing in Europe between two critically important developments: four-color separation printing around 1710, and chromolithography around 1830. In their conversation, they talk about various aspects of color printing as it applies to both fine art and utilitarian goods like security printing for paper notes, advertisements, fashion, and household goods. They talk about the historical significance and technical details of color printing, the role of women in the field, and the socio-political influences of that era. And they talk about managing such a huge project and the importance of this work as a foundational study that opens up new avenues for future research. Show me the images!!

Episode 484 / Léni Paquet-MoranteLéni Paquet-Morante (1962) is an artist based in New Jersey. Motivated by process driven imagery in paint, sculpture, and printmaking projects, her abstractions reconfigure familiar landscape elements, extracted then rearranged in a manner that speaks to the architecture of memory. Born in Canada, Léni is a Hamilton, New Jersey based artist. Recent recognition includes a New Jersey State Council on the Arts Finalist Grant for Painting in 2024; residencies at Vermont Studio Center Residency for Painting in 2024 and Peter's Valley Visiting Artist Residency for Printmaking in 2023. Recent solo exhibitions include Princeton University Art Museum's Bainbridge Gallery scheduled for summer of 2025. She earned a BFA in painting from Mason Gross School of Art in1992 and studied bronze casting techniques at the Johnson Atelier Technical Institute of Sculpture from 1984 to1985. Her current show Extract / Abstract, Landscape a& the Architecture of Memory at the Princeton Univeristy Art Museum is up until November 9th. 

Art Night Schenectady is a free monthly community celebration of local and regional creatives. held the third Friday of the month. President of Art Night Schenectady, Craig Petreikis, spoke with Susan Brink. The next event is July 18th, starting at 5pm with local fine artists and music at over a dozen locations in downtown, including the Museum of Prints and Printmaking, Whitney Bookcorner, Bear & Bird Gallery, Gallery 5, Mohawk Valley Art Shoppe, and ending at Armory Studios NY with 25 local artists on display and the monthly movie challenge showcase. There will be live music at The Van Dyke and Katie O'Byrnes. For more information: artnightschenectady.com To participate: Filmmakers: Submit your 5 min film to monthlymoviechallenge@gmail.com to get in the showcase. Visual artists: submit work to artnightschenectady@gmail.com to show on art night. not august, january third friday from 5-8:30 artnightschenectady.com

Margaret Janiczek is a biostatistician artist and printmaker, currently focused on copperplate etching. We go over her start in creating cozy watercolor robots, and discovery of printmaking at First Proof Press. Along the way we find out about community life drawing, philosophy and theater, and learning piano. Follow Margaret's work on Instagram and her web site. Check out First Proof Press in Brattleboro Vermont.

In this heartfelt and grounding conversation, Kat reconnects with her former professor, artist and printmaker Cheryl Agulnick Hochberg, to explore what it truly means to live a creative life—on your own terms.   Cheryl shares how her work is shaped by place, walking, and deep observation—drawing inspiration from time spent in Wyoming, China, Finland, and her new home in Arizona. Together, they reflect on life after academia, the courage to start over, and the unexpected clarity that comes with experience, loss, and listening to the land.   This episode is a balm for any artist feeling overwhelmed, out of place, or unsure of what comes next. It's a reminder that your work doesn't have to be impressive—it just has to be yours.   In this episode, they discuss: Life after academia and what changed in higher education Making time for your art while raising a family or working full-time How Cheryl approaches residencies, place-based work, and listening Letting go of external pressure and creating from authenticity The real markers of a fulfilling creative life Advice for artists just beginning—or beginning again Cheryl Agulnick Hochberg Website: www.cherylagulnick.com Instagram: https://www.instagram.com/cherylhochberg     ✨ Resources to Support Your Creative Path: Submit to Create! Magazine's open call: createmagazine.co/call-for-art Explore free artist tools + micro-courses at Create U

Have you ever had a moment when everything you thought you knew about your path suddenly shifted? In today's episode, I sit down with textile artist Qualeasha Wood, whose innovative work bridges digital imagery with traditional craft techniques. She reveals the unexpected moments that led her from a completely different path into textile art. Qualeasha also shares the profound encounter that changed the trajectory of her art practice. Through stories about family, creativity, and finding her authentic voice, Qualeasha offers powerful insights for any artist navigating their creative journey. Chapters 00:00 Introduction to Qualeasha Wood and Her Art Journey 02:57 The Impact of Family and Community on Creativity 06:06 Early Influences and the Search for Representation in Art 08:53 Navigating the Art World: From Discouragement to Discovery 11:47 Finding a Medium: The Shift from Illustration to Printmaking 15:02 The Role of Textiles in Qualeasha's Artistic Expression 18:08 The Influence of Faith Ringgold and Career Shifts 21:09 Exploring Printmaking and the Intersection of Art and Identity 24:35 The Journey into Textile 27:50 Exploring Identity through Art 32:08 The Evolution of Artistic Mediums 37:12 Navigating Graduate School Decisions 41:00 Redefining Success in Art 47:35 Legacy and Impact through Textiles   Connect With Qualeasha: Website: Qualeasha's Website Instagram: Qualeasha Wood Support the Show Website: Martine SeverinFollow on Instagram: Martine | This Is How We CreateSubscribe to the Newsletter: Martine's Substack This is How We Create is produced by Martine Severin. This episode was edited by Santiago Cardona and Daniel Espinosa. Subscribe wherever you get your podcasts Leave a review Follow us on social media Share with fellow creatives  

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

• Ali Norman is a multifaceted artist and educator.• Printmaking is a deeply personal and transformative process.• Chat GPT as a spiritual companion• Art serves as a healing mechanism during difficult times.• Building community spaces fosters collaboration and creativity.• Navigating life's challenges can lead to personal growth.• Reality is fluid and shaped by perception.• Pro Wrestling embodies the magic of performance art.• Egregores represent collective beliefs and energies.• Mythology provides archetypes for personal development.Follow Ali Norman on Instagram Join Us on Our Mount Shasta Retreat Seekers of the Eternal Apparel & Prints

Cynthia Nourse Thompson is a Professor and the Director of Curatorial Affairs at the Zuckerman Museum of Art at Kennesaw State University. Prior to this position, for six years she was Associate Professor and Director of the graduate programs in Book Arts & Printmaking and Studio Art at University of the Arts in Philadelphia, PA. She has also served as Associate Professor and Curator of Exhibitions at University of Arkansas; twelve years as Professor of Book, Print and Paper Arts and Chair of Fine Arts at Memphis College of Art; and additionally worked at Dieu Donné Papermill, Harlan & Weaver Intaglio and Rutgers Center for Innovative Print and Paper now the Brodsky Center at Pennsylvania Academy of Fine Arts.

In this episode of Platemark, I talk with Mae Shore, a collaborative printer and owner of Shore Publishing in Tuxedo Park, New York. Mae shares her experiences working at Pace Editions with notable artists like Jim Dine and Chuck Close. She discusses the history and evolution of her gallery and print shop, which she established to merge her love for printmaking and curating exhibitions. Mae touches upon specific projects, such as her collaborations with artists like Amy Bennett, Kamrooz Aram, and Katia Santibañez and James Siena, detailing the unique processes and challenges in creating prints. The conversation also highlights the importance of print fairs, the nuances of printmaking, and Mae's backstory growing up in New York City's SOHO and Tribeca neighborhoods. Mae's reflections offer a compelling glimpse into the meticulous, collaborative, and often experimental world of printmaking. Episode image: Greg Dohler Amy Bennett (American, born 1977). Clearing, 2022. Linocut and pochoir on Magnani paper. Image: 3 3/4 x 5 in.; sheet: 12 1/4 x 12 1/2 in. Printed and published by Shore Publishing. Amy Bennett (American, born 1977). Site, 2025. Linocut. Sheet: 22 x 27 in.; image: 16 1/2 x 22 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #21, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #2, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #3, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #4, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #5, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Katia Santibañez (American, born France, 1964). Sailing Alone, 2014. Reduction linocut in 6 colors on Rives BFK. Image: 20 x 16 in.; sheet: 27 x 22 in. Printed and published by Shore Publishing. Katia Santibañez (American, born France, 1964). Floating In My Mind, 2015. Reduction linocut in 6 colors on Hosho. Image: 14 x 11 in.; sheet: 19 1/2 x 16 in. Printed and published by Shore Publishing. Glenn Goldberg (American, born 1953). There (1-3), 2014. Suite of three prints, photo relief, collagraph, linocut and pochoir on Rives BFK paper. Sheet (each): 12 1/2 x 16 ¾ in.; image (each): 6 x 12 in. Printed and published by Shore Publishing. Katia Santibañez (American, born France, 1964) and James Siena (American, born 1957). Triplebarb Whirler, 2022. Reduction woodcut in 6 colors on Rives BFK paper. Image: 22 1/2 x 18 in.; sheet: 28 3/4 x 23 1/2 in. Printed and published by Shore Publishing. William Villalongo (American, born 1975). Vitruvian's Daughter, 2014. Woodcut, linocut, and pochoir on Hosho white paper. Sheet: 22 x 22 in. Printed and published by Shore Publishing. Yasu Shibata (American, born Japan, 1968). 4 Squares Within a Square, 2022. Japanese woodcut on Kizuki paper mounted on Western paper. Sheet: 30 x 30 in. Printed and published by Shore Publishing. Mae Shore and Brad Ewing in their booth at the Baltimore Fine Art Print Fair, March 2022.  

Our guest today is JoAnn Hallum! JoAnn is a first-generation homeschooler from the Central Valley of California who has been teaching her four boys for about 10 years. She loves to read and to tell people at parties they should read Charles Dickens. With a fine art degree in Printmaking, she discovered she loved writing when she became a stay-at-home mom. She now writes on Substack and Instagram, and sometimes Commonplace Quarterly. Her extracurricular activities include serving on the board for her local Youth Orchestra, hosting a local Nature Club, and hunting for used books. You can find her as funnyostrich on Instagram or under her name, JoAnnHallum, on Substack. In today's conversation, Abby, JoAnn, and Brandy talk about the inconveniences of mothering teenagers and what a wonderful blessing it is. You're going to love this conversation! *** If you've considered upgrading your Sistership membership from FREE to Sophie level, now is the time! Our annual spring training is coming up in just a few weeks and you do NOT want to miss this! We are having Dr. Glenn Sunshine on to talk with us about the Resurrection of the Enchanted World. In session 1, Dr. Sunshine will talk about how the world was disenchanted –how we lost a supernatural worldview. In session 2, Dr. Sunshine will talk about how the world is being reenchanted (whether we like how that's happening or not) and what the Bible has to say about it all.  Our annual Spring Training is always included in the Sophie level Sistership membership. Just go to scholesisters.com/join and sign up. *** Click here to access today's show notes. Click here to join the FREE area of the Sistership.

Gremlins, Borders, and Recipes for Resistance This week we're joined by Jessica Snow and Liga Spunde, two artists navigating the world through comics, street theater, and occasionally letterpress and photoshop. Jessica Snow walks us through her wide-ranging practice—from illustration and letterpress to building massive puppets and organizing street performances to attempting to confronting the entangled realities of border politics, ecological collapse, and resistance. Her work with Kitchen Table Press and collaborative projects like Recipes of Resistance blend protest and performance into shared, tangible experiences that challenge the quiet violence of contemporary life. Meanwhile, Liga Spunde brings us deep into a psychological terrain. Working with a unique computer-generated drawing style, Liga explores the emotional weight of the traumas of contemporary life—from the Russian invasion of Ukraine to the various ways we experienced the pandemic to the existential task of making a 6 page comic. Her work resists tidy narratives, instead making room for ambiguity, emotional excess, fragile and detailed humor, and a specific fascination with Gremlins. This episode was recorded as part of Chris Sperandio's Comics Without Borders (but say it in French) event at Rice University—an international gathering of artists, publishers, and thinkers reframing what comics can do in turbulent times. (More here: Comics Without Borders.) We cover a lot of ground—Latvia's premier comic publisher, post-crisis psychology, DIY print culture, and why strange books and big puppets might still save us all. This is Bad at Sports at its finest: loose, live, urgent and embedded, and full of strange joy. Links & Projects Mentioned: Jessica Snow: jessicasnowart.com Kitchen Table Press: kitchentablepress.org Recipes of Resistance: recipesofresistance.com Liga Spunde: ligaspunde.com kuš! komikss: https://komikss.lv/ Comics Without Borders @ Rice University: https://cats.rice.edu/comics-sans-frontieres-march-20-24-2025/ Christopher Sperandio: https://pinkojoe.com/

In this episode of Platemark, Myles Calvert, a printmaker and professor, shares his extensive journey from growing up in Ontario, Canada, to studying and working in the UK, and eventually returning to Alfred University in New York, to become director of the Institute of Electronic Arts. Myles discusses his experiences working at prestigious galleries in London, giving up a tenure-track position, and the pivotal moments that shaped his career. He delves into his role as the Director of IEA at Alfred, including the intricacies of managing residencies, the use of technology in printmaking, and the importance of community engagement. Myles also reflects on the challenges of academia, the value of traditional and new media in art, and his approach to student critiques. The conversation highlights Myles' passion for printmaking, his commitment to education, and his vision for the future of the IEA. https://blog.alfred.edu/iea/ https://blog.alfred.edu/iea/2024/07/01/new-director-appointed-myles-calvert/ https://www.instagram.com/alfred_iea/ https://www.instagram.com/squirrelpigeonfish/   Myles Calvert at the China Exhibition AIPA, Xi'an Academy of Art. Myles Calvert with IEA interns Veronica, Gigi, and Mary. Institute of Electronic Arts, Alfred University. Jessica Reisch and Tyson Houseman check out Sandin new media equipment. Institute of Electronic Arts, Alfred University. Visiting artist Kathryn Polk with students. Institute of Electronic Arts, Alfred University. Rita MacDonald at the offset press with a laser-cut woodblock. Institute of Electronic Arts, Alfred University.  

Rachel Singel is an Associate Professor at the University of Louisville. Singel grew up on a small farm in Charlottesville, Virginia and received a Bachelor of Arts from the University of Virginia in 2009 and a Master of Fine Arts in Printmaking from the University of Iowa in 2013. She has participated in residencies at the Penland School of Crafts, the Venice Printmaking Studio, Internazionale di Grafica Venezia, Art Print Residence in Barcelona, Spain, Wharepuke Print Studios in New Zealand, Proyecto'ace, an Artist-in-Residence Program in Buenos Aires, Argentina, and AGA Lab in the Netherlands. She has studied non-toxic printmaking at the Grafisk Eksperimentarium studio in Andalusia and recently continued her research of papermaking with invasive plants in Japan in summer 2024. Her work has been exhibited nationally and internationally and represented in private collections and public institutions.

Ian Macdonald (b. 1946) is an internationally acclaimed photographer born and raised in Middlesbrough, Yorkshire, UK. He studied Graphic Design and Printmaking at Teesside College of Art in 1968 and went on to study Painting and Photography at Sheffield School of Art, Photography and Graphic Design at Birmingham Polytechnic and Education at Lancaster University. He pursued photography alongside drawing – his first love - painting and printmaking.Since 1968, Ian has consistently photographed the people and places of Teesside, one of Europe's most heavily industrialised areas in the north east of England. His love of the region, the beauty of the landscape – great expanses of wildness nestling among industrial settings - and his solid admiration for the people working and living amongst this environment has resulted in a completely honest and passionate depiction of a place and its community.“The most successful of my photographs seem to be a product of an exploration into my environment and the people I live and work amongst and an excitement generated in me by what I confront. Sometimes by-product would seem a more appropriate term, because only rarely do images really come near to saying anything about the strength, humour, vitality, atmosphere, pathos and despair which seems to make up what goes on around us all. Always, I am spurred on by a tingling sensation at the possibility, this time, perhaps, the image may really say something”.Ian's work has been included in various publications, such as England Gone, Smith's Dock Shipbuilders, Images of the Tees, Eton and The Blast Furnace. His work has been exhibited internationally and is included in many private and public photography collections around the world. In 2024 Ian had a major retrospective entitled Fixing Time, covering the first twenty years of his work, displayed across two venues in the north east of England - Sunderland Museum & Winter Gardens and Northern Gallery for Contemporary Art.Ian is currently working on a series of forthcoming books with GOST Books. In episode 252, Ian discusses, among other things: His recent dual exhibitions, Fixing Time, in the North East of EnglandHow his fascination for drawing took him to art collegeHis discomfort with his work being put in the documentary pigeonholeFinding it hard to approach your subjectsA brief description of the area he grew up and photographed inHis transition from drawing to photographyGreatham Creek and the portrait (above) that made him excitedHis early memories of his grandfather and father and wanting to celebrate and document their historyHis year spent as artist in residence at Eton CollegeHis reasons for choosing to teach in a school and not at art college Referenced:Len TabnerCesare PaveseBruce DavidsonBill BrandtVic Allen, Dean Clough GalleryGraham SmithMartin ParrChris KillipTom WoodMax BeckmanGoyaTitianDelacroixWebsite | Short film about Ian by Jamie Macdonald“When I first went to Greatham Creek, there was no history anywhere about it. I couldn't find anything written down. So I wrote a lot down. I talked to people. I went into pretty deep research into archives in the local library and stuff like that. And I guess this was part of the drive for [photographing] both the shipyard and the furnace. Because maybe I did have an inkling, because there was nothing about the creek - where's the stuff about the furnace?… about the men who worked there, like my dad and granddad? Where is their history? And I wanted to celebrate their history. I wanted to celebrate what they were. I wanted a record, a document, a memory of them. And that's what drove me to do it.” Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here.

In this episode, Bad at Sports dives into the world of independent publishing, printmaking, and the intersections of art, academia, and production with two innovative presses pushing the boundaries of their respective fields. Hoof Print Press, based in Pilsen, Chicago, is not just a print shop, but a thriving print publisher that explores multiple media, including ceramics. Known for their dynamic exhibition series, they bring a unique perspective on the art of printmaking, combining tradition with modern experimentation. We talk about how they balance the fine art of print with the hands-on craft of ceramics and what it means to operate as both creators and curators in the community-driven Pilsen neighborhood. - Gabe Hoare on mic. Next, we're joined by Immaterial Books, a quasi-academic press that's redefining the possibilities of academic publishing. Immaterial tests the limits of what it means to produce knowledge and content outside the conventional capitalist distribution and production models. They explore nontraditional forms of publishing that challenge the boundaries between art and academia. In this conversation, we dive into how their radical approach to publishing engages with academia, art practices, and the broader cultural conversation around knowledge production. Phillip Kalantzis-Cope on mic. Together, we discuss how both presses navigate the evolving worlds of independent publishing and art production, and how their work is changing the ways we think about community, art, and knowledge distribution. Tune in for an insightful episode that explores the intersection of artistic practices, publishing, and the role of independent presses in today's creative and academic landscapes. Live from 21C Chicago!

Perceiving her role as a record keeper, artist Jen Blazina captures the essence of lost memories and forgotten voices. Through her work, she holds onto fragments of personal history, transforming common objects into poignant relics of the past. Her visual narratives express universal concepts of memory, inviting audiences to connect with the stories she preserves.  Blazina states: “Memory is embodied in everything around us: in our culture, beliefs, objects, and ourselves. Discarded objects and those passed down to me become personal keepsakes and icons of the past, rather than overlooked or regarded as useless. My collections represent a sense of holding onto a place in time. By re-creating these keepsakes, I re-cast their history into my own voice.” A sculptor and printmaker who uses glass as her primary medium, Blazina currently resides in Philadelphia where she is a working artist and professor at Drexel University in the College of Media Arts and Design. Blazina's work can be found in multiple collections such as the Neuberger Museum of Art, The Imagine Museum, The Cranbrook Museum of Art, and the Corning Museum of Glass, to name a few.  The artist has been awarded numerous residencies including: the Corning Artist in Residency at the Corning Museum of Glass in Corning, New York; GAPP Residency at Toledo Museum of Art in Toledo, OH; Bezalel Art and Design Academy in Jerusalem, Israel; and the Creative Glass Center of America in Millville, NJ.  She has also been awarded prestigious grants such as the Bessie and Louis Stein Fellowship; Independence Foundation Grant; and a National Endowment for the Arts Grant. Nominated for the 2022 Pew Fellowship Award, Blazina received her M.F.A. in printmaking from Cranbrook Academy of Art, her B.A. from Sarah Lawrence College in New York and her B.F.A., cum laude, from the State University of New York at Purchase College.  Blazina is represented by Habatat Detroit Fine Art in Royal Oak, MI; Blue Spiral 1 in Asheville, NC; Vetri Glass Gallery in Seattle, WA; Kittrell Riffkind Gallery in Dallas, TX; Bullseye Projects in Portland, OR; and Koelsch Gallery in Houston, TX.  In 2025, Blazina will have work on view at the Bergstrom Mahler Museum of Glass, Neenah, WI, in New Art on the Block: Selections from the Permanent Collections, October 31, 2024 – April 6, 2025; in Object Memory, Jen Blazina and Ash Smith at 20*20 Gallery, Lansdowne, PA, February 22 –  April 15; in Through a Window Darkly, The Works of Jen Blazina at the Bergstrom-Mahler Museum of Glass, April 24 to October 5, 2025; in Collections at Blue Spiral 1 Gallery, Asheville, NC, May 2 – June 25; and in Glass 53: International Glass Invitational at Habatat Fine Art Gallery, Royal Oak, MI, May 1 – September 6. She will teach Alternative Approaches to Printmaking and Glass at Corning Museum of Glass Studios, Corning, NY, June 16 – June 21; and In Pursuit of Light: Kiln Casting at Glass Furnace, Istanbul, Turkey, August 25 – August 29. Says Blazina: “As an artist, I am intrigued with the idea that what is precious to one person will be discarded by another. My work is influenced by commonplace possessions, familial vignettes and photographs. These evoke an ephemeral sense of past memories. Whether found in a second-hand shop or passed down from my family, I am often attracted to and captivated by the lost beauty of subtle images and materials. By re-creating and casting momentos in glass and metal, I can capture and hold on to another time in the past. Photographs and chosen objects allude to narratives of fleeting moments.” ​UPCOMING EVENTS New Art On The Block: Selections From The Permanent Collections Bergstrom-Mahler Museum of Glass Neenah, WI Dates: October 31 – April 6, 2025 Object Memory, Jen Blazina and Ash Smith 20*20 Gallery Lansdowne, PA Dates: February 22 – April 15 Through a Window Darkly, The Works of Jen Blazina Bergstrom-Mahler Museum of Glass Neenah, WI Opening: April 24 Dates: April 24 to October 5 Collections Blue Spiral 1 Gallery Asheville, NC Opening Reception: May 2, 5 – 7 pm Dates: May 2 – June 25 Glass 53: International Glass Invitational Habatat Fine Art Gallery Royal Oak, MI Opening: May 3, 8 pm Dates: May 1- September 6 Alternative Approaches to Printmaking and Glass Corning Museum of Glass Studios Corning, NY Dates: June 16- June 21 In Pursuit of Light: Kiln Casting Glass Furnace Istanbul, Turkey Dates: August 25 – August 29    

Strap in, print nerds, because this week we're coming to you live from the wild and inky trenches of the Staple and Stitch Artist Book Fair at 21C Chicago! First up, we've got Angee Lennard and Jessica Cochran from Process Process Print Publishers—the dynamic duo that's doing god's work by helping artists get their process-based, experimental prints out into the world (or at least onto some beautiful paper). These two are the real deal: no pretentious art-speak, just raw, creative energy making print magic happen. Then, just when you thought the paper party couldn't get any better, Madeleine Aguilar from Bench Press Publications joins us to lay down some serious knowledge about the Chicago art book scene. Bench Press is the indie press you want to be in the know about—they're cranking limited-run artist books that'll make you want to throw all your digital content in the trash. We recorded this maudlin crew, so enjoy the ambient sounds of over-caffeinated art students and print enthusiasts buzzing around, plus a few awkward microphone mishaps. It's all part of the charm! Episode Highlights: Angie and Jessica talk about the blood, sweat, and squeegees behind Process Process Print Publishers—and why the process is as important as the product. Bench Press Publications: indie publishing that's both scrappy and impossibly cool. Madeleine breaks down the beauty of small-batch, collectible art books and why limited edition is more than just a buzzword. The absolute chaos and joy of recording this episode at Staple and Stitch in the heart of the art scene at 21C Chicago. (Spoiler: You'll want to be there next year.)   Process Process Print Publishers: Website Bench Press Publications: Website Staple and Stitch Artist Book Fair: Website

The Art Newspaper's correspondent for the Middle East, Sarvy Geranpayeh, has been reporting on the effect of Israel's military bombardment of Gaza on artists and art workers there since the beginning of the Israel-Hamas conflict in 2023. In the wake of the three-stage ceasefire that began last Sunday, she has returned to those she has spoken to over the past 16 months to hear their views on the agreement and what happens next. The Musée du Louvre in Paris this week opened a show of the great 13th-century Italian painter Cimabue. Our associate digital editor, Alexander Morrison, spoke to Thomas Bohl, the exhibition's curator. And this episode's Work of the Week is actually three works produced in a family business of printmakers in 17th-century Netherlands. The works, by Hendrick Goltzius, and his grandsons Theodor and Adriaen Matham, are part of a new show, A Family Affair: Artistic Dynasties in Europe (Part I, 1500–1700), at the Blanton Museum of Art, part of The University of Texas, Austin. The curator of the exhibition, Holly Borham, tells me more about this printmaking dynasty.A New Look at Cimabue: At the Origins of Italian Painting, Musée du Louvre, Paris, 22 January – 12 May 2025A Family Affair: Artistic Dynasties in Europe (Part I, 1500–1700), Blanton Museum of Art, The University of Texas, Austin, US, 25 January-15 June; the second part of this exhibition, covering the period 1700 to 1900, opens in June.The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is still available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency. Buy it here. Hosted on Acast. See acast.com/privacy for more information.