Podcasts about woodblock

Before Monet painted water lilies or Degas sketched ballerinas, a wave was crashing in from the East. In this episode, we explore how Japanese woodblock prints—especially Hokusai's ‘The Great Wave off Kanagawa'—reshaped the way Western artists thought about space, subject, and form. From flattened perspective to everyday scenes, ukiyo-e wasn't just decorative—it was revolutionary. We'll unpack the rise of Japonisme, its deep (and sometimes uneasy) influence on Impressionism, and how one iconic wave helped turn the tide of art history. Today's image: Katsushika Hokusai, ‘Under the Wave off Kanagawa (Kanagawa oki nami ura),' (1830-32). Woodblock print; ink and color on paper. Metropolitan Museum of Art, New York. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Instagram: @artofhistorypodcast | @matta_of_fact

In this episode of Platemark, I talk with Michael Verne, the owner of the Verne Collection in Cleveland, Ohio. Mike's gallery specializes in contemporary Japanese art and works by American artists residing in Japan. We talk about the challenges and rewards of running a small gallery amid larger competitors, and the importance of finding and promoting new artists. Mike shares insights about his journey in the art world, from his childhood surrounded by art to becoming a successful gallerist without a formal art education. He recounts various personal anecdotes, including his experiences at art fairs and his unorthodox methods for discovering and showcasing artists. Mike also highlights the significance of personal relationships and passion in his business. Listeners are encouraged to visit the Verne Collection and explore the fascinating world of contemporary Japanese art. Daniel Kelly (American, born 1947). Crackpot, 2022. Woodblock print and gold leaf with chine collé. 64 x 88 cm. Courtesy of the Artist. Sarah Brayer (American, born 1957). Luminous Moon. Aquatint and chine collé with phosphorescent pigment on indigo-dyed Mulberry paper. 24 x 33 in. The Verne Collection. Yuko Kimura (Japanese, born 1968). Map of the World: Yochishiriyaku. Etching, monotype, thread, antique Japanese geography textbook pages (Yochishiriyaku) from the Meiji period. 8 ¾ x 6 3/4 in. The Verne Collection. Photo: Will Slabaugh. Katsunori Haminishi (Japanese, born 1949). Canola Flowers Field, 2022. Mezzotint triptych. Sheet: 30 x 59 in.; image: 27 x 53 in. Verne Collection. Joel Stewart (American, born 1959). Inside Out, 2003. Aquatint. Sheet: 42 ½ x 34 ½ in. Tolman Collection.

It's said that you can't go home again. But you shouldn't just move to London and make the same movie but infinitely worse. And folks, that's where we found ourselves discussing the sequel no one wanted but was contractually obligated to happen - BASIC INSTINCT 2: RISK ADDICTION. Thank goodness social media impresario and Returning Champion to Kill By Kill, Wynter Mitchell, is here to help us process our anger, grief, and utter confusion!! We have many questions, like does that one guy drown because his earrings are too big? Does Cathrine Trammel have superpowers? How does Dr. Woodblock learn to love murder so quickly? Who is going to Hot Topic to buy all these emo-rock belts? Can you drive stick on the left side of the street AND get fingered? The answers, if we find any, will surprise you! All this plus deprived monocle dropping, Indiana Trammel, Hot Tub Talk Shows, and an overqualified edition of Choose Your Own Deathventure!! Grab an ice pick, and let's stab this franchise to death together!    Part of the BLEAV Network.Get even more episodes exclusively on Patreon! Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today! Our linker.ee Click here to visit our TeePublic shop for killer merch! Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast!! Join us on Threads or even Bluesky Check out Gena's Substack called Gena Watches Things!! Check out the films we've covered & what might come soon on Letterboxd!

Send us a textEpisode 173Takeji Asano, born in 1900 in Kyoto, Japan, was a masterful woodblock print artist whose works continue to captivate art enthusiasts worldwide. His journey into the world of art began at the Kyoto City School of Fine Arts and Crafts, from which he graduated in 1919. Eager to refine his skills, he furthered his studies at the Kyoto City Specialist School of Painting, completing his education in 1923. During this period, Asano was mentored by Tsuchida Bakusen, a distinguished artist and printmaker, who profoundly influenced his artistic development. In 1929, Asano co-founded the Kyoto Creative Print Society (Kyoto Sosaku-Hanga Kyokai), marking his commitment to the sōsaku-hanga movement. This movement emphasized the artist's direct involvement in every stage of printmaking—designing, carving, and printing—allowing for greater personal expression. Asano's dedication to this philosophy set him apart from many of his contemporaries. The 1930s saw Asano contributing to the "Creative Prints of Twelve Months in New Kyoto" (Sosaku-hanga shin Kyoto junikagetsu), a series that celebrated the city's evolving landscape. Collaborating with fellow artists Benji Asada and Tomikichiro Tokuriki, Asano's prints from this series showcased his keen eye for detail and his ability to capture the essence of Kyoto's transformation. As the 1950s approached, Asano began designing landscape prints for the publisher Unsodo. These works, characterized by their serene beauty and meticulous craftsmanship, remain highly sought after by collectors. Original Unsodo prints bear the Japanese date in the margin, distinguishing them from modern reprints. Throughout his career, Asano exhibited a remarkable versatility. While he initially embraced the sōsaku-hanga approach, handling all aspects of print production himself, he later collaborated with carvers, printers, and publishers in the shin-hanga tradition. This adaptability not only broadened his artistic repertoire but also enriched the Japanese printmaking landscape. Asano's legacy is a testament to his unwavering passion and dedication to his craft. His prints, often depicting tranquil landscapes and traditional scenes, offer a window into Japan's rich cultural heritage. Today, his works are celebrated for their artistic merit and historical significance, solidifying Takeji Asano's place as a luminary in the world of Japanese woodblock printing.Support the showInsta@justpassingthroughpodcastContact:justpassingthroughpodcast@gmail.com

Ian Otto is a Senior Producer with experience in animation, motion design, immersive, visual effects (VFX) and post production. After working in Berlin for many years, Ian now lives in Copenhagen, Denmark, where he is Senior Producer with WOODBLOCK, an animation studio for Design, Film and Immersive content. Recently, Ian began writing and speaking publicly about his experience as a person with Tourette syndrome who works in the creative industry. During this episode, you will hear Ian talk about: Growing up with Tourette's in the 1990s What led him to work in the creative industry Working in a client-facing job as someone who has Tourette's How he built his confidence at work   What has (and hasn't) helped him manage his tics Connect with Ian on Instagram or through email: ian [at] woodblock [dot] tv Read Ian's article on Medium about working in the creative industry with Tourette's Watch the video of this interview on YouTube. Read the episode transcript. Follow the Beyond 6 Seconds podcast in your favorite podcast player. Subscribe to the FREE Beyond 6 Seconds newsletter for early access to new episodes. Support or sponsor this podcast at BuyMeACoffee.com/Beyond6Seconds! *Disclaimer: The views, guidance, opinions, and thoughts expressed in Beyond 6 Seconds episodes are solely mine and/or those of my guests, and do not necessarily represent those of my employer or other organizations. These episodes are for informational purposes only and do not substitute for professional medical advice. Consult a medical professional or healthcare provider if you are seeking medical advice, diagnoses, or treatment.*

Wondering how far you can take chine collé in a project? Listen in as Annalise Gratovich tells us all about this method of adding thin pieces of hand-dyed papers to giant woodcuts. In s3e61 of Platemark, podcast host Ann Shafer continues talking to artists included in Print Austin's 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Next up is artist Annalise Gratovich. Annalise works in woodcut primarily (and etching), and is best known for her monumental woodcuts with multiple dyed papers glued down by chine collé. We take a deep dive into the ins and outs of chine collé, her Ukranian heritage and inherited trauma, cuteness as a means to help viewers access difficult subjects, and her recent battle with a mystery autoimmune disease. §  Platemark website §  Sign-up for Platemark emails §  Leave a 5-star review §  Support the show §  Get your Platemark merch §  Check out Platemark on Instagram §  Join our Platemark group on Facebook Annalise Gratovich (American, born 1989). The Healer, from the series Villagers Carrying Things from Home, 2023. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Mariner, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Mother, from the series Villagers Carrying Things from Home, 2019. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Undertaker, from the series Villagers Carrying Things from Home, 2021. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Builder, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Hunter, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Musician, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Installation view, Flatbed Press, Austin, TX, 2024. Installation view, Plains Art Museum, Fargo, North Dakota, 2023. Annalise Gratovich pulling The Healer at Flatbed Press, Austin, TX. USEFUL LINKS IG: @annalisegratovich FB: https://www.facebook.com/annagratovich Website: https://annalisegratovich.com/ Mesh Art Gallery: https://meshartgallery.com/collections/annalise-gratovich Flatbed Press: https://flatbed-press.myshopify.com/collections/annalise-gratovich

Armendariz was born in El Paso, Texas. He received his BFA from the University of Texas at San Antonio and MFA from the University of Colorado at Boulder. In 2008, Armendariz received the Artpace Supplemental Travel Grant for travel to Mexico City, and in 2013, he was selected to participate as the Artist-in-Residence in the Blue Star Contemporary Berlin Residency Program in partnership with Künstlerhaus Bethanien, Berlin, Germany. In 2017, Armendariz was selected to be the first Artist-in-Residence for the DoSeum in San Antonio, Texas. In 2017 and again in 2022, Armendariz was a selected to be an Artist-In-Residency at Anderson Ranch, Snowmass Village, Colorado. His artistic and conceptual aesthetic is heavily influenced by growing up near the U.S./Mexico border. Images that have cultural, biographical and art historical references are carved and burned into the surface of his paintings, drawings, and prints. Greek and Mesoamerican mythology plays an important part in the artist's exploration of the complex relationship between humans and animals. As a figurative artist, Armendariz enjoys playing with traits of human anatomy and identifying possible connections with characteristics found in animals that allow a deeper understanding of humanity. Armendariz's artworks can be found in prestigious collections, including the Denver Art Museum, Denver, CO; Davis Museum, Wellesley, MA; Amon Carter Museum of American Art, Fort Worth, TX; San Antonio Museum of Art, San Antonio, TX and The McNay Art Museum, San Antonio, TX. Richard, 'Ricky' Armendariz, Fool for Love, 2023,Signed and dated lower right, numbered lower left, Woodblock print, 26 x 22 in, 66 x 55.9 cm, Edition of 10. Richard 'Ricky' Armendariz, Novios, Sagittarius, 2022, Signed and dated lower right, numbered lower left, Woodblock print, 20 x 20 in, 50.8 x 50.8 cm, Edition of 5. Richard 'Ricky' Armendariz, The Predicament, 2023, Signed and dated lower right, numbered lower left, Oil on carved birch wood, 49.75 x 30.5 in, 126.4 x 77.5 cm

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

In s3e46, Platemark host Ann Shafer speaks with Reinis Gailitis, an engraver from Riga, Latvia. The magic of the internet is fully on display today. Without it, finding Reinis's work would have been challenging. But his self-portrait in the style of Claude Mellan's Holy Face, the one with a single line emanating from the subject's nose, is a marvel. Ann and Reinis talk about how engraving is simultaneously the most simple and direct of techniques while being the most difficult. They talk about tricks and tools shared by artists thanks to the internet: how to transfer a drawing onto a shiny copper plate for engraving (thanks, Andrew Raftery), what recipe to use for a darkened paste to fill already carved lines to see progress (thanks, Lembit Lõhmus), choosing a non-toxic solvent and trying out a custom tube of ink (thanks, Ad Stijnman), about non-toxic electrolytic etching (thanks, Jason Scuilla). They talk about the pitfalls of selling Intagram-worthy art, why there's little-to-no printmaking culture in Latvia, and about how overdue we are for a severe magnetic storm that could wipe out electronic media, documents, art pointing to the importance of printed objects.  Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis teaching engraving at the Art Academy, Riga, Latvia. Reinis Gailitis's plate with ink-paste in the engraved lines to help the artist see where they are. Reinis Gailitis engraving the copper plate Face Of... Reinis Gailitis (Latvian, born 1992). Engraved spiral perfection. Halftone rake tool (intaglioprintmaker.com). Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. [DETAIL] Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. Stanley William Hayter (English, 1901–1988). Cinq Personnages, 1946. Engraving and softground etching (trial proof prior to color additions). Baltimore Museum of Art, Baltimore. Reinis Gailitis (Latvian, born 1992). Monoliths, 2022. Engraving. Reinis Gailitis. Variations of lines via engraving, drypoint, and mezzotint. Lembit Lõhmus (Estonian, born 1947). Ex Libris. Engraving. Reinis Gailitis's ink-paste. Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis. Reinis Gallitis (Latvian, born 1992). Face of…, 2021. Engraving. Sheet: 30 x 22 cm.; plate: 25 x 18 cm. Reinis Gailitis (Latvian, born 1992). Schematic for Face Of… engraving. Albrecht Dürer (German, 1471–1528). Self-Portrait, 1500. Oil on panel. 67.1 × 48.9 cm. (26 1/3 × 19 1/3 in.). Bayerische Staatsgemäldesammlungen - Alte Pinakothek München. Reinis Gallitis (Latvian, born 1992). Vortex, 2021. Engraving. Sheet: 44 x 34 cm.; plate: 40 x 29 cm. Reinis Gailitis (Latvian, born 1992). Starship, 2021. Engraving and chine collé. Reinis Gailitis (Latvian, born 1992). Work in Progress, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving and linoleum cut on chine collé. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Linoleum cut. [DETAIL OF TRIAL PROOF] Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving printed intaglio and relief with white areas hand wiped. Reinis Gailitis (Latvian, born 1992). Inked engraving plate (black intaglio, blue relief, white hand wiped) for Work in Dark, 2023. Reinis Gailitis (Latvian, born 1992). Fungi, 2023. Wood engraving. 9 x 11 cm. Reinis Gailitis (Latvian, born 1992). Woodblock for Fungi, 2023. 9 x 11 cm. Reinis Gailitis's engraved woodblock for Fungi set in press. Reinis Gailitis's wood engraving, Fungi, being printed. Anton Würth (German, born 1957). Dürer Übung-Dürer Practice, 2014. Engraving. 100 x 150 mm (3 7/8 x 5 7/8 in.). C.G. Boerner, New York. Lembit Lõhmus (Estonian, born 1947). Ex Libris in memoriam Richard Kaljo. Engraving.    Reinis Gailitis (Latvian, born 1992). Engraved patterns.   USEFUL LINKS Reinis's website: https://gailitis.berta.me/ Reinis's prints are available for purchase on his Esty shop: https://www.etsy.com/shop/GailitisPrintmaking?ref=profile_header Support Reinis through Patreon: https://www.patreon.com/gailitis Short videos of engraving Work in Progress: https://www.youtube.com/shorts/NEjIeYYKyzk and https://www.youtube.com/shorts/DkEPD2qdB5U and https://www.youtube.com/shorts/3f_FihXoMxM Short videos of engraving Face Of…: https://www.youtube.com/watch?v=GLYBCYGAh40 and https://www.youtube.com/watch?v=WPcFjpoWO4I and https://www.youtube.com/watch?v=3nwf_SzOJAk Process video on the making of Vortex: https://www.youtube.com/watch?v=1OU9Uh8brzQ Process video on the making of Starship: https://www.youtube.com/watch?v=bjgw_aUnwuk Andrew Raftery demonstrates the art of engraving: https://www.youtube.com/watch?v=fQvghHs15hA&t=234s  

In Platemark s3e29, host Ann Shafer speaks with April Vollmer, an artist working in mokuhanga (Japanese color woodblock printing), who also wrote the indispensable guide to that form: Japanese Woodblock Print Workshop (Berkeley: Watson-Guptill Publications, 2015).   What's mokuhanga, you ask? It's a method developed in Japan that was used to print images that are probably familiar to you, like Hokusai's Great Wave. It allows artists to work with water-based inks (more environmentally friendly) on multiple blocks to build up images, which are printed by hand using a flat paddle called a baren. Each color is carried on a separately carved block and is layered during printing. It means a lot of carving, but it also means one doesn't need a press, chemicals, or a ton of equipment. In other words, it can be done at home in your kitchen.   The range of work made possible in mokuhanga is impressive. Once used for ukiyo-e prints (pictures of the floating world) in the Edo period, now contemporary artists from the world over are experimenting with its possibilities. Including April Vollmer. Episode image: Portia Shao Shiko Munakata (Japanese, 1903–1975). Night Birds (the fence of…), c. 1967. Sumizuri-e. 19.1 x 29.3 cm. Scholten Japanese Art, New York. April Vollmer in her studio. April Vollmer's studio. Yasu Shibata (Japanese, born 1968). 6 White Squares, 2014. Set of six mokuhanga prints. Sheet (each): 11 x 11 in. Aspinwall Editions, Hudson. Tetsuya Noda (Japanese, born 1940). Diary: April 24th '97, 1997. Woodblock and screenprint. Sheet: 74.1 x 52.8 cm. British Museum, London. Keiko Hara (Japanese, born 1942). Published by Lily Press. Verse Space—Light of Black Hole, Monotype with collaged mokuhanga woodblock print. Sheet: 30 x 26 in. Rebecca Salter (British, born 1955). Into the Light II, 2011. Woodblock on Japanese paper. 60 x 90 cm. (23 ½ x 35 ½ in.). Utagawa Kuniyoshi (Japanese, 1797–1861). Earth Spider Attacking Raiko, c. 1820. Color woodblock print. 14 5/8 x 29 5/8 in. Fuji Arts, Ann Arbor. April Vollmer (American, born 1951). Generation, 2002. Mokuhanga on washi. Sheet: 26 x 26 in. Beyshehir Seljuk rug, 13th century Turkey. Found in the Eshrefoglu Mosque in Beyshehir in 1929 by R.M. Riefshahl. Now in the Konya Museum of Ethnography, Konya, Turkey. April Vollmer (American, born 1951). Blackout, 2013. Mokuhanga on Gozen washi. Sheet: 38 x 26 in. April Vollmer (American, born 1951). Eye Cup (Counterfeit), 2008. Mokuhanga and rubber stamp on washi. Sheet: 26 x 11 in. April Vollmer (American, born 1951). Secret Flower, 2006. Mokuhanga. Sheet: 15 ½ x 15 ½ in. April Vollmer (American, born 1951). Migrating Gyre, 2008. Mokuhanga. Sheet: 26 x 26 in. April Vollmer (American, born 1951), printed by Art Print Residence and published by California Society of Printmakers. Great Egret Hunting, from the portfolio Birds on the Edge, 2021. Photo-etching. Sheet: 19 ½ x 15 in.   USEFUL LINKS April's website: https://www.aprilvollmer.com/ Mokuhanga resources: https://www.aprilvollmer.com/category/mokuhanga-resources/ April's Facebook: https://www.facebook.com/april.vollmer April's Instagram: https://www.instagram.com/aprilvollmer_artist/ April Vollmer. Japanese Woodblock Print Workshop: A Modern Guide to the Ancient Art of Mokuhanga. New York: Penguin Random House, 2015. https://www.penguinrandomhouse.com/books/231579/japanese-woodblock-print-workshop-by-april-vollmer/ April Vollmer. “Birds on the Edge: Collaboration and Change.” The California Printmaker: The Journal of the California Society of Printmakers. (2023 Changing Gears Edition) April 2023. https://www.aprilvollmer.com/wp-content/uploads/2023/04/CSP-Birds-on-the-Edge-Vollmer.pdf Nature in the Floating World: Images of Nature in Japanese and Chinese Art. Ulrich Museum of Art, Wichita State University. January 26–May 10, 2023. https://ulrich.wichita.edu/ulrich_exhibition/nature-in-the-floating-world-images-of-nature-in-japanese-and-chinese-art-from-the-ulrich-collection/ International Mokuhanga Conference website https://2021.mokuhanga.org/ International Mokuhanga Conference YouTube channel https://www.youtube.com/channel/UCthTUa5XbGaZsaFf_vDeosg Tuula Moilanen, Kari Laitinen, and Antti Tantuu. The Art and Craft of Woodblock Printmaking. Helsinki: Aalto ARTS Books, 2013. https://www.amazon.com/Art-Craft-Woodblock-Printmaking-Watercolour/dp/B01FIWQXL4 Frogman's Workshop http://frogmans.net/#workshops Anderson Ranch https://www.andersonranch.org/ Kentler International Drawing Space, Red Hook https://kentlergallery.org/ 11 Women of Spirit Part 7. Salon Zürcher, New York. May 15–21, 2023. https://www.galeriezurcher.com/salon-zrcher-28th-edition-11-women-of-spirit-part-7-may-15-21      

Southern Utah Museum of Art Manager of Marketing and Communications, Emily Ronquillo, sits down with Dr. Becky Bloom, Assistant Director of Curatorial Affairs at SUMA, and museum associate and previous intern, Courtney Blue, to talk about the second online exhibition Courtney was able to curate, Souvenirs of the Floating World: Japanese Woodblock Prints. Listen to learn about the history and process of creating these historic tools. To view the online exhibition of the Japanese Woodblock Prints visit Catalogit.

Pairing beer and chocolate is one of the major topics of Bean to Barstool. Chocolate can pair beautifully with a wide variety of grown-up beverages, however, and most people probably think of wine for this role first. Estelle Tracy leads wine and chocolate pairing events professionally, but she comes to this not as a stuffy expert, but as a curious observer who has learned along the way, following her senses to new areas of knowledge and expertise without losing the joy of discovery.In this episode, Estelle and I talk about the differences and similarities between pairing craft chocolate with wine and beer, how she got started with chocolate and wine, and what she's learned along the way.Chocolate makers and other professionals mentioned in this episode include Dick Taylor, Woodblock, Fruition, Kennett Brewing, Violet Sky, Moka Origins, Chimay, Troegs, Sam Adams, Hogarth, and Map.You can preorder Issue 01 of Final Gravity here.You can check out the Final Gravity Patreon and support us here.The music for this episode is by my dear friend, indie folk musician Anna ps. You can find out more about Anna's music in the show notes or at her website annapsmusic.com, where you can also get in touch to book her to play at your brewery or other establishment.Estelle Tracy is a chocolate sommelier based in the Philadelphia area. A chemist by training, she's the founder of 37 Chocolates, a chocolate tasting company. Since 2020, she's hosted over 350 virtual tastings to chocolate-lovers on 5 continents. Find out more at 37chocolates.com.Follow Bean to Barstool on social media!InstagramTwitterFacebookPinterestTikTokSign up for host David Nilsen's newsletter to get regular updates!

We reconnected with author and musician David Nash, we chatted about short stories, new books, the writing process, dabbling in woodblock printing, new songs, a special artist retreat and where people can follow along. https://linktr.ee/nash_david_You can find more conversations, food reviews, live music, weekend picks, and events on our website https://lacrosselocal.com.

In Takuji Hamanaka's mosaic-inspired works on paper, multiple sections of monochrome color interlock within dimensional, polychrome compositions. Adapting the ‘Bokashi' technique of woodblock printing to a contemporary practice, Hamanaka prints multiple papers in color gradients and arranges them onto paper in organic designs that call to mind lattices, prisms, and slopes. Color and its absence draw attention to the paper's opacity, as well as more theoretical ideas of windows and grids, and the tension between nature and pure abstraction. Takuji Hamanaka was born in 1968 in Hokkaido, Japan and lives and works in Brooklyn, New York. From 1986-89 he trained at the Adachi Institute of Woodblock printmaking in Tokyo, Japan. Hamanaka is the 2022 recipient of a prestigious Pollock-Krasner Foundation Grant, and the recipient numerous other grants and awards including The Gottlieb Foundation Individual Support Grant (2021), the Rauschenberg Emergency Grant (2020), and the NYSCA/NYFA Artist Fellowship in Printmaking (2017 and 2011). He was a fellow at the Kala Art institute, Berkeley, CA in 2016 and a Barbara and Thomas Putnam Fellow at MacDowell Colony in 2013. His works are included in the collections of the Fleming Museum, The University of Vermont, Burlington, VT, the Johnson Museum of Art, Cornell University, Ithaca, NY, the New York Presbyterian Hospital, and Fidelity Investments Corporate Art Collection among others. Recent group exhibitions include 'Focus on the Flatfiles: Between Worlds,' Kentler International Drawing Center, Brooklyn, NY, and 'Here and Now,' The Center for Contemporary Art, Bedminster, NJ. His exhibitions have been reviewed by John Yau (Hyperallergic) and Johanna Fateman (The New Yorker). The book he mentioned at the end is Early Light by Osamu Dazi. Takuji Hamanaka , Collapsing Stair, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer  Takuji Hamanaka, Stream Mineral, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer Takuji Hamanaka, Broken Screen, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer

CARD SHARK is a beautiful picture book styled video game where you cheat your way through 18th century France and every single graphic you see was hand printed and then scanned into the game. Lead artist and animator Nicolai Troshinsky was inspired by a love of card magic and sleight of hand, as well as a 1975 Stanley Kubrick film to build this amazing and unique game and joins SIFTER for an in depth conversation about the process of design. SIFTER is produced by Nicholas Kennedy, Kyle Pauletto, Fiona Bartholomaeus, Daniel Ang & Adam Christou. Mitch Loh is Senior Producer and Gianni Di Giovanni is our Executive Producer. Thanks to Omny Studio for their support of SIFTER. Join the SIFTER Discord to be part of the conversation Support SIFTER's independent gaming journalism by buying us a coffee on KoFi or some merch on the SIFTER STORESupport the show: https://sifter.storeSee omnystudio.com/listener for privacy information.

We checked in with a local woodblock printer, Shoua Yang. We talk about early beginnings getting into art and how his work combines his background, cultural folklores, mythologies and the Hmong diaspora with modern themes. https://www.instagram.com/ceevtsegpressCheck out his work at Artspire's Art Fair & Sale on Saturday, June 11, 2022. https://artspire.thepumphouse.orgYou can find more conversations, food reviews, live music and events on our website https://lacrosselocal.com.

Pasta-making from the BEST From the moment I stepped into her pasta studio, Linda Miller Nicholson, also known as Salty Seattle, exuded warmth and enthusiasm that was palpable.  Her expansive studio is located about 30 miles east of Seattle, and it is super cool! Cleverly designed with a fireplace, chic seating, and rainbow-colored pasta tools. Woodblock counters cover the surfaces of each workstation. On one side of the studio, she has an antique refrigerator that must be 8-10 feet long with glass windows, old-fashioned metal handles, and beautiful wood doors. She has retrofitted the appliance to today's refrigeration standards. You would love this piece! Linda's unique culinary studio is truly a rainbow pasta dreamland. I was a guest of my dear friends at Tuscan Women Cook (Episode #3)for this hands-on class and adventure. We spent hours learning how to make several types of colorful handmade pasta, laughing, and learning while sipping wine. I really honed my pasta-making skills with Linda and my passion for this culinary craft keeps my family and friends eating fresh pasta for days! Linda Miller Nicholson is an internationally recognized pasta-making powerhouse whose work is featured across media outlets, including Saveur, Good Housekeeping, Buzzfeed, Elle, Cosmopolitan, Delta Airlines, the BBC, and Business Insider. She has made pasta art for Katy Perry, The cast of The Chew. And Harry Connick Jr. She's been the subject of several documentaries and works with companies like the Food Network and Buzzfeed's Tasty. I can also attest that she is incredibly delightful and highly talented. I feel super fortunate to have spent quality time with Linda. We talked about so many wonderful things in this episode! Growing up in a bi-racial family Moving from Southern California to rural Idaho as a child How she learned to make pasta at four years old! Her fascinating childhood and how "Slobber the Cow" influenced it How travel shaped her life and career How she created this unique, colorful career in pasta-making How creating Salty Seattle and wildly experimenting with colors helped her tap into her creative side The details of her fantastic online and in-person pasta-making classes Linda's cookbook "Pasta Pretty Please" How to create colored pasta with all-natural ingredients Her pasta "ideas" list- Imagine the "pastabilities"! Linda offers sound advice and insight for other entrepreneurs and how she believes that no one is really ever "stuck" but that we are continually growing and learning.  In this podcast episode, her infectious joy for pasta-making comes through even without seeing her! She's a pleasure to interview and to get to know. You will LOVE hearing her engaging stories! I wish I could bottle her energy and enthusiasm!   Make sure you check the show notes for all of the essential links and for where to find her book. Pasta Pretty Please. @SaltySeattle - Linda's engaging Instagram SaltySeattle.com - Linda's website for listings of classes and where to buy her book Hear No Evil Media, Audio Production by Erik Hulslander  How to Find Adventure & Thrive in the Empty Nest – Suzanne's E-Book My Amazon Travel Store – Suzanne's Favorite Must-Haves

Oliver is joined by Wuon-Gean Ho, printmaker and research associate at the University of West England's Centre for Print Research, to discuss the place of mokuhanga, or woodblock printmaking, in the global spread of traditional crafts. Wuon-Gean Ho walks us through her path to mokuhanga, her experience learning from a master printmaker in Japan and how learning these traditional methods have shaped her growth as an artist. Watch Wuon-Gean's V&A film Download the full transcript here (PDF) IMAGE AND AUDIO CREDITS Intro-outro music: jasonszklarek / MotionElements.com [L] Lockdown Chop by Wuon-Gean Ho. [R] No Lake View, No Cake by Wuon-Gean Ho. Copyright © 2022 Oliver Moxham, ℗ 2022 Oliver Moxham. May be freely distributed for education purposes. --- Send in a voice message: https://anchor.fm/beyond-japan/message

Max discusses the podcast title, Heelys, and Japanese woodblock paintings

“If a sixteenth-century European author, printer, or publisher wanted to include pictures in a book, they had several options…”So begins today’s story from Jessie Wei-Hsuan Chen.For further reading and viewing:Chen, Jessie Wei-Hsuan. “A Woodblock’s Career: Transferring Visual Botanical Knowledge in the Early Modern Low Countries.” Nuncius: Journal of the Material and Visual History of Science 35 (2020): 20–63.The Plantin-Moretus Museum collection of woodcuts Episode transcript:https://skymichaeljohnston.com/90secnarratives/

Thank you for listening to this track produced by the Art Gallery of South of Australia. Join us as Russell Kelty, Associate Curator of Asian Art, speaks about woodblock prints created in mid-nineteenth century Japan which depict samurai, currently on display in Gallery 21. For more information please visit agsa.sa.gov.au Image: Japan, Archery contest at Sanjusangendo (Sanjusangendo toshiya no zu), c.1750, Kyoto, tsuitate screen, wood, silk, ink and pigments and paper, 131.3 x 148.0 cm (image), 143.0 x 159.8 cm (overall); Gift of Frances Gerard and Mark Livesey QC with the assistance of the Roy and Marjory Edwards Bequest Fund through the Art Gallery of South Australia Foundation Collectors Club 2014, Art Gallery of South Australia, Adelaide.

We catch up with Tiffany Lane Oberoi and talk about the neighborhood crew, asking too many questions in art class, Odyssey of the Mind, and how she became a teacher. You won't want to miss the story of how she got stitches from a marching band performance or when she landed in detention!

Talk about a bad rep. Poor Judas Thaddeus has had to contend with the shame of being confused with Judas Iscariot, the traitor who sold out Jesus for 30 pieces of silver. But somewhere along the line he was rebranded as St. Jude, the patron saint of hopeless causes. He's so popular, he's even the namesake of St. Jude's Children's Research Hospital which is devoted to treating children with cancer and finding a cure.  In today's Long Look we'll find out about the artist who created this print, Hans Baldung Grien and get a crash course on woodblock printing! SHOW NOTES Please visit alonglookpodcast.com “A Long Look” theme is “Ascension” by Ron Gelinas https://youtu.be/jGEdNSNkZoo Episode theme is “Missa Et ecce terræ motus - I. Kyrie - Christe - Kyrie.” Performed by Steve's Bedroom Band https://musopen.org/music/31674-missa-et-ecce-terr-motus/ Artwork information https://www.nga.gov/collection/art-object-page.676.html Artist bio https://www.nga.gov/collection/artist-info.323.html St. Jude information https://www.stjudeshrine.org/sj/patron-saint-of-the-impossible/ https://www.catholic.org/saints/saint.php?saint_id=127 https://www.britannica.com/biography/Saint-Jude-Apostle History of woodcuts in the West Thompson, Wendy. “The Printed Image in the West: Woodcut.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/wdct/hd_wdct.htm (October 2003) How woodcuts are made (video) https://www.metmuseum.org/about-the-met/curatorial-departments/drawings-and-prints/materials-and-techniques/printmaking/woodcut St. Jude's Children's Research Hospital https://www.stjude.org/

In this episode, Clare Pollard, the Curator of Japanese Art, and researcher Kiyoko Hanaoka introduce us to surimono prints, which combined poems and picture puzzles in beautiful objects designed to be exchanged as gifts by members of Japanese poetry clubs. Join them as they decode the clues in these complex and beautiful prints.The priest Sōjō Henjō, who fell – a woodblock print by Utagawa Kuniyasu (1794–1832)View this onlineOno no Tōfu – a woodblock print by Totoya Hokkei (1780 - 1850)View this onlineIf you want to take a closer look at the objects mentioned in this episode, you can view them at the links above. Visit the podcast page on the Ashmolean website: ashmolean.org/objects-out-loudHosted by Lucie Dawkins, with Clare Pollard and Kiyoko Hanaoka.The producer is Lucie Dawkins.About Objects Out Loud: From a magician who inspired Shakespeare, and poems woven into Japanese prints, to manuscripts illuminated with the ancient love story of Layla and Majnun, this new podcast series will delve into the poetry and literature hidden in the collections at the Ashmolean Museum in Oxford.

Thank you for listening to this track produced by the Art Gallery of South Australia. Join us as Russell Kelty, Associate Curator of Asian Art, discusses the depiction of the samurai in woodblock prints of the late 19th century. For more information please visit: agsa.sa.gov.au Photo: Nat Rogers

The written word allowed us to preserve human knowledge, or data, from generation to generation. We know only what we can observe from ancient remains from before writing, but we know more and more about societies as generations of people literate enough to document their stories spread. And the more documented, the more knowledge to easily find and build upon, thus a more rapid amount of innovation available to each generation... The Sumerians established the first written language in the third millennium BCE. They carved data on clay. Written languages spread and by the 26th century BCE the Diary of Merer was written to document building the Great Pyramid of Giza. They started with papyrus, made from the papyrus plant. They would extract the pulp and make thin sheets from it. The sheets of papyrus ranged in color and how smooth the surface was. But papyrus doesn't grow everywhere.  People had painted on pots and other surfaces and ended up writing on leather at about the same time. Over time, it is only natural that they moved on to use parchment, or stretched and dried goat, cow, and sheep skins, to write on. Vellum is another material we developed to write on, similar, but made from calfskin. The Assyrians and Babylonians started to write on vellum in the 6th century BCE.  The Egyptians wrote what we might consider data that was effectively included into pictograms we now call hieroglyphs on papyrus and parchment with ink. For example, per the Unicode Standard 13.0 my cat would be the hieroglyph 130E0. But digital representations of characters wouldn't come for a long time. It was still carved in stone or laid out in ink back then.  Ink was developed by the Chinese thousands of years ago, possibly first by mixing soot from a fire and various minerals. It's easy to imagine early neolithic peoples stepping in a fire pit after it had cooled and  realizing they could use first their hands to smear it on cave walls and then a stick and then a brush to apply it to other surfaces, like pottery. By the time the Egyptians were writing with ink, they were using iron and ocher for pigments.  India ink was introduced in the second century in China. They used it to write on bamboo, wooden tablets, and even bones. It was used in India in the fourth century BCE and used burned bits of bone, powders made of patroleum called carbon black, and pigments with hide glue then ground and dried. This allowed someone writing to dip a wet brush into the mixture in order to use it to write. And these were used up through the Greek and then Roman times. More innovative chemical compounds would be used over time. We added lead, pine soot, vegetable oils, animal oils, mineral oils, and while the Silk Road is best known for bringing silks to the west, Chinese ink was the best and another of the luxuries transported across it, well into the 17th century.  Ink wasn't all the Silk Road brought. Paper was first introduced in the first century in China. During the Islamic Golden Age, the islamic world expanded the use in the 8th century, and adding the science to build larger mills to make pulp and paper. Paper then made it to Europe in the 11th century. So ink and paper laid the foundation for the mass duplication of data. But how to duplicate?  We passed knowledge down verbally for tens of thousands of years. Was it accurate with each telling? Maybe. And then we preserved our stories in a written form for a couple thousand years in a one to one capacity. The written word was done manually, one scroll or book at a time. And so they were expensive. But a family could keep them from generation to generation and they were accurate across the generations. Knowledge passed down in written form and many a manuscript was copied ornately, with beautiful pictures drawn on the page. But in China they were again innovating. Woodblock printing goes back at least to the second century to print designs on cloth. But had grown to include books by the seventh century. The Diamond Sutra was a Tang Dynasty book from 868 that may be the first printed book, using wood blocks that had been carved in reverse.  And moveable type came along in 1040, from Bi Sheng in China. He carved letters into clay. Wang Chen in China then printed a text on farming practices called Nung Shu in 1297 and added a number of innovations to the Chinese presses. And missionaries and trade missions from Europe to China likely brought reports home, including copies of the books. Intaglio printing emerged where lines were cut, etched, or engraved into metal plates, dipped into ink and then pressed onto paper. Similar tactics had been used by goldsmiths for some time.  But then a goldsmith named Johannes Gutenberg began to experiment using similar ideas just adding the concept of moveable type. He used different alloys to get the letter pressing just right - including antimony, lead, and tin. He created a matrix to mold new type blocks, which we now refer to as a hand mould. He experimented with different kinds of oil and water-based inks. And vellum and paper.   And so Gutenberg would get credit for inventing the printing press in 1440. This took the basic concept of the screw press, which the Romans introduced in the first century to press olives and wine and added moveable type with lettering made of metal. He was at it for a few years. Just one problem, he needed to raise capital in order to start printing at a larger scale. So he went Johann Fust and took out a loan for 800 guilders. He printed a few projects and then thought he should start printing Bibles. So he took out another loan from Fust for 800 more guilders to print what we now call the Gutenberg Bible and printed indulgences from the church as well.  By 1455 he'd printed 180 copies of the Bible and seemed on the brink of finally making a profit. But the loan from Fust at 6% interest had grown to over 2,000 guilders and once Fust's son-in-law was about to run the press, he sued Gutenberg, ending up with Gutenberg's workshop and all of the Bibles basically bankrupting Gutenberg by 1460. He would die in 1468.  The Mainz Psalter was commissioned by the Mainz archbishop in 1457 and Fust along with Peter Schöffer, a Gutenberg assistant, would use the press to become the first book to be printed with the mark of the printer. They would continue to print books and Schöffer added putting dates in books, colored ink, type-founding, punch cutting, and other innovations. And Schöffer's sons would carry on the art, as did his grandson.  As word spread of the innovation, Italians started printing presses by 1470. German printers went to the Sorbonne and by 1476 they set up companies to print. Printing showed up in Spain in 1473, England in 1476, and Portugal by 1495. In a single generation, the price of books plummeted and the printed word exploded, with over 20 million works being printed by 1500 and 10 times that by 1600. Before Gutenberg, a single scribe could spend years copying only a few editions of a book before the printing press and with a press, up to 3,600 pages a day could be printed. The Catholic Church had the market on bibles and facing a cash crunch, Pope Alexander VI threatened to excommunicate printing manuscripts. In two decades, John Calvin and Martin Luther changed the world with their books - and Copernicus followed quickly by other scientists published works, even with threats of miscommunication or the Inquisition.  As presses grew, new innovative uses also grew. We got the first newspaper in 1605. Literacy rates were going up, people were becoming more educated and science and learning were spreading in ways it had never done before. Freedom to learn became freedom of thought and Christianity became fragmented as other thinkers had other ideas of spirituality. We were ready for the Enlightenment.  Today we can copy and paste text from one screen to the next on our devices. We can make a copy of a single file and have tens of thousands of ancient or modern works available to us in an instant. In fact, plenty of my books are available to download for free on sites with or without mine or my publisher's consent. Or we can just do a quick Google search and find most any book we want. And with the ubiquity of literacy we moved from printed paper to disks to online and our content creation has exploded. 90% of the data in the world was created in the past two years. We are producing over 2 quintillion bytes of data daily. Over 4 and a half billion people are connected, What's crazy is that's nearly 3 and a half billion people who aren't online.  Imagine having nearly double the live streamers on Twitch and dancing videos on TikTok! I have always maintained a large physical library. And while writing many of these episodes and the book it's only grown. Because some books just aren't available online, even if you're willing to pay for them.  So here's a parting thought I'd like to leave you with today: history is also full of anomalies or moments when someone got close to a discovery but we would have to wait thousands of years for it to come up again. The Phaistos Disc is a Minoan fired clay tablet from Greece. It was made by stamping Minoan hieroglyphs onto the clay.  And just like sometimes it seems something may have come before its time, we also like to return to the classics here and there. Up until the digital age, paper was one of the most important industries in the world. Actually, it still is. But this isn't to say that we haven't occasionally busted out parchment for uses in manual writing. The Magna Carta and the US Constitution were both written on parchment. So think about what you see that is before its time, or after. And keep a good relationship with your venture capitalists so they don't take the printing presses away. 

After India, America, and Russia, now we have moved to a country that is a hub of manufacturing for decades for the entire world. Yes, China! So tune in to our audio podcast for kids and learn about some famous Chinese Inventions that changed the world. Starting with the most important product ever invented, Paper. Paper is a thing that is used everywhere- be it in school, office, college or home, it is to be seen in all the places. Paper was invented by a person named Cai Lun. Cai Lun’s paper-making technology covered entire Central Asia and people were so impressed by it that it has now become an integral part of our lives. Next up we have another unique invention of China, printing. Around 220 AD, China introduced a technique of printing called Woodblock printing but it was very expensive and time-consuming. So years later, a person named Bisheng, introduced a new type of movable printer which was quicker and a lot easier. This new technique of printing first got popular in Europe and then all across the world. Not just paper, China also invented the most importantant navigational instrument, Compass. Earlier these were used as a navigational instrument only in Chinese ships. But with time other people adopted this directional instrument and started using it largely. This instrument was invented and discovered by a group of people. Umbrella, a device used for protection from rain and sunlight, is also a Chinese inventions. It was invented first by a carpenter named Luben. His invention was inspired by a few kids, whom he saw taking shelter under lotus leaf on a rainy day. Therefore, he used his skills and made this flexible framework called an umbrella. Tea, a popular beverage all around the world especially in India, is another Chinese invention during the Tang dynasty. Tea was first introduced by Shang, the emperor of the Tang Dynasty. There was also a book on tea, “Cha-Ching” written by Lu Yu in the same dynasty. www.chimesradio.com https://www.facebook.com/chimesradio/ https://www.instagram.com/vrchimesradio/ https://twitter.com/ChimesRadio Support the show: https://www.patreon.com/chimesradioSee omnystudio.com/listener for privacy information.

A note from Talking Taiwan host Felicia Lin:   September is National Suicide Prevention Month. Unfortunately, suicide is a very real issue for the Asian American community. According to the Office of Minority Health, in 2017 the leading cause of death in young Asian Americans in the US was suicide. My guest on this episode of Talking Taiwan is passionate about promoting emotional wellness and a prevention model for mental health.   Dr. Eunice Yuen is, a child and adult psychiatrist who specializes in Asian American mental health. She sat down to speak to me about the stigma of mental health and the reluctance of Asian Americans to seek help. Dr. Yuen noted that prevention through mindfulness of emotional wellness are especially important for teenagers and young adults, which is the age at which mental illness often first manifests.   Dr. Yuen is working on an innovative tool called CHATogether that helps to resolve conflicts between Asian American parents and children. More than ever, tools like CHATogether are useful to address heightened child-parent conflicts during COVID-19, and discussions about racism. Please note that any of the advice or content shared in the episode is not meant to be taken as medical advice or psychiatric treatment.          Here’s a little preview of what we talked about in this podcast episode:   Why Dr. Yuen decided to enter the field of child and adult psychiatry and where her special interest in promoting emotional wellness in the Asian American community comes from The difference between emotional wellbeing and a mental health issue How building emotional resilience is important to help deal with everyday stress How daily routines and structure is important for emotional wellbeing especially during the Coronavirus pandemic How to identify when someone is dealing with a mental health issue and needs to seek help Some individuals may display physical symptoms e.g. a stomachache, diarrhea, headache, while being able to function What should you do if you think that someone you know (e.g. a friend or family member) is in need of help with a mental health issue What the project Dr. Yuen CHATogether is about How CHATogether is based on a paper published by Brazilian theater director, Augusto Boal in the 1980s called “Theater of the Oppressed” What ages CHAT has been developed for The concept of mentalization The CHATogether community What type of feedback CHATogether has gotten from its’ participants How Chatogether has addressed child-parent conflict during COVID-19, talking about Black Lives Matter and racism The concept of regulating emotions The 3 R’s: Recognize your emotions, Realize where the emotions are coming from, Regulate your emotions The importance of labeling your emotions and talking about your feelings How to overcome the stigma of mental health within the Asian American community Related Links:   Dr. Eunice Yuan’s bio: https://medicine.yale.edu/profile/eunice_yuen/   CHATogether website: https://yale.edu/chatogether/    CHATogether Facebook page: https://www.facebook.com/CHATogetherWithUs/   CHATogether Youtube: https://www.youtube.com/channel/UCRX2Nzv65ekzHikAaiyG6YQ   QR Code to connect to Cchatogether on social media:   A bio of Augusto Boal, the Brazilian dramatist who created the Theatre of the Oppressed: https://www.britannica.com/biography/Augusto-Boal    An article about Theater of Oppressed in medical education: http://www.ijme.in/wp-content/uploads/2016/11/1909-5.pdf   Yale School of Medicine Magazine article about CHATogether: https://medicine.yale.edu/news/yale-medicine-magazine/chating-about-problems-before-they-turn-toxic/   Woodblock press article about CHATogether: https://www.woodblock-press.com/asianvoices/chatting-through-vignettes-with-dr-eunice-yuen

If you are a teacher one of the things you hope for is that one day you will teach someone who will then go on to greater things. Laura gave Will Francis his first lessons in Japanese woodblock printing after he had been trying to teach himself - and finding it hard. Will is now a professional carver and printer of Japanese woodblock prints: working in collaboration with illustrator Jed Henry they produce prints of contemporary culture, but using historic techniques. Will talks about his journey, his passion for the process and about how the current health crisis has affected his business.

Welcome back to The Arty Anglais Podcast. If you're learning English and you're curious about arts and culture then you have landed on the right place. We teach English in context by talking about interesting and creative subjects. In today's episode we discuss Japanese Woodblock Prints and Ukiyo-e. Transcript available here.https://www.artyanglais.com/post/woodblockprintsToday I talk aboutWhat is Ukiyo-e art ?Who are some of the artists?The process and the materials used for of Ukiyo-eModern-day forms of the artWomen in the Edo Period  To find out more about Ukiyo-e you can read about it on Google Arts and Culture.  You can stay in contact by sending an email to info@artyanglais.com or following us on Instagram  @artyanglais.

Viktor Shmagin, Faculty Fellow in History and East Asian Studies, spoke on Japanese prints in the exhibition A Vision for Composition: Nineteenth-Century Prints from the Collection on Friday, April 19, 2019.

Kelda Martensen, born in Tacoma, Washington is a visual artist known for her work in printmaking, collage, book arts and murals. Awards include the Larry Sommers Fellowship, Bell Cramer Award in Printmaking and the Conceptual Visionary Award from Pratt Fine Art Center. Her teaching awards include the Dan Evans Innovation in Teaching Award, the John and Suanne Roueche Excellence Award and Association of Women Faculty Graduate Award. She was an Artist-in-Residence at Cité Internationale des Arts in Paris, France in 2011 and at Pratt Fine Art Center in Seattle in 2016. Her prints and artist books are in private and public collections including King County, the City of Tacoma, Google, Washington University in St. Louis Special Collections Library, Southern Graphics Council International Archive, Bokartas Contemporary Art Center, University of Missouri and Willamette University. Martensen is tenured faculty of art at North Seattle College where she teaches printmaking, drawing, book arts and mural art. Martensen earned a BA in Studio Art from Willamette University and an MFA in Visual Art with a focus in Printmaking and Book Arts from Washington University in St. Louis. She lives in Seattle, Washington and is represented by J. Rinehart Gallery. The books mentioned in the interview are Sista Tongue by Lisa Linn Kanae, At the Gates of the Animal Kingdom by Amy Hempel and Becoming by Michelle Obama. Starting Again, 2019, Woodblock, Monotype, Solvent Transfer, Collage, 30 x 22 inches This Is Our Moment, 2019, Woodblock, Solvent Transfer, Digital Print Artist Book, 22 x 18 inches

We’re back with some rad interviews from Japan! O.K. had the immense pleasure of interviewing Yang Chun Ahsiang (of Amateur Riot) and Nia Moineau (of A3BCollective) about radical protests, art, music, spaces, and history in Japan. We want to thank these two incredible people for sharing with us, and to hear about our our trips … Continue reading "Episode 38 – Shiroto No Ran and A3BCollective"

You can find the full show notes here:  https://ridgelightranch.com/albrecht-durer-podcast-39/  Albrecht Durer was known as the “Leonardo da Vinci of Germany,” but he was a Renaissance trendsetter in the whole European art world. His impact reached far beyond Germany, partially because he traveled to other countries, but more because his Woodblock cuts were far beyond what anyone had ever created! However, Durer wasn't just an artist, he was also interested in theology, science, proportions, math, geometry, and epistemology (the study of the foundation of knowledge).

David Bull is an ukiyo-e woodblock printer and carver who heads the Mokuhankan ukiyo-e studio in Asakusa, Tokyo. Born in Britain, Bull moved to Canada at age 5 and lived there until 1986 when he  relocated with his family to Tokyo to pursue ukiyo-e. He first discovered Japanese woodblocks while browsing an art gallery in Toronto at age 29. Intrigued, he started making his own prints without formal training.  He is known for his work on the Ukiyo-e heroes kickstarter crowd-funding project together with Jed Henry, recreating modern video-game scenes in old-style woodblock prints. The Mokuhankan studio has a shop and offers 'print parties' for amateurs, where they can try the craft of printing. I met Dave at his studio in Tokyo where we talked, among other things, about Toronto's Stuart Jackson gallery, the physical nature of woodblock prints (not the content!), moving to Japan, the "death" of traditional Japanese woodblock printing in the 20th century, ukiyo-e prints as 'low' culture, 'visual letterpress,' French salons, pop culture, cliff-hanger picture books, mixing illustration and text, Hokusai and Manga, Japanese Meiji era, the desirability of "mouth pictures," Video game characters, Washi paper, and the importance of the 18th century book One Hundred People, One Hundred Poems to modern Japanese culture.   Check out Dave's extensive library of videos on Japanese woodblock printing here.

Looks Unfamiliar is a podcast in which writer and occasional broadcaster Tim Worthington talks to a guest about some of the things that they remember that nobody else ever seems to. Joining Tim this time is writer Una McCormack, who is absolutely convinced that she hasn’t just made up school songbook Ta-Ra-Ra Boom-De-Ay, Screw-Top Virgin Marys, Desert Wellies, Elizabeth Enright’s Melendy Family novels, Jackanory series Tales From The Edge Of The World, and short-lived toy craze Trick Sticks. Along the way we’ll be finding out why asking about ‘Mr. Benn Men’ in school is frowned on, how to attract boys from the school across the brook by rolling up your socks and narrowing your tie, and why you can’t hide a pierced ear from Jesus. Also, there’s LIVE YO-YO TRICKS! You can find more editions of Looks Unfamiliar at http://timworthington.org/

From the 17th to the 19th century, Ukiyo-e flourished in Japan. Join Ginny and Jen for the 411 on these fascinating woodblock prints. Trying to be more financially responsible in 2018? Try Acorns! Use our link at get $5 https://www.acorns.com/invite/?code=F7FU9C Magic color changing Art History Babes prints by featured artist, Faith Sponsler available at www.arthistorybabes.com/featured-artist/ Check out our Patreon for exclusive bonus episodes! www.patreon.com/arthistorybabes We got a blog! We got merch! We got newsletters! www.arthistorybabes.com Insta: @arthistorybabespodcast Twitter: @arthistorybabes Email: arthistorybabes@gmail.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today we discuss Japan's greatest artistic genius, Katsushika Hokusai!

This week on the show, we talk with the German team behind the Playmobil toys and trailers! Joining us around the 30 minute-mark are Alex Ruff (Licensing and Marketing, Product Management at Playmobil), Peter Ohegyi (Project Management, Animated Shorts and Games Apps at Playmobil), and Regina Welker (Creative Director at Woodblock) to talk about the upcoming line-up, the functionality and design of the toys, the future, and a little behind the scenes on the amazing four "reveal trailers" the team created to announce the toy line. But first, some quick news including Saturn Award nominations, Ghostheads out doing good deeds, and more!

David Barker, professor of printmaking at the China National Academy of Fine Arts in Hangzhou, will consider the important contributions made to Chinese pictorial printing by the famous Huang family of artisan block cutters. This lecture is presented in conjunction with the exhibition “Gardens, Art, and Commerce in Chinese Woodblock Prints,” on view in the Boone Gallery. Recorded Nov. 22, 2016.

Suzanne Wright, associate professor of art history at the University of Tennessee, discusses the partnerships between Chinese painters and woodblock carvers who worked together to produce prints of exquisite beauty in the Ming and Qing dynasties. This talk is part of the East Asian Garden Lecture Series at The Huntington. Recorded Oct. 25, 2016.

June Li, curator emerita of the Chinese Garden at The Huntington, will look at some of the functions of printed images in China from the late 16th through the 19th centuries, using examples from the exhibition “Gardens, Art, and Commerce in Chinese Woodblock Prints.” Recorded Oct. 3, 2016.

In this episode, Meadow shares all the new WIPs, WTF Sprang is, and discusses the history and contemporary ethical dilemmas  of woodblock printing in India. The Show Notes are at www.thewovenroad.com/episode15

Special Guest: Matthew Irons Special Guest: Romain Descamps Special Guest: Egil 'Ziggy' Franzen. AKA 'Puggy' In this week's episode we turn to our best English when Xander visits his favorite band 'Puggy'. They have a good talk about their origins, influences as musicians and playing big venues.  Fun fact: the band is actually called after Xander's cat! Puggy has a new album out called 'Colours'. Find it on iTunes or in stores on cd and vinyl. See them live during Rock Werchter on friday 01/07 in the Klub C.

In today's Valentine's Day-inspired episode, we delve into the history of Japanese erotica, with the help of our friend, Maggie Mustard. Maggie is a PhD Candidate in Art History at Columbia University specializing in Japanese art, and is also the inaugural Teaching Fellow at the New Museum in New York City.(Please note that the images we discuss are of an overtly sexual nature, therefore this episode could fall into the realm of NSFW!)

More Britpop! Rants about rap songs! Un-Google-able bands! And, of course, some serious percussion jams. SONGS COVERED: 75. Suede - The Drowners  74. Sub Sub feat. Melanie Williams - Ain't No Love (Ain't No Use) 73. Arrested Development - Mr. Wendal  72. Barefoot - Baby (You Got in the Way)  71. Living Colour - Nothingness JOIN US ON DISCORD: https://discord.gg/jRrfwB LIKE HOTTEST 100S AND 1000S ON FACEBOOK: hottest100sand1000s FOLLOW HOTTEST 100S AND 1000S ON TWITTER: @Hottest100s AND YOUR HOSTS: @AndrewM138 | @NLFHarrison See omnystudio.com/listener for privacy information.

More Britpop! Rants about rap songs! Un-Google-able bands! And, of course, some serious percussion jams. Songs covered 75. Suede - The Drowners  74. Sub Sub feat. Melanie Williams - Ain't No Love (Ain't No Use) 73. Arrested Development - Mr. Wendal  72. Barefoot - Baby (You Got in the Way)  71. Living Colour - Nothingness

Assistant Curator Melody Rod-ari examines the hypnotic beauty and rich symbolism of the cherry blossom in Japanese art and culture, as presented in the exhibition Lessons of the Cherry Blossom: Japanese Woodblock Prints, on view April 20–September 3, 2012. Organized in honor of the centennial of Japan’s gift of 3,000 cherry trees to Washington, D.C., Lessons of the Cherry Blossom features prints by such artists as Utagawa Hiroshige, Totoya Hokkei, Katsushika Hokusai and Chōbunsai Eishi.

This episode Travis talks about a conference he attended in October 2011 titled "Utopias and the Japanese Imaginary". Travis presented his paper on Hokusai's "Eight Views of Okinawa", a collection of eight woodblock prints done by Hokusai, who had never actually been to Okinawa. He discusses why Hokusai chose to do a collection of prints on Okinawa, despite never having been there, what resources he used, and why. Follow Travis on Twitter: @toranosukev Mentioned in this podcast: Izumisaki Bus station: https://plus.google.com/108293617575237683045/about?gl=US&hl=en-US Terasaki Center for Japanese Studies: http://www.international.ucla.edu/japan/ Utopias and the Japanese Imaginary Conference: http://www.international.ucla.edu/calendar/showevent.asp?eventid=9022 Support this podcast: Shop Amazon.com, suport the podcast: http://amzn.to/wnDX2j Samurai Archives Bookstore: http://astore.amazon.com/samurai-20 Samurai Archives Shop (T-Shirts, etc) http://www.cafepress.com/samuraiarchives Contact Us: Twitter @SamuraiArchives https://twitter.com/#!/samuraiarchives Facebook: http://www.facebook.com/pages/Samurai-Archives/104533213984 Samurai Archives podcast blog: http://www.samuraipodcast.com Samurai Archives Forum: http://www.japanhistoryforum.com

Art Speak 2010

Art Speak 2010

Chantel Cong-Huyen, Art Speak Intern

Creating opportunities for youth involvement at the Asian Art Museum, Art Speak engages young artists ages fourteen to eighteen who are interested in Asian art and culture.

Art Speak 2010