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6 episodes with Risograph
3 episodes with Risograph
2 episodes with Risograph
2 episodes with Risograph
2 episodes with Risograph
2 episodes with Risograph
Kyung-hwa and Yun-ho operate a small space called "Paper Room," where they run a risograph printing studio and showcase a variety of works for sale. As designers, they leverage their expertise to create diverse art books and regularly participate in book fairs. Risograph is an eco-friendly printing method that uses soybean oil and rice bran oil, allowing for vibrant colors and high saturation, as it prints one ink color at a time. This makes it particularly suitable for artists and graphic designers to produce their works. Recently, it has also become popular among independent publishers and individuals looking to create unique pieces. Their dream is to continue operating the printing studio even as they grow old in a rural village.
Elliot sits down with Francis Chouquet, a type designer, lettering artist, printmaker, and former web designer who's based just outside of Basel, Switzerland, to talk about the weekly schedule that enforces time away from screens, using physically distinct locations to do different kinds of creative work, and how he's grown his audience via his newsletter, The Typochondriac Weekly.The book Francis mentions in this episode is How to Do Nothing, by Jenny Odell. He and Elliot also mention the newsletters and membership programme run by Craig Mod. You might also enjoy Elliot's newsletter Typographic & Sporadic, which is typographic in its nature and sporadic in its delivery.
INTERVIEW + TRACKLIST > https://inverted-audio.com/mix/robin-felix Swiss producer Robin Félix (@felixfelixrobin) steps up to deliver the 377th edition of the IA MIX Series, interweaving a multi-rhythmic mix of textural ambient, breakbeat, IDM and experimental electronica. Based out of the Swiss town of Biel/Bienne, Robin Félix is a self described audio naturalist, employing found sounds as the basis of his productions upon which he implies a strict rule to use at least 80% of field recording in his music. He then twists, skewers and manipulates these sounds to create the most mesmerising of sculptural sound-fields incorporating swirling radial ambiance and intricate drum work. Mastered by Italian producer Neel, 'Senselessness 1/2' EP is a beautifully crafted vinyl, presented in gold Risograph artwork designed by Lisa Vatan - inspired by the ancient Japanese paper marbling technique of Suminagashi. With such a bold debut effort, we just had to find out more about the makings of it. In our interview, Robin sheds light on his musical background and penchant for field recordings as well as his minimalist production technique. We also find out more about his partner's process behind the artwork and what they have planned in the near future for their freshly established record label De l'aube. Buy Vinyl: https://inverted-audio.store/products/robin-felix-senselessness-1-2
In s3e40, Platemark host Ann Shafer talks with Luther Davis, master printer and director of Powerhouse Arts, Brooklyn. This is a two-parter. For this interview, Platemark collaborated with its sister podcast Hello, Print Friend. Miranda Metcalf, Hello, Print Friend's host and creator interviewed Luther about his background and early career; Ann Shafer spoke with Luther about the present and future at Powerhouse Arts, a new non-profit arts center in a renovated transit power station on the Gowanus Canal in Brooklyn. Both Hello, Print Friend and Platemark's episodes will be available on both podcast channels. Luther has been in the biz for a long time and has great stories about the printing industry in Brooklyn. We talk about industrial printing and ask what the differences are between "art" and everything else. We talk about how important accessible shops are for artists to fabricate large projects (in addition to a print shop, Powerhouse has a ceramics studio, and a large sculpture fabrication shop). We talk about the state of print publishing today. Luther has brought his prodigious experience to bear at Powerhouse Arts, a fairly new player in the field. He is taking the reigns of the Print Shop and running with it. Episode image: Dana Zinsser. Powerhouse Arts Print Shop, Brooklyn. Pulled in Brooklyn, exhibition curated by Roberta Waddell and Samantha Rippner. IPCNY, April 4–June 15, 2019. Industrial map of New York City showing manufacturing industries. New York Public Library. Printing industries are marked in orange. Grand Hall, Powerhouse Arts, Brooklyn. Powerhouse Arts Print Shop, Brooklyn. Inaugural artist-in-residence Ivan Forde working at Powerhouse Arts Print Shop, Brooklyn. Jasper Johns (American, born 1930). Leo from The Leo Castelli 90th Birthday Portfolio, 1997. Color etching. Plate: 17 11/16 × 11 13/16 in. (45 × 30 cm.); sheet: 36 13/16 × 27 in. (93.5 × 68.6 cm.). Published by Jean-Christoph Castelli; printed by Noblet Serigraphie. Museum of Modern Art, New York. Ed Ruscha (American, born 1937). News from the portfolio News, Mews, Pews, Brews, Stews & Dues, 1970. Screenprint. Image: 18 1/16 x 27 1/16 in. (45.8 x 68.8 cm.); sheet: 23 1/16 x 31 7/8 in. (58.6 x 81 cm.). Published by Editions Alecto; printed by Alecto Studios. Museum of Modern Art, New York. Peacock Visual Arts' Risograph color chart. Powerhouse Arts Print Shop, Brooklyn. Printer Zaire Anderson coating screens for Avram Finkelstein's Who Died. Powerhouse Arts Print Shop, Brooklyn. With backs turned, left: Chris Kinsler; right: Dennis Hrehowsik. Facing camera, left: Zaire Anderson; right: Dana Zinsser. Powerhouse Arts Print Shop, Brooklyn. Nellie Davis and Kyle Goen working on his giant rainbow roll at Powerhouse Arts Print Shop, Brooklyn. Printer John Bartolo working on a screenprint by Aziz and Cucher at Powerhouse Arts Print Shop, Brooklyn. Powerhouse Arts Print Shop, Brooklyn. Powerhouse Arts Print Shop, Brooklyn. Donald Baechler installation shot. Galerie Forsblom, 2014. Kara Walker (American, born 1969). The Emancipation Approximation, 1999–2000. Portfolio of 26 screenprints. Sheet (each): 45 3/4 x 45 3/4 in (116.2 x 116.2 cm.). Published by Sikkema Jenkins Editions; printed by Jean Yves Noblet. Phillips Auctions, New York. Fourth Estate www.fourthestate.com Alex Dodge (American, born 1977). Unread Messages, 2017. Screenprint. 20 x 30 in. Haystack Editions. USEFUL LINKS Poster House www.posterhouse.org Jungle Press Editions www.junglepress.com Avant Arte www.avantearte.com Radix Media & Graphics NY Printing & Graphics www.nyprintinggraphics.com Du-Good Press www.du-goodpress.com Carousel's Press www.carouselpress.com Kayrock Screenprinting www.shop.kayrock.org Bushwick Print Lab www.bushwickprintlab.org Ulano Corp. www.ulano.com KIWO Inc. www.kiwo.com Guerra Paint & Pigment www.guerrapaint.com Labor statistics on fine artists from the US Bureau of Labor Statistics https://www.bls.gov/oes/current/oes271013.htm#nat
A vibrantly whirling Blind Shovel, this one with painter and printer, Panayiotis Terzis. We discuss the contrast between Greece and New York City, the endless appeal of the human face, the future, the past, and much more."Panayiotis (Pan) Terzis is an artist, printer and publisher based in NYC. He has been working with printmaking, drawing, painting, and publishing since 2005, and has been working with Risograph printing since 2010. He is the founder of the Riso press Mega Press.In 2015 Pan co-founded the RisoLAB, a Risograph studio based at the School of Visual Arts in NYC. Since then he has directed the curiculum and identity of the space as manager and faculty member."Header image: Panayiotis Terzis, "Elsewhere", 2023
Guest: Zach Clark Host: Christopher Kardambikis Recorded on June 13, 2023 (background friends: Paul Shortt and Louis M. Schmidt) Zach Clark is an Oakland based artist and educator. Since 2016 he has published as National Monument Press, a publishing project focused on supporting uniquely American stories through small edition artist books, zines, printed ephemera, and curatorial projects, completed largely through collaboration with other artists. He is one half of Chute Studio, an East Oakland based Risograph publishing studio, and is a lecturer at California State University East Bay. His work and collaborative publications have been shown and collected across North America, Europe, & Japan. www.zachclarkis.com www.nationalmonumentpress.com @zachclarkis --- Support this podcast: https://podcasters.spotify.com/pod/show/paper-cuts/support
witti.studio คือ สตูดิโอสร้างสรรค์สิ่งพิมพ์ที่หลงใหลในเครื่องพิมพ์ของ Risograph ที่ตอนนี้ได้กลายมาเป็นสตูดิโอสำหรับนักออกแบบและงานภาพพิมพ์ที่ใครๆ ต่างก็รู้จัก เพราะนอกจากความสนุกของการทำงานพิมพ์ สีสันของน้ำหมึก สตูดิโอแห่งนี้ยังละเอียดละออกับทุกขั้นตอนของการทำงาน จาก Risograph แบรนด์เครื่องพิมพ์และหมึกสัญชาติญี่ปุ่นที่เป็นแรงบันดาลใจให้เกิด witti.studio อะไรเป็นความน่าสนใจของแบรนด์เครื่องพิมพ์สัญชาติญี่ปุ่น เครื่องพิมพในแวดวงงานออกแบบสำคัญอย่างไร ความท้าทายของสตูดิโอออกแบบและรับผลิตในยุคนี้คืออะไร ไปฟังพร้อมกันใน Day 1 EP.39 Learn more about your ad choices. Visit megaphone.fm/adchoices
witti.studio คือ สตูดิโอสร้างสรรค์สิ่งพิมพ์ที่หลงใหลในเครื่องพิมพ์ของ Risograph ที่ตอนนี้ได้กลายมาเป็นสตูดิโอสำหรับนักออกแบบและงานภาพพิมพ์ที่ใครๆ ต่างก็รู้จัก เพราะนอกจากความสนุกของการทำงานพิมพ์ สีสันของน้ำหมึก สตูดิโอแห่งนี้ยังละเอียดละออกับทุกขั้นตอนของการทำงาน จาก Risograph แบรนด์เครื่องพิมพ์และหมึกสัญชาติญี่ปุ่นที่เป็นแรงบันดาลใจให้เกิด witti.studio อะไรเป็นความน่าสนใจของแบรนด์เครื่องพิมพ์สัญชาติญี่ปุ่น เครื่องพิมพในแวดวงงานออกแบบสำคัญอย่างไร ความท้าทายของสตูดิโอออกแบบและรับผลิตในยุคนี้คืออะไร ไปฟังพร้อมกันใน Day 1 EP.39 Learn more about your ad choices. Visit megaphone.fm/adchoices
This week we are talking about Risograph printing! My guest on this episode is Heather Cranston from Pulp + Paper Creative out of Thunder Bay Ontario! Fellow Canadian in the house. The project we are doing a deep dive into is the 2020 Roots to Harvest Annual Report. I should say the AWARD WINNING project. This project won an RGD 2022 So(cial) Good Design Award. Heather shares with us what Roots to Harvest is all about and why risograph was the best way to print this one and put it out in the world. We also talk about a print "oops" that really led to sparks flying! Heather is super rad and this was a fantastic conversation I know you will enjoy! THE LINKS Pulp + Paper Instagram CLICK HEREPulp + Paper Website CLICK HERE Print Design Mastery - Learn to be an expert at Print Design: CLICK HEREFREE Print Ready Files Checklist - CLICK HERE
“Khô Mực không bán đồ nhắm, nhưng chúng tôi luôn chào đón bất kỳ ai muốn lai rai cùng vài ý tưởng sáng tạo hay ho!” Đó là câu giới thiệu mà bạn có thể tìm thấy khi truy cập vào website của xưởng in Khô Mực.Khô Mực Studio là một xưởng in nghệ thuật, sử dụng phương pháp in Risograph của Nhật. Khác với phương pháp phổ thông của đa số nhà in, phương pháp Risograph buộc người thực hiện in lần lượt từng lớp màu, màu này sử dụng xong sẽ thay màu mực khác, từ đó xảy ra hiện tượng pha trộn màu sắc vô cùng đặc trưng.Đây chính là điểm thú vị của những tác phẩm in bằng phương pháp Risograph vì chính tác giả cũng không thể hình dung được chính xác bức in của mình trông như thế nào cho đến khi nó được hoàn thiện.Nhưng với một kỹ thuật có kết quả khó đoán như vậy, làm thế nào để Khô Mực bản địa hóa thương hiệu của mình? Làm cách nào để Khô Mực cân bằng bài toán giữa thương mại và nghệ thuật? Cùng host Long Nguyễn tìm kiếm câu trả lời từ Long Đặng - Đồng sáng lập Khô Mực Studio nhé!Đừng quên có thể xem bản video của podcast này tại: YouTubeVà đọc những bài viết thú vị tại website: VietceteraCảm ơn Dentsu Redder đồng hành cùng chương trình này, cùng góp sức thúc đẩy sự phát triển của thương hiệu Việt.#Vietcetera #Vietceterapodcast #DentsuRedder #ProudlymadeinVietnam #AgencyofGreaterImpact
Si como yo en algún momento de tu vida te dio miedito imprimir alguno de tus diseños por que sabias que algo maybe no iba a quedar igual este episodio es para ti. Escucha cómo Amanda Hernández nos hablamos sobre la impresión y la técnica Risograph en el diseño. Conoce un poco de Amanda. Amanda Hernández Poeta, editora y co-directora del proyecto La Impresora. Estudió Literatura y Gestión Cultural en la Universidad de Puerto Rico. Ha publicado de forma independiente Entre tanto amarillo (2016), el momento de las cosas (2016), las cosas pequeñas (2017), Estrategias Atómicas (2018). Su más reciente poemario, La distancia es un lugar, se publicó en 2020 bajo la colección Trabajo de Poesía de La Impresora. ¿Qué es la impresora? Taller de experimentación editorial y gráfica en Isabela, Puerto Rico. Se especializan en la producción y reproducción de libros y publicaciones independientes diversas con tecnología Risograph. Un episodio lleno de técnicas, consejitos y mucha creatividad así que ponte atent@ y toma nota. --- Send in a voice message: https://anchor.fm/commandzpodcast/message
We discussed: Entrepreneurship, gallery / artist relationships, artist material toxicity, archival materials, screen printing, Risograph, damaging effects of UV light, print editions, tiered pricing, hand finishing (pun intended), where to sign art, thinking about your legacy, certificate of Authenticity (COA), Artist proofs, insurance copies, growing a network, philanthropy, how to approach a gallery. https://jealousgallery.com People + Places mentioned: Andy Warhol - https://www.warhol.org Canaletto - https://www.nationalgallery.org.uk/artists/canaletto Dominic Taglialatella - https://www.taglialatellagalleries.com Keith Haring - https://www.haring.com Toxico - https://toxico.uk Peter Blake - https://www.tate.org.uk/art/artists/peter-blake-763 Matthew Rich - https://jealousgallery.com/collections/matthew-rich David Shrigley - http://davidshrigley.com Jake and Dinos Chapman - https://jakeanddinoschapman.com Ben Eine - https://beneine.co.uk Egon Ronay - https://en.wikipedia.org/wiki/Egon_Ronay Phyllis McKay Illari - https://philpeople.org/profiles/phyllis-mckay-illari Risograph - https://www.riso.co.uk/risograph.html Lascaux - https://lascaux.ch TW Graphics screenprinting inks - https://kayrock.org/tw/index.php Speedball - https://www.speedballart.com Patrick Caulfield - https://www.tate.org.uk/art/artists/patrick-caulfield-873 Bridget Riley - https://www.tate.org.uk/art/artists/bridget-riley-1845 John Purcell Paper - https://www.johnpurcell.net Somerset Printmaking Paper - https://www.stcuthbertsmill.com Rachel Howard - https://www.rachelhoward.studio Dexys Midnight Runners - https://youtu.be/GbpnAGajyMc Tottenham Foodbank - https://tottenham.foodbank.org.uk Chris Levine - https://chrislevine.com Tracey Emin - https://whitecube.com/artists/artist/tracey_emin Charming Baker - https://charmingbaker.com Crown Point Press - https://crownpoint.com Stanley Donwood - https://www.slowlydownward.com Thom Yorke - https://www.instagram.com/thomyorke David Hockney - https://www.hockney.com The Big Issue - https://www.bigissue.com Great Ormond Street Hospital for Children - https://www.gosh.nhs.uk Shelter - https://www.shelter.org.uk Audio engineering by Mickey at CushAudio Services Music by Peat Biby Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no
We discussed: Entrepreneurship, gallery / artist relationships, artist material toxicity, archival materials, screen printing, Risograph, damaging effects of UV light, print editions, tiered pricing, hand finishing (pun intended), where to sign art, thinking about your legacy, certificate of Authenticity (COA), Artist proofs, insurance copies, growing a network, philanthropy, how to approach a gallery. https://jealousgallery.com People + Places mentioned: Andy Warhol - https://www.warhol.org Canaletto - https://www.nationalgallery.org.uk/artists/canaletto Dominic Taglialatella - https://www.taglialatellagalleries.com Keith Haring - https://www.haring.com Toxico - https://toxico.uk Peter Blake - https://www.tate.org.uk/art/artists/peter-blake-763 Matthew Rich - https://jealousgallery.com/collections/matthew-rich David Shrigley - http://davidshrigley.com Jake and Dinos Chapman - https://jakeanddinoschapman.com Ben Eine - https://beneine.co.uk Egon Ronay - https://en.wikipedia.org/wiki/Egon_Ronay Phyllis McKay Illari - https://philpeople.org/profiles/phyllis-mckay-illari Risograph - https://www.riso.co.uk/risograph.html Lascaux - https://lascaux.ch TW Graphics screenprinting inks - https://kayrock.org/tw/index.php Speedball - https://www.speedballart.com Patrick Caulfield - https://www.tate.org.uk/art/artists/patrick-caulfield-873 Bridget Riley - https://www.tate.org.uk/art/artists/bridget-riley-1845 John Purcell Paper - https://www.johnpurcell.net Somerset Printmaking Paper - https://www.stcuthbertsmill.com Rachel Howard - https://www.rachelhoward.studio Dexys Midnight Runners - https://youtu.be/GbpnAGajyMc Tottenham Foodbank - https://tottenham.foodbank.org.uk Chris Levine - https://chrislevine.com Tracey Emin - https://whitecube.com/artists/artist/tracey_emin Charming Baker - https://charmingbaker.com Crown Point Press - https://crownpoint.com Stanley Donwood - https://www.slowlydownward.com Thom Yorke - https://www.instagram.com/thomyorke David Hockney - https://www.hockney.com The Big Issue - https://www.bigissue.com Great Ormond Street Hospital for Children - https://www.gosh.nhs.uk Shelter - https://www.shelter.org.uk Audio engineering by Mickey at CushAudio Services Music by Peat Biby Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no
Put your pens down everyone and check out the newest podcast episode. I am joined by legendary graphic designer Cory Schmitz, who is best known for his work on logos such as Oculus, Valorant, Ghost of Tsushima, Sable, Control, and Analogue. We talk about his design process, his love for Columbo, what makes a great logo and Risograph. Furthermore, we dig deeper into the Papyrus font in Avatar, changing logos, what makes a great cinema and his love for shooting photos on film. Time – Topic Discussed: 0:00 - Intro 02:06 - Guest topic: Columbo 06:17 - Guest topic: e-Ink Tablet 09:46 - What does a graphic designer do? 14:00 - Separating projects 18:29 - Emergency note taking 19:17 - Last minute logo 20:55 - Plotter Notebooks 24:47 - Getting excited when logos get revealed 25:38 - Changing logos 26:44 - One-time logo 29:17 - Explaining a logo 37:11 - Commercials 39:46 - Using Papyrus in Avatar: Frontiers of Pandora 41:51 - The Bleeding Cowboy font 43:09 - Risograph 46:38 - Using film rolls 50:12 - What companies should avoid doing 51:51 - Aspects he wishes people would know more about 53:10 - Making his own video game 54:45 - Designing a Famicase 58:10 - “Visiting” Kojima Productions 59:40 - Working previous jobs 01:02:49 - His favorite cinema 01:05:27 - Designing a logo for a podcast 01:08:48 - Outro Things mentioned on the show: Columbo Shooting Columbo Book Super Note by Ratta Sable Logos Below Logos Notebooks by Plotter Millimeter Milligram Notebooks Pepsi Logo Change Pocari Sweat Commercial Gravity Rush Commercial Famicase Michio Kaku Sign of the Cancer by Juraj Herz World Without Sun by Jacques-Yves Cousteau Social Media: Cory Schmitz Cory Schmitz on Twitter (@CorySchmitz) Cory Schmitz on Instagram (@coryschmitz) Cory Schmitz's Homepage YOU ME AND THE INDUSTRY YOU ME AND THE INDUSTRY on Twitter (@youmeindustry) Dorian on Twitter (@DorianChou) YOU ME AND THE INDUSTRY on Instagram (@youmeindustry) Dorian on Instagram (@dorian.chou) YOU ME AND THE INDUSTRY on Facebook (youmeindustry) Intro/Outro by FreshMcZone Artwork by Thomas Martin (Instagram: @thomas.martin.martin)
Risograph artist Hazel Eckert tells us about a new art project from local designers, that will help you spread the love to the platonic loves in your life.
"I don't think we've made the perfect Bum yet..." Lee Marable and Roosa Melentjeff are the editors and designers of Bum, a lovely risograph printed magazine based in Helsinki and dedicated to exploring stories around arts, architecture and design. As they explain in this conversation, the magazine really started because they wanted to experiment with risograph printing, and I think it's clear they've totally fallen in love with this unpredictable and painstaking method of printing.
Part 2 of our art book/riso series! This week we ask the question: what exactly is a zine? We discuss the creation, evolution, and distribution of zines and their effects on the ever-changing art community. We also talk with award-winning illustrator, Greg Kletsel, about making zines, keeping sketchbooks, living in the world of art book fairs, and conceptual bar mitzvah videos.
Welcome to part one of our two-part art book/risograph series! This week we talk with illustrator and animator, Alexander Laird, about risograph printing, art book fairs, rejection from said art book fairs, making comics, and building community in the ever-growing zine and comics scene.
In our fifth episode Aaron James and Andrew Dickson welcome freelance illustrator and full-time professor Kate Bingaman-Burt to the Mt. Freelance podcast. Kate is one of the hardest working creative people we know. On the one hand she teaches design at Portland State University and is constantly innovating ways to help her students share their work and get exposure to the “real world”, even going as far as to host student portfolio reviews inside agencies like Instrument and Wieden+Kennedy. She also has a thriving career as an illustrator, which started years ago when she gave herself the assignment of drawing her credit card receipts to help her get out of student loan dept. That project eventually lead to a daily drawing practice, and work in the New York Times, books, galleries, museums and brand campaigns. She also has a thriving studio and workspace space called Outlet where she preaches the gospel of zine-making and Risograph. In our interview Kate shares her story, how she works, and even walks us through three of the current freelance projects she's involved in and even specifically talks about how much she's charging on each and how she charges and negotiates in general. If you're looking to get inspired to make and do more, or have a personal project you need a little motivation to get going on put on your podcast ears and turn up the volume.
Jesse Lortz is a multimedia artist based in Atlanta,GA formerly of Seattle, WA AKA @draculasflute. His music projects have included Case Studies, The Fe Fi Fo Fums, The Dutchess And The Duke and he just released his annual dirty clouds calendar for 2021. That’s right - gender neutral, sentient cloud beings who have all kinds of adventures! We talk about the origin story of that project, starting out making xerox flyers for punk shows, risograph printing, his favorite gatefold of all time, and Ariel MAGA Pink? ~~~~Support the show (https://www.venmo.com/Clarita-Hinojosa)
TakeawaysLive life through loving kindness.Make more garbage art. We need to give people opportunities to fail, to experiment, to prototype.The Napping Wall!!! (you’ll just have to listen…)If you’re stuck: 1) work in series, 2) turn your art upside down, 3) put your art on the napping wall, 4) change what you’re up to.When we take the time to slow down and learn how to tune in to ourselves, our creative practice, and our own work, we create work that is authentically ours.There is a singular subjective perspective of how people remember and experience and create stories of others and themselves.Mentioned in this EpisodeFollow Shannon on InstagramShannon’s websiteShannon’s small batch limited editions with Kunst/100 in Berlin, including the Risograph print of Baltic Sea StudyTimeSlips
Today's edition of Press On with The Print Cast was wrapped up on Thursday May 22nd, in the year 2020, over 8 weeks into my stay-at-home shut-down. For this fifth edition I've got a longer interview for you, so it will only be one today, featuring Josh Dannin of Directangle Press and Todd Irwin of Bitmap Press, the co-publishers of Power Washer Zine.Today's talk is a fresh one, to say the least, and full of print jargon and technical talks. We run the gamut from how long to flash dry a toasted cheese sandwich, to what kind of mesh count is recommended for getting good coverage when printing with cheese balls, We go deep about the struggle to find the best supportive printshop footwear.Also included today is a special opener showcasing the sounds of Los Angeles where we scream and cheer as a neighborhood each night at 8pm. It's quite an audible delight really, and a lot of fun if you live here because we just scream our hearts out together! Feed & Delivery Links:Why Conspiracy Theories Have Become the Most Influential Art Form of Our TimeHow Art History Can Help Explain the Stunning Rise of Conspiracy Theories That Is Defining Our TimePower washer Zine #8 DownloadHand Painted Sign RennaisanceOutlaw Printmaker PodcastThat 1960s Revolution of the Underground Press is Still Alive & WellFun Printmaker-ly Letterpress Newsletter
Guests: Matt Davis and George Wietor Host: Christopher Kardambikis Recorded on November 16th, 2019 at at the Chicago Art Book Fair. Matt Davis is the founder and director of Perfectly Acceptable Press, a Risograph print studio and publishing house in Chicago. Besides doing contract printing for artists all over North America, Perfectly Acceptable publishes 8-10 titles per year spanning the genres of comics, artist books, and essay with an emphasis on narrative and craft. Matt is the co-organizer of NARC along with George Wietor. Perfectly Acceptable Press (Chicago, IL) publishes short-run narrative artist books with an emphasis on synergy between content, craft, and form. Our aim is to create an object that pushes the boundaries of a zine without sacrificing accessibility or content. In addition to our publishing practice, we also offer contract Risograph print services for artists across North America. We also host the North American Risograph Conference alongside Issue Press. ——— Issue Press is an independent publisher of artist publications, multiples, and other printed matter based in Grand Rapids, MI and run by George Wietor. All of their work is produced with Risograph digital duplicators. It is run in Wietor's spare time and operates with an elastic publishing mandate, primarily concerned with works that trade in humor, history, and exploration of place. In addition to Issue Press, George runs stencil.wiki, an open platform for sharing information about Risograph printing and is, along with Matt Davis, the co-organizer of NARC. ——- The North American Risograph Conference (NARC) NARC is a day of talks, panels, and workshops dedicated to strengthening the North American Risograph community. The event is biennial, held in tandem with Chicago Art Book Fair. It is organized by Issue Press and Perfectly Acceptable Press. --- Support this podcast: https://anchor.fm/paper-cuts/support
After discovering the book "Pittsburgh Steps: The Story of the City's Public Stairways" at Wildcard in Lawrenceville, artist Laura Zurowski is climbing and documenting all of the steps in the City of Pittsburgh. :: FOLLOW Mis.Steps :: Instagram @Mis.Steps Mis.Steps Website Mis.Steps Shop - purchase zines or trading cards of the steps of Pittsburgh Mis.Steps on Flickr - all of Laura's photos are on Flickr for others to use and enjoy :: BOOK "Pittsburgh Steps: The Story of the City's Public Stairways" by Bob Regan :: Bob Regan is a lecturer at the University of Pittsburgh who would ride his bike around town and see the staircases leading up different hillsides. Regan documented all of the steps in Pittsburgh, as even the city didn't have a listing of all of these public staircases. Regan's first book was published in black and white in 2004 and sells for more than $100 on Amazon. The book was updated in 2015 and is available at local book stores and Amazon. :: INSPIRATION Steps and Craigslist Missed Connections :: Her project is named Mis.Steps because it initially had a component where she posted the photographs on the Missed Connections section of Craigslist. Laura started documenting the steps and posting to Missed Connections in July 2017. In March 2018, Craigslist changed the Missed Connections format and photos were no longer allowed. You can read more about Craigslist's changes and Mis.Steps here. Learn more about Laura's photography and printing process Laura uses a Polaroid Spectra camera from the 1980s; you can read more about Laura's Polaroid here. The Mis.Steps prints and trading cards are printed on a Risograph; you can learn more about this retro printing process here. ------------------------------------------------------- :: COLLABORATION Walk the Burgh & Wigle Whiskey :: Whiskey Walk: Walk the Burgh Tours and Wigle Whiskey team up to share some whiskey history. Take a walking tour of Downtown Pittsburgh, learn about the Whiskey Rebellion and sample some Wigle Whiskey. $25/person Interested in some other Prohibition stories… Learn more about the Fussfungle cocktail Listen to Episode 14 of our podcast and find out if the word “speakeasy” is from McKeesport. ------------------------------------------------------- :: EVENTS Northside Mardi Gras // Feb. 15-25 :: The Northside Leadership Conference has organized a 10-day, neighborhood-wide celebration for Mardi Gras. You can see the entire schedule of events here. Follow the Northside Mardi Gras Facebook page for updates. The celebration ends with a Mardi Gras Fat Tuesday Party at the Allegheny Elks Lodge #339. Tickets are $10, available here. ------------------------------------------------------- Give Us a Call Have an event we should know about? Know of a partnership we should highlight on the podcast? How about a collaboration? We'd love to hear from you! We're always looking for new Pittsburgh stories to share. If you leave a message we just might feature your pick in our newsletter or on our podcast. Give us a call and leave a message. We want to hear from you! 412-368-6595 ------------------------------------------------------- Subscribe to The Slaw: Staying on Top of Pittsburgh podcast The Slaw Podcast is available on: iTunes Spotify Follow Very Local for more Pittsburgh updates: Very Local Pittsburgh Website Twitter @VeryLocalPGH Facebook Instagram YouTube
friend of the show brandon bandy stops by to talk about zoomers and tik tok and other fascinating things. check out brandon's work @risohell or his personal account @brandon_bandy
Today's episode features the founder of a community printshop in Chicago. Angee Lennard started Spudnik Press with a drive to create something that could serve a community of artists, and create a hub where people could work together, share equipment, and teach others about the printing arts. It's not a simple business to run, and it takes a lot of elbow grease and persistence to create this type of print studio and make it sustainable, Spudnik Press has been going for 13 years now, which is pretty incredible considering it started in Angee's apartment. The artists there work together to maintain the space and activate it with lots of programs including publishing prints with outside guest artists. This is a good episode if you love print and the community it fosters. Spudnik Press on InstagramThe Print Cast on InstagramMore Episodes from The Print CastLeave A Press Campaign on IndiegogoLithosphere Campaign on Kickstarter
We jump behind the scenes of a slightly nostalgic, wonderfully tactile and uniquely analogue process of something called Risograph printing. From very humble and mundane beginnings to a countercultural tool, if you haven’t heard of Risograph printing, you are in for a real treat. We delve into some juicy details in this one, and we completely print nerd out with the Risograph champion Ashley Ronning. Ashley opens her mind into all things riso, from the origin story, zine culture, serendipitous registration, how the technology flows into her illustration style and beyond. Ashley Ronning @ashleyronning ashleyronning.com @heliopress helio-press.com Links Lamington Drive Riso Kagaku Risograph Printing Jessie Adams Quotes “I draw the way that I think I see the world and that ended up being my style." "Being able to do everything myself is so valuable." "I got a zine cover Risograph printed and was in love, I think it was maybe 6 months after that I had my own machine and I haven’t stopped." "Risograph printing is basically like a cross between photocopying and screenprinting." Original Theme Music by Devin Luke - devinlukemusic.com Stay In Touch onprocess.com @onprocesspodcast If this episode helped you in any way, we would love your support. The best way to support us is by Subscribing to the show in iTunes and writing us a review. Thanks for listening.
Scott Dolan started making Slight Headache comics in Iowa City in the summer of 1992 as a combination diaristic notetaking/money-making scheme. The small zines were quickly filled with images and text with the thought that any idea can be a seed for another idea, none too big, none too small. The original comics were sold at a few stores in town and traded widely through the mail with mail artists, zinesters and other collaborators and supporters. The comics were non-linear in layout, more a collection of briefly observed moments than a sequential story. Mostly, the images were light-hearted commentary on the events of the day, with special interest taken in language, customer service, alienation, food, poetry, punk rock, loss, the ridiculous possibilities of being, and any other of the Big Ideas in art, such as may have arisen. In 2016, working with Circadian Press in Brooklyn, he released a “completely remastered” limited edition Slight Headache box set, a few sets of which are still available on his website. Alongside the comics grew a series of gouache and watercolor pictures, the "Kutch and Mancuso Drawings," which were loosely based on his own life experiences and stories heard from, and about, friends. Currently he has been working on a series of pencil portraits, gouache paintings of an unknown (to him) deceased artist’s pencils, and other tools of the trade, which were given to him by a friend of a friend. He was born in Minnesota, received his MFA from the University of Iowa and currently he lives, works and otherwise lingers in various parts of Brooklyn. He was a founding member of the legendary Speedboat Gallery in St. Paul, Minnesota. His work has been shown at Happy Lucky #1, Cellar Gallery, NYSG and Five Myles in New York City; Speedboat Gallery, CO Exhibitions and No Name Gallery in Minneapolis/St Paul; Lovey Town in Madison Wisconsin, and others. His work is in the permanent collections of the U.S. Library of Congress’s Monographs Section, the University of Iowa Special Collections, the University of Maryland, the University of Vermont, The Walker Art Center, Carleton College, and the Franklin Furnace archives, among others. The book mentioned in the interview is Greek to Me, by Mary Norris. Mongol 482, Gouache on Paper, 22” x 30" Woodclinched, Gouache on Paper, 22” x 30" Slight Headache Comics Special Circadian Press Limited Edition Box Set (edition of 100) Risograph printing on 60# Vellum Text 2.5” x 3” x 2.25" (book size 2.1875" x 2.8”)
Imagine a space where you can spend an afternoon screen printing your own band merch? Or finally learn how to use a Risograph machine to print your own zine? Maybe you want to enroll in a class; maybe make an etching or a woodcut? It can be difficult to find the space and amass the needed tools and learning the techniques is another huge hurdle. Today in Los Angeles, there is one place where you can attempt to do all of that and more. Nestled in Chinatown, sharing a space with an art book seller A.G. Geiger, 4 artists run a communal printmaking studio called Printshop LA. These artists come from diverse backgrounds with personal art practices that dovetail with the mission of the shop. It reflects the vitality of LA's art scene where artists often have to join forces to make an impact and create opportunities. By combining business models, they not only enhance their individual practices but also extend a lifeline to artists and the public who would love to share their equipment and resources. Printshop LA is Michelle Miller, Jayse Caitlin, Sean Hernandez and Dave Kloc. I welcome three of the four founding members today where we'll talk about their pursuit of making printmaking accessible in Los Angeles. Check out all three artists on InstagramPress Friends aka Sean HernandezHeavy Gel aka Jayse CaitlinMichelle MillerPrintshop LAFollow The Print Cast on InstagramBecome a supporter of my Patreon
Guest: Jo Frenken Host: Christopher Kardambikis Recorded on November 19th, 2018 at the Magical Riso conference held at the Jan Van Eyck Academie in Maastricht, Netherlands. Jo Frenken is an artist, designer, and tutor connected to the Jan van Eyck Academie ever since he started as a participant in 1977. He served numerous print-related roles as well as teaching at the Academy of Architecture for 20 years. In 2011 he became the head of Charles Nypels Lab and in 2014 initiated and organized the successful Magical Riso, a biennial Risograph conference at the Lab. THE THIRD IN OUR COVERAGE OF THE MAGICAL RISO CONFERENCE HELD AT THE JAN VAN EYCK ACADEMIE IN MAASTRICHT, NETHERLANDS. --- Support this podcast: https://anchor.fm/paper-cuts/support
THE SECOND IN OUR COVERAGE OF THE MAGICAL RISO CONFERENCE HELD AT THE JAN VAN EYCK ACADEMIE IN MAASTRICHT, NETHERLANDS. Guests: Igor Arume, Stephanie Lane Gage, and Justin Bailey Host: Christopher Kardambikis Recorded on November 18th, 2018 at the Magical Riso conference held at the Jan Van Eyck Academie in Maastricht, Netherlands. RISOTRIP / Igor Arume With more than 4 years of experience, Risotrip are constantly perfecting their printing method to ensure more quality and efficiency. Risotrip believes that the work goes far beyond a print service for clients, their mission is to help people create and produce their ideas. They believe in the power of learning and collaboration between people. They know that a large part of the public is not familiar with the specificities of Risograph. Therefore, promoting activities such as WORKSHOPS and PALESTRAS are fundamental to share theoretical and practical knowledge and enable those interested to obtain the best results in this type of printing. https://risotrip.co/ MARTIAN PRESS / Stephanie Lane Gage Martian Press is a one-human operation, run by Stephanie Lane Gage and currently located in Los Angeles, CA. It was founded in Milwaukee, WI in October of 2015. Martian Press is dedicated to creating and publishing original content as well as producing zines and prints created by emerging artists and writers. MP collects the outlandish, the otherworldly, the extraordinary and the ordinary and produces something meaningful from them. Much of what Martian Press publishes evokes themes of science fiction, the mystical, the paranormal. MP strives to publish predominantly queer, non-men, and/or POC artists and writers, as well as provide Risograph printing services. https://martian.press/ BRONZE AGE / Justin Bailey Bronze Age is a publishing endeavor run by Justin Bailey in London. http://bronze-age.co/ --- Support this podcast: https://anchor.fm/paper-cuts/support
This episode is the first part of a three-part series on “Homelands and histories.” In this episode, Dr. Dylan Miner—an artist, scholar and activist who teaches at Michigan State University—discusses his work in relation to land use, cultural heritage, and indigenous activism. Miner identifies as Wiisaakodewinini, or Métis, a person of mixed ancestry with ties to indigenous communities in the U.S. and Canada. Transcript: Jolie Sheffer: Welcome to the BG Ideas podcast, a collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Jolie Scheffer, an associate professor of English and American culture studies and the director of ICS. This is the first episode of a three-part series entitled Homelands and Histories, in which we talked to people making big impacts on local communities through their work on land use and cultural heritage. Jolie Sheffer: The word homeland can evoke comfortable feelings of patriotism or cultural identity, but it is also used to justify expulsion or even genocide. Similarly, the word histories is meant to call attention to the many points of conflict, debate, erasure of violence, and silencing that accompany efforts to describe and interpret the past. Today, we are joined by Dr. Dillon A. T. Miner, an artist, scholar, and activist, who identifies as Wiisaakodewinini or Metis, a native person of mixed ancestry with ties to indigenous communities in the US and Canada. Jolie Sheffer: Dylan is an adjunct curator of indigenous art at the Michigan State University Museum as well as the founder of the Justseeds artists collective and a board member of the Michigan Indian Education Council. He recently commenced the Bootaagaani-minis Drummond Island Land Reclamation Project, a de-colonial initiative to acquire land and establish a cultural center for Metis, whose ancestors were forced to leave the island during the War of 1812. Dylan is also the director of American Indian and indigenous studies at Michigan State University and an associate professor of transcultural studies in the Residential College in the Arts and Humanities at Michigan State. Jolie Sheffer: He's the author of the book Creating Aztlan: Chicano Art, Indigenous Sovereignty, and Lowriding Across Turtle Island, in which he shows that Chicano art needs to be understood in the context of indigenous history, anti-colonial struggle, and Native-American studies. I'm very pleased to welcome him to BGSU as a part of ICS's 2018 Spring Speaker Series. Thanks so much for being here. Dr. Dylan Miner: Thanks for having me. Jolie Sheffer: One of the things that we're interested in at ICS is discussing the relationship between different kinds of knowledge and different modes of activism, so scholarship, art, grassroots organizing. Can you start us out by telling us a bit about your particular path of negotiating those three? What set you out into trying to do all three? Dr. Dylan Miner: Sure. So I kind of come into the work I do. I grew up in punk rock circles and kind of crusty anarchist, Zeen-making circles. Much of the work I do kind of emerges from that space. I also, as you said, I'm a Wiisaakodewinini or a Metis person, and one of the Cree words for Metis is [foreign language 00:02:57]. That's a Cree word which means the people who own themselves are the people without bosses. Dr. Dylan Miner: So much of the work I do thinks about the ways of dismantling hierarchies in all of its forms. So I don't see a distinction necessarily between the scholarly work I do, the community-based work, the arts practice, or even kind of the familial and community work I do outside of or in spite of the institution or university. The more I get involved in various projects, the more I see all of them intermingling and intertwined into a holistic whole. So kind of what I'm doing, say with the Bootaagaani-minis Land Reclamation Project is not that much different as with what I'm doing say in the pedagogical practices in the classroom, working with the urban indigenous youth and the Native Kids Ride Bike Project, Anishnaabensag Biimskowebshkigewag. To me, they're all intertwined and all part of the same holistic way of thinking about building a better and more socially-just world. Jolie Sheffer: So how do you then decide kind of what the praxis is that goes with the project, right? Because your audience are going to differ depending on which mode you're working in. So when you're taking on a new project, how do you decide which path or paths to follow? Dr. Dylan Miner: Sure. Part of the reason I went to graduate school in art history was because I wanted to think about the ways... I had gone to art school for a year. I had gone to the College for Creative Studies in Detroit for a year and dropped out, partially because I felt that art school wasn't giving me some of the larger social or cultural worldviews to understand more engaged making of work. So I kind of went to graduate school in studying the history of art, particularly focusing on arts of the Americas, kind of indigenous, and Mestizo, or Metis practices throughout this hemisphere as a way to inform my own practice. Dr. Dylan Miner: The further I get away from needing to write academic and scholarly texts, the less I do. I felt there's a very colonial way of framing arguments that exist within academic writing. Part of the reason I've been writing more creative nonfiction, more poetically is because I think that engages with the themes I'm engaging within a much more nuanced and way that actually matches the work itself. Dr. Dylan Miner: So when I write now, much of what I try to write, I like to think about ways that the form of the writing can actually reproduce the ideas within it. I think that when I'm engaged in creative practices, whether it's something like The Elders Say We Don't Visit Anymore, which emerged in conversations with retired Ojibwe auto workers. So I started to employ that, what I started to call the methodology of visiting based on what they'd shared, in all aspects of what I do and what I've been doing. So I started thinking about, "What would it mean to slow down, to actually engage more intimately and more critically in all moments, in all practices that I'm engaged in?" Jolie Sheffer: You've worked with a wide variety of media in your art. You've done silk screening to building a decorating bicycles. You've talked about the pennant as a form. Can you talk about some of those examples, and how you selected that particular form, and how that helped convey the thematics that you were interested in? Dr. Dylan Miner: Sure. So I came up. I used to identify as a printmaker. I would make prints, and that's what I would do oftentimes relief prints, woodblock, and linoleum block prints. More recently, maybe the last decade or so, I've identified it as an artist who engages in projects. I think that in some ways, it comes from those conversations with elders where I'm at a place and I think that there's something liberatory about arts and creative practice. There was an interview or a small essay I read, I think it was in e-flux a number of years ago by the Mexican curator, Cuauhtemoc where he said that contemporary galleries were one of the last places for radical politics left. While I don't fully believe or agree with Medina on that point, I have some commitment to understanding and thinking about art as significant and important. Dr. Dylan Miner: So when I engage in projects now, I just have ideas and begin to call them artistic projects, call that a project. So for instance, my grandfather's grandmother was an herbalist. She was known for particular forms of herbal medicines. That's knowledge that didn't get to my generation, or my father's generation, or my grandfathers, or grandparents generation. So what I'm interested in doing is, "Okay, how can we frame that as a particular form of project and move forward with it in that way?" So many of the projects that come to begin there, "What is a knowledge form or practice I'd like to learn, and how can I, as an artist, as a Wiisaakodewinini person, how can I engage in that?" Dr. Dylan Miner: So sometimes it takes the form of print. Sometimes it takes the form of community collaborations. There's been lots of conversations in the last number of years about what people call social practice. There's lots of critiques of social practice. How does this all intertwine together? Sometimes it's particular forms. Sometimes it's conceptual. Jolie Sheffer: You talked about sort of the elders, but you've also done a lot of work with children and youth. Could you talk to us about some of those projects and why you think that's a particularly important audience to engage with? Dr. Dylan Miner: Sure. I do a lot of workshops with youth, primarily with indigenous youth, but also lots of urban youth, and rural youth, Latino youth, Chicano youth in the U.S., Canada, [Bit-Wasame 00:08:27] communities in Northern Scandinavia, [inaudible 00:08:29] indigenous communities in Australia, and to some extent in Latin America as well. As somebody who's interested in weird stuff, who's interested in certain kinds of punk, and hip hop, and certain artistic practices, and the creation of alternative social institutions, many of the collaborations with youth come from that space. So Anishnaabensag Biimskowebshkigewag, Native Kids Ride Bikes comes from wanting to interact with youth and have them interact with fluent speaking Ojibwe elders. Dr. Dylan Miner: So in Lansing, Michigan, we have some of the largest numbers of fluent Anishinaabeg speakers in the state of Michigan, but on the U.S. side of the border. But there was a disconnect between them and youth. So building bikes became an intentional time to gather people together around a particular thing of doing a doing and making. If in the end, people only learned how to make a bike, great. But it hopefully became something more than that. Jolie Sheffer: You're talking about the sort of colonial forms that so much of knowledge production in its institutionalized ways operates. So it's really interesting to hear you talk about these projects that are designed to sort of function outside of those frameworks. How do you in your own workshops and practice work to get outside of that habit of the kind of colonialist resource extraction of you go in or you're brought in, and it's like, "Now, you're going to be our native informant"? Then, everyone goes back to doing things the way they always did them. Dr. Dylan Miner: So my partner is Estrella Torrez who runs a project in Lansing called the Indigenous Youth Empowerment Program, IYEP, which is a native youth program. She co-directs with some friends of hers. She also coordinates a project with Latino youth called Nuestros Cuentos, which is Writes Stories with Youth. But one of those things is that she develops is this idea of kind of reverse resource extraction. What does it mean to be inside institutions within the university? In what ways can we extrapolate and build upon the resources and relationships we have in institutions to benefit communities, particularly communities we're a part of, but also communities we might not be a part of? How can we make those benefit communities, particularly communities of color, indigenous communities, and other communities, immigrant communities, et cetera? Dr. Dylan Miner: So I do a lot of work against resource extraction, anti-mining stuff, anti-pipeline stuff. So one question I've been asking in thinking through is, "What is the opposite of extraction? What would that look like? What is the opposite of actually mining and/or having pipelines for fossil fuels? What would that look like?" Just as a rhetorical question, "What would that look like for those of us in places who have access to particular resources? How can we kind of reverse those pipelines?" Jolie Sheffer: Your book is on Chicano art and movements, and you also work on indigenous Metis art. So can you provide an overview of some of those histories and convergences? Dr. Dylan Miner: Yeah. I'm really interested in the detribalized to histories that happen at both the intersections of both settler-colonial nation-state borders, whether it's the U.S.-Canada border or the U.S.-Mexico border. I grew up as a white-coated, indigenous person in the state of Michigan in a community that had a migrant farmworker community, a Chicano, and Mexican-American, and Mexican farmworker community and from an early age was seeing the linkages between the Metis histories of the Great Lakes, and the plains, and prairies of the U.S.-Canada border lands and some of the Chicano or Mexican-American forms of indigeneity that you see in Texas in New Mexico. Dr. Dylan Miner: My partner, her family, comes from Genizaro communities. Genizaros are folks in New Mexico and Texas that were basically taken detribalized indigenous folks that were then kind of put into servitude for Spanish settlers. So thinking about the ways that both colonial projects happen, whether it's the U.S. colonial project, the Canadian colonial project, the Mexican colonial project, and what they do to indigenous folks and to detribalized a non-recognized indigenous folks. So in that book, in particular, I look at Chicano or Mexican-American artistic practices after 1968 in relationship to a concept called Aztlan. Aztlan is the [Chica 00:12:54] or Nahua origin story that before the so-called Aztecs founded Tenochtitlan, or what is now Mexico City, they came from this cave on an Island. That place was called Aztlan. During the 1960s, during the Chicano power era, activists began to talk about the U.S. Southwest as that location. Dr. Dylan Miner: So one of the things I articulate in that book is thinking about Chicanos or Mexican-American folks as an indigenous nation and as a nation of movement, and what does it mean to slowly move across land? So using the metaphor of lowriding, whether it's lowriding in cars or lowriding in bikes that is, we all know lowriders. Some say they started in Espanola, New Mexico, some say they started in East Los Angeles. Either way, whatever the origin story is, it's an anti-capitalist form of movement. We think of muscle cars, we think of the automobile. I grew up in Michigan, kind of the birthplace of the automobile. That's about getting places quickly. Dr. Dylan Miner: But when you lowride through place, you intimately know the territory, begin to talk to the land, relate to the land, and it's a big F-you to capitalism where time is money, you're intentionally inverting that system. So for me, making these linkages are important as we both resist violent state practices. We're in a moment in time where the U.S. government is moving in certain ways. I've been advocating kind of for DACA and understanding of the linkages between U.S. immigration policies and what they do as a component of the same settler-colonial forms of appropriation, and appropriation, and violence that happened kind of as Anglo America pushed westward with manifest destiny. Jolie Sheffer: Well, and that sort of speaks to our theme of homelands and histories and the ways we think very differently about our own moment if we lengthen the window of time in which we're operating and to think about... I'm very interested. My own scholarship is on the history of immigration. So much of the rhetoric that circulates now is on legality and illegality. When, in the longer window of history, the laws changed around people. It's not that people are illegal or not. So what do the terms like a homeland and history connote to you? Dr. Dylan Miner: When I think of homeland, I think we all live in an era where we think of homeland security. I link it to certain kind of state practices, certain moves by the state towards a certain form of patriotism, a fascistic form of patriotism, that in its very creation creates borders that are solidified in certain ways. To link this back to the last question. One of the things I've been thinking about, and I think many, many scholars and activists, indigenous and Chicana activists have been thinking about this are the ways that communities, and indigenous sovereignties, and indigenous forms of governance and territoriality exist in relationship inside and outside of the forms of territoriality that Western nation-states have. That means that the U.S., Canada, Mexico have to have solidified borders. Those borders cannot be shared. A territory has to be one or the other. Dr. Dylan Miner: But when you look at longer-term histories of land use and land practice in Western spaces, but particularly in indigenous communities, there's always been conflicted spaces but also shared spaces. That the notion of territoriality that we see in this particular moment that arises from a form of polity that that happens and emerges in Western Europe at a particular moment of time is only one form of governmentality and territoriality that exists or that has to exist. If there's anything that I'd like my work to engage with as an activist, as a scholar, or as an artist is thinking about thinking otherwise, imagining other possibilities. The Zapatistas in the '90s, shared with us that, "[foreign language 00:16:50]. Another world as possible." When they think about, "What other worlds are possible, and do we have to be so constricted by the particularities of the worlds that we've been given?" Jolie Sheffer: I think that's something that the older I get, the more you realize that even in our own lifespan, that there were other ways of being. I remember what it was like not to have a cell phone, not to have social media. Or, thinking on the issue of borderlands, growing up in Michigan, you would just cross over into Canada. I was thinking about this very recently. I have a young son and I was like, "Oh, this summer, maybe we'll go to Canada." I realized, "I can't do that. I have to get him a passport." The way the state intrudes on those things. We take for granted that like, "Oh post-9/11 for many of our students, that's the only way of being they've experienced." Again, taking that longer view reminds you there have been other ways of being, and there could be yet again. Dr. Dylan Miner: I teach an undergraduate senior seminar, and one of the questions we ask is, "Is another world possible? Can we imagine a world beyond, or outside, or after, or in spite of capitalism?" Each time I've taught it, when we get to the end, it becomes nearly impossible for anyone in that class to think beyond, or outside, or in spite of capitalism, that as an economic and way of organizing social relationships, it has such a power on all of us that imagining something outside of it has been nearly impossible. Jolie Sheffer: We'd love to hear some of your questions. You ready? Alexis: I just want to say, first, thank you for coming and I appreciate this dialogue that we get to have with you. My name's Alexis [Ribertino 00:18:33]. We're apart of a class, all of us here. It is a studio seminar in the arts school, and we read the beginning of Creating Aztlan and other things regarding Native Kids Ride Bikes, specifically. That's kind of where our collaborative questions come from, just to give you a background on where we're coming from. Alexis: So you say in your book, Creating Aztlan, "Once you know the story, it is your collective responsibility to tell it." In thinking about this, I've noticed a trend in socially-engaged art to rely on the audience or participators in order to be the ones that enact with the change or artists put their trust in the participators in order to be provoked and then to think enough in order to pursue the change. This tactic then replaces the artist's direct involvement in policymaking or direct change. My question is, is this tactic enough or the best way of enacting social change and engagement? Or, is this possibility of inspiring in numbers more enticing than using more time and less minds to pull out the direct work? Dr. Dylan Miner: That's a good question and one that I'm not certain I have a full answer to. I will say that I'm of the perspective that unfortunately we live in a time when artists are brought in to fill in voids and other social services. So why is it that artists are engaging in certain kinds of projects when there's been a reduction in funding of social services that should do that exact same thing? I think that at a policy level and at an institutional level, I think that's a problem. Dr. Dylan Miner: Do I think that art is the best way to enact, or to initiate, or to be the change itself? As I said earlier, I do hold onto something that our art is liberatory in certain ways. I'm not certain what it is. I think that with the various avant-gardes you've seen throughout history, I think many of them have held onto that belief, whether rightly or wrongly, probably wrongly. But I do think there's something liberatory about it. There's a way... For instance, the majority of my work, I don't sell. I don't make work for the market. I've been criticized, and rightfully so, because I have I come from an institutional space of privilege where I teach at university and don't need to make work to pay my bills. Therefore, I can make work that's gifted or given away. I think that's significant about what I'm trying to do is make work outside or beyond the marketplace. Dr. Dylan Miner: So in terms of social practice or socially-engaged art, I think there's some very good examples and I think there's some very bad examples. I think that, at its best, community collaboration is just that. Like, when I engage in a project, it's that. I don't imagine that it's something beyond that. The Elders Say We Don't Visit Anymore, that's using my access to institutional spaces to create momentary spaces of visiting. Do I think it's going to fundamentally change those institutions, or indigenize them, or kind of transform them? No. I know that it's a momentary thing, and I know that the results will be fleeting. Dr. Dylan Miner: The same thing I'd say with Anishnaabensag Biimskowebshkigewag, Native Kids Ride Bikes. That's really about building social relationships, and making connections between existing community members, and one another. If it goes beyond that, that's wonderful. But I don't think it always will or always has. But I do think there's moments in time where we live in a moment when so many different institutions for public good have been dismantled, and so now we're turning to artists to do the work that something else should do. I think that's a fundamental larger problem. Nick: My name's Nick. Thank you for coming. For my question, in your interview with America Meredith that we read, you provide a quote from Ryan Red Corn stating, "We're Indian. We're political by default." I was struck by the idea that even in a not-overtly political project, the aesthetics become politicized. Do you see this as being an issue for indigenous artists or a distracting element if their work tends to be viewed through a specific lens? Do you find that your work strives to have a singular identity, or do you feel like is split serving two different purposes regarding an indigenous and a outside audience? Dr. Dylan Miner: Good question again. So the quote by what Ryan Red Corn, and Ryan Red Corn's a graphic designer and Osage guy. He's also in the comedy troupe 1491, so he was just visiting East Lansing and I had dinner with him a few weeks ago. So it's good to see you brought that quote up from the interview with America Meredith, who's a Cherokee painter, who is also the editor for First American Art Magazine. So if you're not familiar, put a plugin for that to really exciting and interesting article or magazine that she publishes. Dr. Dylan Miner: So I think this is a problematic both for contemporary indigenous artists, but for artists of color, for queer artists, for many other artists, who there's a certain kind of reading that when work becomes biographical, people only read it in that way. I think that happens to certain artists and not to all artists. Why is that? That said, my work is always political even when not politically. It's intentionally political, and I have some that is overly agitprop. It's fine to be read one-dimensional. Dr. Dylan Miner: In the class I was just meeting with, I showed them a Line 5 pipeline Risograph poster that I recently produced. My own politics, I'm vehemently against that pipeline, Line 5. Enbridge line 5, of course, was created in 1953. It's a approximately 700-mile pipeline that brings tar sands from Western Canada through Wisconsin and Michigan to be processed and refined in Sarnia, Ontario. Of course, Sarnia is right by a First Nations, an Anishinaabek First Nations community that has some of the largest cancer rates of any community because of the processing of so many chemicals and particularly oil refineries there. Dr. Dylan Miner: But with this image, it is a unidimensional reading of it. A poster kind of demarking, or discussing, or showing the 20 plus... I don't remember the exact number, the nearly 30 oil spills that have happened since that pipeline opened in 1953 and spilling 1.1 million gallons of oil. There's not a lot of readings that can be read into that poster. It's intentionally one advocating for the dismantling and shutting down of that pipeline. So I'm okay with a one-dimensional reading of that. Dr. Dylan Miner: Other works, particularly in museums and galleries, kind of text I write, they need to be more nuanced and understanding of them. I think that with indigenous, with artists of color, oftentimes the work becomes read as biographical. I think that's a hard dynamic, and hard dialectic, or hard tension that people who aren't part of that community have when engaging with that art. There's been scholars and critics who've looked at the ways that, particularly with indigenous art, when you come to it, you have to both understand the particularities of the knowledge system the artist is working with as well as the understanding of the discourses and structures of contemporary art. Dr. Dylan Miner: That's high expectations. It's a lot to expect of audiences, whether indigenous or not, whether a member of that individual artist's community or another indigenous nation. There's a lot of expectations there. So with that, I think there'll probably be a lot of misinterpretations. When you make something and put it in the world, you have to be open to understand and think through its possible multiple readings, whether they're ones you want or not. Jolie Sheffer: That seems like the focus of your work that is very process-oriented seems partly designed to break down that singular reading because you have to kind of engage with the work and help create it. That seems in itself kind of an anti-capitalist way of being that you can't just sort of, "Okay, now I'm going to absorb the art and the artist, and then get out." Dr. Dylan Miner: I think time, non-capitalist, nonlinear time is very significant in my work. If you come to my talk tonight, and I've said it a number of other times, but I'll talk a bit about this term [foreign language 00:26:59], which is a Anishinaabemowin term meaning one's ancestors but also one's descendant. So it's referencing in particularly one's great-grandparent or one's great-grandchild, but it's the same word for both. But it breaks down linear notions of history that past is behind us, kind of the future's in front of us, and actually creates a relationship with one's ancestors and one's descendants that is very intimate and very real. To do that, you have to engage in a long-term, nonlinear notions of time. Dr. Dylan Miner: So much of my work, whether studio or otherwise, I think I'm trying to evoke and employ this particular notion of temporality that isn't linear, that doesn't somehow put past behind us, future in front of us, and somehow we can get to this attainable future of some sort. Dr. Dylan Miner: When you were talking a moment ago, I was thinking of a project I do called Michif–Michin, The People The Medicine, which is a collaboration with plants where I actually have conversations, learn from and with medicinal plants, and then harvest them, and then make prints from them. I print them in inks I harvest. Inks I make from berries I harvest and then give them away. They're not sold. So there's a long-term relationship between me and the plant, but also between me and the people who share knowledge about the plant and then who receive these prints. So lots of ways of thinking through and around these questions. Maria: Hi, my name's Maria. I also wanted to say thanks for coming and spending time talking to us. My question is that you mentioned that one of the long-term outcomes of your lowriding project was both the inclusion of native tradition, culture, and history, but also a commentary on sustainability within transportation. How do you envision the lowriding project impacting within the relationship that exists between native and colonialist values? What type of conversations do you think that this will spark between the two groups, and do you foresee an impact or a change being made on colonialist viewpoints of sustainability and conversation from projects similar to this? Dr. Dylan Miner: Another good question. For me, it's hard to say, or hard to predict, or hard to judge kind of what impacts or relationships they have. As someone whose practices fundamentally about building relationships and engaging with other people, I think that I want to put that in play. I want that to happen. If you'd have asked me this two years ago, I think various conversations were happening about sustainability, and about climate change, and resistance to climate change, and understanding potential transformations that needed to happen at a dominant structural level. At this point in time, I'm a little less... I don't think those are happening at the upper echelons of state and capitalist institutions. So because of that, I'm concerned. Dr. Dylan Miner: This is a slight aside, but I think that what we see is that there's very powerful systems of violence and oppression, whether it's violence to the land, whether it's oppression of other individuals, whether it's the creation of patriarchal systems. Those are all intertwined. If you look at the scholarly text and the creative text as well, part of what I'd like to put in place is how all of these are intertwined together. You probably haven't heard it as much on U.S. news, but I've been kind of attentive to it is that in Western Canada, just last Friday, there was a court case that came through. This was a young Korean man who was in his 20s, Colton Boushie, who was shot three times in the head by a Saskatchewan farmer a number of months ago. That ruling came down on Friday. Stanley, the individual who shot him three times in the head, was acquitted for murder and or manslaughter. Dr. Dylan Miner: This is to say that there's institutional forms of violence and oppression that become reproduced within structures and systems, that whether or not we control them. So when I make things and when I'm engaged in practices, I put them out there in the world. How they operate within these existing systems, to some extent, is outside my control. Tyler: My name's Tyler. So my question is, as artists, we want to avoid cliche and heavy-handed work crafted without intention. Sometimes this want can lead to work made with intent by the artist, but that isn't understood by anyone who isn't familiar with the piece. So for socially-engaged art, how blatant do you find that art needs to be in order to actually be an effective piece of social engagement? How much of the artist needs to be present, and how much of the activist? In your own practice, how do you balance these two sides? Dr. Dylan Miner: Good. Julie and I were talking earlier about balance and the fact that balance doesn't exist. It's a process. But at any moment, we're going to fall off as we're trying to balance anything. I have no intention to balance. I come to my work as someone with particular political motivations. Some of the work, particularly the print-based work that exists in poster and print form, is freely downloadable off the internet. That has an agitprop positionality. That is intended to agitate and provoke, to make people think about particular issues, oftentimes indigenous issues, oftentimes environmental issues, oftentimes immigration issues, and how all of these are linked together. Dr. Dylan Miner: The other work, what could be called the socially-engaged work or the work I'm doing oftentimes in galleries or in museums, you're right, is less heavy-handed. Yet, the ways that those are read, I think, are going to differ greatly based on the baggage, and the knowledge, and the information people bring to them. The more I do things, the more I understand that and I'm open to that. With Anishnaabensag Biimskowebshkigewag, Native Kids Ride Bikes, I've done that a number of times with communities that I know and a number of times with communities I don't know. Some of them have been very successful, and some of them have been very awful based on existing relationships between me and people in those communities and people in those communities and the institution that brought me in. Dr. Dylan Miner: So I think a lot of times, it's not even necessarily on the actual social engagement but rather the relationships, the networks, the interactions that exist outside, and beyond, and around those particular engagements. As an artist, as much as I'd like to say I'm against hierarchies in all forms, which I am, as an artist, sometimes we bring our own ideas into things. I think that the more engagements I do, the less I have to have particular ideas of what I'd like them to be. So building bikes, those emerge out of collective conversations. Clearly, we're there to build a bike, but what will that be? Jolie Sheffer: Following up on that question. So you're an artist, you present your work in these different venues, but you're also a curator, right? So how do you think about your role in positioning? What are the kinds of decisions and conversations you have with yourself and with artists whose work your career curating in the museum context? Dr. Dylan Miner: Sure. So I have this adjunct curator title and position, and I don't do a lot of curatorial work in that museum. But I am curating a show at a university gallery in March, which is on land and water, thinking about what those topics, concepts mean. Again, sometimes it's bringing in activist projects into the museum context. I think Nato Thompson, the curator who was with Creative Time for some time, is probably most well-known for that kind of integrating activist projects into the art world and kind of reciprocally bringing art world projects into activists' world. Dr. Dylan Miner: So one of the works that's going to be in the show is some of the ephemera from Lee Spragge, who is a Anishinaabeg activist, and he's kind of most well-known for his knowledge on wild rice. He's a wild ricer. He's a former chief of one of the First Nation communities in Michigan. He was leading one of the canoe brigades at Standing Rock, and his canoes were stolen by the state and destroyed. But what we're going to have in the show is some of his ephemera paddles, and life jackets, and things like that. Clearly, he was, kind of some time ago, living in Berkeley and doing performance art and kind of identified as an artist in that point in time. But this is clearly taking some of that more ephemera from activists' projects, placing it in the context of an art gallery and museum. I think that you can create various interesting conversations and projects around that. Jolie Sheffer: What's next? What are you working on now, or what are some upcoming projects? Dr. Dylan Miner: So I'm working on a number of things, trying to do less and less academic writing. I have a number of shows coming up. One is a new project for the Grand Rapids Art Museum doing large-format cyanotypes. So the year the cyanotype was invented as a photographic process was actually the same as the last treaty was signed in the state of Michigan, the Treaty of La Pointe. So I'm doing a series of landscapes, and waterscapes, and skyscapes using this process to think about the relationship between the materiality and the form itself. I think this goes back to some of your earlier questions. I'm really interested in the relationship between materiality, and the form, and how those all are intertwined. Dr. Dylan Miner: I have another solo project building bikes. I might be doing lowrider canoes for a gallery at Western University in Ontario, and then I'm just trying to do some more writing, and do some more working, and just be a human being, and build a better world that in this moment in time, it seems that it's really hard to be a good human being. So if I can try to be a better human being, I'll go that route. Jolie Sheffer: Thank you all very much. Dr. Dylan Miner: [foreign language 00:37:02]. Thanks for having me on. It's been fun to listen and engage in conversation. Jolie Sheffer: Thank you all again so much. So today, our producer is Chris Cavera. Research assistance is by Lauren O'Connor and Elizabeth [Brownlow 00:37:16]. With special thanks to our co-sponsors, the School of Cultural and Critical Studies, the School of Art, and the department of English at BGSU. Thank you all. Dr. Dylan Miner: [foreign language 00:37:24].
Guests: Jesjit Gil, Moritz Grünke, and Mari Campistron Host: Christopher Kardambikis Recorded November 18th at Magical Riso held at the Jan Van Eyck Academie in Maastricht, Netherlands. Jesjit Gil is the co-founder of Colour Code, established in 2012. Colour Code is an independent print studio and publishing platform based in Toronto, Canada. They specialize in high quality, artist friendly printing for local, US and international customers. Colour Code also publishes and distributes small-run artist books, comics, posters and other printed matter. Moritz Grünke is the co-founder of We make it, a Risograph printing and design studio, a library and exhibition space based in Berlin dedicated to artists, designers and people who love excellent and handcrafted printed matter. We make it is a project by Franziska Brandt und Moritz Grünke who also founded Gloria Glitzer, a small press for artists books, in 2007. Since then they published lots of artzines, attends at many art(ists’) book fairs all over Europe and curated several exhibitions on self-publishing artists. Moritz Grünke also collects artists’ publications and founded artzines.de a blog dedicated to self-publishing artists in 2010. MARI CAMPISTRON is a Glasgow based illustrator who currently works as a print technician and studio manager at RISOTTO studio. She is part of the collective Riso Sur Mer along with Élise Rigollet, Inès Gradot, Joséphine Ohl and Margaux Bigou. Between Paris and Glasgow, they collaborate on various projects from zines to posters, calendars or books, all based around the Risograph print technique. Find out more about Mari here. --- Support this podcast: https://anchor.fm/paper-cuts/support
Guest: Quentin Mitchell and Kyle Quinn Host: Christopher Kardambikis Recorded October 27th and 28th, 2018 @ /edition Art Book Fair, Toronto, Canada Quentin runs Vide Press, a small Risograph printing and design studio located in Toronto, Ontario, Canada, that works with independent artists and publishers, non-profit organizations, and other Riso enthusiasts. Kyle Quinn born in Okinawa, Japan, currently resides in Brooklyn, New York. He received his BFA from the Art Institute of Colorado in Graphic Design & Fine Art and later was a participant of the Ace Air Residency, the Ace Hotel’s Artist-In-Residency program in New York. Kyle is the founder and curator of the publishing group, Raw Meat Collective. His personal practice shifts mediums between collage, photography and painting. He has self-published artist books, art publications and zines for over a decade, along with exhibiting annually both nationally and internationally. Raw Meat Collective is a solo and collaborative Queer artist platform for current contemporary artists with the emphasis on the body and object, primarily in print. His writings, photographs and edition objects were presented by AA Bronson for Frieze (London) in 2016. He has been published in ArtForum, BUTT Magazine, NYSAI Literacy Press, Hyperallergic, Posture Magazine, i-D for Vice, Fader, Tank Magazine and more. He has also been archived at The Frances Mulhall Achilles Library at the Whitney Museum of American Art, The Thomas J Watson Library at The Met and The Yale Private Library for his artist books, published projects and photographs, along with published titles through Raw Meat Collective. ///// /edition Art Book Fair is produced annually in tandem with Art Toronto (Canada’s International Art Fair), and is dedicated to the promotion of art book publishing in all forms and artworks created in editions. --- Support this podcast: https://anchor.fm/paper-cuts/support
Nata in Giappone a metà degli anni 80, la stampa Risograph è una meraviglia! Ribattezzata in puntata "slow Print", associata al suono caldo del vinile, dovete ascoltare con quanta passione nel parla Joe Miceli, il nostro ospite di stasera.Il sito della stamperia di Joe Miceli e Lina Ozerkina - Friends Make Bookshttp://www.friendsmakebooks.comIl sito della fonderia di Joe Miceli - AlfaType Fonts Foundryhttp://www.alfatypefonts.com
Nata in Giappone a metà degli anni 80, la stampa Risograph è una meraviglia! Ribattezzata in puntata "slow Print", associata al suono caldo del vinile, dovete ascoltare con quanta passione nel parla Joe Miceli, il nostro ospite di stasera. Il sito della stamperia di Joe Miceli e Lina Ozerkina - Friends Make Books http://www.friendsmakebooks.com Il sito della fonderia di Joe Miceli - AlfaType Fonts Foundry http://www.alfatypefonts.com
Nata in Giappone a metà degli anni 80, la stampa Risograph è una meraviglia! Ribattezzata in puntata "slow Print", associata al suono caldo del vinile, dovete ascoltare con quanta passione nel parla Joe Miceli, il nostro ospite di stasera.Il sito della stamperia di Joe Miceli e Lina Ozerkina - Friends Make Bookshttp://www.friendsmakebooks.comIl sito della fonderia di Joe Miceli - AlfaType Fonts Foundryhttp://www.alfatypefonts.com
Nata in Giappone a metà degli anni 80, la stampa Risograph è una meraviglia! Ribattezzata in puntata "slow Print", associata al suono caldo del vinile, dovete ascoltare con quanta passione nel parla Joe Miceli, il nostro ospite di stasera. Il sito della stamperia di Joe Miceli e Lina Ozerkina - Friends Make Books http://www.friendsmakebooks.com Il sito della fonderia di Joe Miceli - AlfaType Fonts Foundry http://www.alfatypefonts.com
This week's featured artist is Colin Sutherland of Woolly Press in Asheville, NC. We came to learn of Colin and his wife Micah through the work that they do with Fonta Flora Brewery. Learn about their process, the Risograph and even some fishing talk.
This week we ask some important questions about texture. Can you touch a compression codec like a painting? Does a tablet need to feel like paper? Should keyboards feel like handbags? Do you really need to see a rom-com in 3d? HD Boyz https://www.youtube.com/watch?v=9C5YAc6L_KQ Toronto Public Library http://www.torontopubliclibrary.ca/ Arte Povera https://news.artnet.com/market/an-introduction-to-arte-povera-32829 MacPaint https://www.fastcodesign.com/3019914/relive-the-original-macpaint-in-your-browser Pentile Display https://www.oled-info.com/pentile Wade Guyton http://www.vulture.com/2012/10/saltz-on-wade-guyton-os-at-the-whitney.html Nam June Paik Magnet TV http://collection.whitney.org/#object/6139 Takeshi Murata, Monster Movie, 2005 https://vimeo.com/147761897 8.7MB, 2002 (ironically not the original file) http://jeremybailey.net/87mb.html Wabi Sabi: The Art of Imperfection https://www.utne.com/mind-and-body/wabi-sabi George Maciunas, Flux Kits https://www.moma.org/interactives/exhibitions/2011/fluxus_editions/category_works/fluxkit/ Ay-O’s finger box https://www.moma.org/collection/works/128028 Marinetti Tactilism http://peripheralfocus.net/poems-told-by-touch/manifesto_of_tactilism.html Luc Besson’s Valerian http://www.imdb.com/title/tt2239822/ Jeremy’s VR show in Toronto http://worldbuilding.sheeri.co/ South Park stop frame animation pilot https://www.youtube.com/watch?v=rvjuarWNyJY Jack Goldstein http://www.artinamericamagazine.com/news-features/news/jack-goldstein-adam-lindemann/ Harmony Korine’s Trash Humpers https://www.youtube.com/watch?v=KCjYRd43tpw Dogme 95 https://en.wikipedia.org/wiki/Dogme_95 reMakable’s paper simulating tablet https://remarkable.com/ Herzog’s Cave of Forgotten Dreams https://www.youtube.com/watch?v=kULwsoCEd3g Chiaroscuro https://en.wikipedia.org/wiki/Chiaroscuro Microsoft says the fabric on the Surface Laptop should be cared for like a ‘luxury’ handbag https://www.theverge.com/2017/5/9/15587364/microsoft-surface-laptop-alcantara-fabric-cleaning Google Daydream (2016 version) https://www.wired.com/2016/11/daydream-view-review/ iPhone X https://www.apple.com/iphone-x/ Risograph printing https://en.wikipedia.org/wiki/Risograph
The prince of prints, Paul John, joins the Humor and the Abject podcast this week. We discussed his imprint, Endless Editions, as well as growing up as a first-generation American, competitive running, the Risograph bubble, urgency in contemporary art, how much I hate Sonic Youth, why soccer goalies can be out of shape, squatting, and never wanting to visit Boston. This week’s episode isn’t sponsored by anybody because Staffonly has suddenly decided that she’s a socialist and wouldn’t let us have any advertisers. Also, we recorded outside the studio, so the audio sounds like we recorded outside the studio. I think you can probably handle it though.
We are absolutely honoured to have graphic designer, illustrator and Risograph printing zine queen Ashley Ronning joining us in the bunker this week! Currently based in Melbourne, Ashley combines freelance work with her own design projects including her super amazing publishing project Helio Press. You've probably seen Ashley's work in the pages of Frankie Magazine, at your local zine fair or postered up around the streets of Melbourne. In this episode we chat about Ashley's biggest wowee moments, creative blocks and how damn cool space is.
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