Podcasts about Woodcut

In this interview with the director and founder of Lily Press and the Printmaking Legacy Project, Susan Goldman shares her passion for printmaking and documentary film making. Susan discusses her journey from discovering printmaking at Indiana University, Bloomington, to founding Lily Press and creating impactful documentaries like Midwest Matrix. She highlights her educational experiences, mentors, and the vibrant printmaking community she's built over time. Goldman also delves into her personal work, her love for screenprinting, and the balance of managing a studio while collaborating with renowned artists like Sam Gilliam. Her current projects include documentaries on Lloyd Menard and Rochelle Toner and exploring the evolution and impact of digital printmaking. Susan's reflections on the importance of documenting printmaking history and incorporating community and teaching into her work provide a comprehensive view of her dedication to the art form. Episode image: Erwin Thamm Midwest Matrix film: https://www.midwestmatrix.info/index.html Printmaking Legacy Project: https://printmakinglegacyproject.org/index.html IG: lily_press_studio IG: goldmansusan Spread from Journal of the Print World on Midwest Matrix. Rudy Pozzatti. Tracey Templeton, Wendy Calman, and Susan Goldman at Indiana University, Bloomington. John Whitesell. Circus, 1981. Three-color lithograph. 19 x 25 in. Published by Normal Editions. Susan Goldman. Squaring the Flower II, #15. Screenprint. 30 x 30 in. Printed and published by Lily Press, Rockville, MD. Installation shot of Susan Goldman's Squaring the Flower, McLean Project for the Arts, McLean, VA. Cory Oberndorfer inspects proofs of Six Frozen Treats (after Dine) at Lily Press, Rockville, MD. Elizabeth Martin Brown working on a Sam Gilliam edition at Lily Press, Rockville, MD. Renee Stout. The Secret Keeper, 2010. Etching. Plate: 7 x 5 in.; sheet: 15 x 11 in. Printed and published by Lily Press, Rockville, MD. Renee Stout working at Lily Press, Rockville, MD.  Viktor Ekpuk. Hip Sista, 2027. Screenprint. 30 x 22 in. Printed and published by Lily Press, Rockville, MD. Victor Ekpuk and Susan Goldman at Lily Press, Rockville, MD. Susan Goldman and Sam Gilliam at Lily Press, Rockville, MD. Dennis O'Neill in the shop at the Corcoran College of Art and Design, Washington, D.C. Lily Press booth at the Baltimore Fine Art Print Fair, 2023. Cory Oberndorfer. Six Frozen Treats (after Dine), 2023. Intaglio. Plate: 10 ¼ x 14 ½ in.; sheet: 21 x 15 in. Printed and published by Lily Press, Rockville, MD. Eve Stockton. Woodland Skyscape. Woodcut with watercolor. Sheet: 36 x 36 in. Printed and published by Lily Press, Rockville, MD. Eve Stockton working at Lily Press, Rockville, MD. Percy B. Martin at Lily Press, Rockville, MD. Photo: Duane Winfield. Lloyd Menard, founder of Frogman's Print Workshops. Rochelle Toner. Boost, 2009. Etching. 12 x 16. Courtesy of the Artist. Rochelle Toner and Susan Goldman filming their interview. Enrique Chagoya. Life at the Border of Language, 2023. Color lithograph. 21 ½ x 36 in. Published by Sharks Ink. Garo Antreasian. Y'es Em, 1991. Four-color lithograph. Sheet: 30 1/8 x 26 ¼ in. Published by Tamarind Institute, University of New Mexico. Leonard Lehrer. Powis, 1972. Lithograph. Sheet: 24 x 18 in. ArtworkArchive.com. Sam Gilliam (American, 1933–2022). 3 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD. Sam Gilliam (American, 1933–2022). 4 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Printed and published by Lily Press, Rockville, MD. Sangmi Yoo. Common Ground, 2025. Aluminum etching. 20 x 15 in. Courtesy of the Artist. Keiko O'Hara at Lily Press, Rockville, MD.

In this episode, Ann talks with Bryan Raymundo, owner of the Black Fragment Press. They discuss their meeting at the Mid America Print Council conference and Bryan's background, from growing up in Mexico and Kansas to his love for Black Sabbath and printmaking. Bryan reveals his journey into art, inspired by comforting his sick grandmother with drawings, and his challenges in balancing his family's immigrant expectations with his artistic aspirations. They delve deeply into his evolving art practice, the importance of mentors like Marco Hernandez and Jason Scuilla, and his passion for printmaking. Bryan shares his pedagogical philosophy, experiences teaching at the University of Nebraska at Omaha, and future plans to establish a collaborative art studio. The episode encompasses Bryan's personal anecdotes, his admiration for influential artists, and the profound impact printmaking has had on his life and career.   Episode image by Ann Shafer www.bryanraymundo.com IG @raymundo_printmaker Bryan Raymundo (American, born 1993). Home Ain't Home, 2024. Woodcut. 14 x 16 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). The Hare that Met God, 2024. Woodcut. 14 x 16 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). X Sin Nombre, 2023. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). My Manic and I, 2023. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Only the Strong, 2023. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Cold Heavens, 2023. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Russian Roulette, 2021. Etching. 12 x 18 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Snuffed, 2017. Etching. 9 x 12 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Birds Calling, 2024. Woodcut. 22 x 30 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Beware of the Rhino Throne, 2024. Woodcut. 18 x 24 in. Courtesy of the Artist. Bryan Raymundo (American, born 1993). Barking, 2022. Woodcut. 24 x 24 in. Courtesy of the Artist.

In this episode of Platemark, Ann talks with Susan Dackerman, a curator and art historian specializing in Northern European print culture. They discuss Susan's recent book, Dürer's Knots: Early European Print and the Islamic East, which looks at the artist's relationship to the Islamic world, revealing groundbreaking insights about the intersection of early modern printmaking and contemporary history.  Susan's book covers three of Dürer's prints or print series. The first section looks at The Sea Monster (Das Meerwunder), c. 1498, and postulates that it chronicles the return to Venice of Caterina Cornado following her forced abdication as the last queen of Cyprus in 1489. Susan pieces together the narrative, which often claims to be about the abduction of a woman on the fins of Neptune. The second section looks at a series of six woodcuts Dürer made to mimic the designs of silver inlay found in Mamluk brass bowls. Susan has an intriguing theory about the Knots's connection to a set of engravings by none other than Leonardo da Vinci. The final section looks at the iron etching Landscape with a Cannon, 1518, and answers the question why make this image as an etching rather than an engraving. The book challenges traditional narratives and recasts Dürer's prints that reference the Islamic East as much more nuanced and reflective of contemporaneous history. Susan's book is clear, concise, and thoughtful, and well worth the read. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Susan's IG https://www.instagram.com/susanmdackerman/ Susan Dackerman. Dürer's Knots: Early European Print and the Islamic East. Princeton, NJ: Princeton University Press, 2024. https://press.princeton.edu/books/hardcover/9780691250441/durers-knots?srsltid=AfmBOoo2o2yjJJeOlkdsXIURAOdx595jWpEKkUllE8jpzXRidPeYLEG8 Susan Dackerman. The Painted Print: The Revelation of Color. University Park, PA: Penn State University Press, 2002. https://www.psupress.org/books/titles/0-271-02234-5.html Albrecht Dürer (German, 1471–1528). Sea Monster (Das Meerwunder), c. 1498. Engraving. Sheet (trimmed to platemark): 24.7 x 18.8 cm. (9 3/4 x 7 3/8 in.). National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). The First Knot (with a heart-shaped shield), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). The Third Knot (with a black circle on a white medallion), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). The Sixth Knot (combining seven small systems of knots with black centers), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C. Attributed to Leonardo da Vinci (Italian 1452–1519). The Fifth Knot (Interlaced Roundel with Seven Six-pointed Stars), c. 1498. Engraving. Plate: 10 3/8 × 7 13/16 in. (26.4 × 19.8 cm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Landscape with the Cannon, 1518. Etching (iron). Sheet (trimmed to image): 21.9 × 32.2 cm. (8 5/8 × 12 11/16 in.). National Gallery of Art, Washington, D.C.  

In this interview I talk with artist and activist Art Hazelwood about art as political action versus politics as a subject. We start with his journey as a printmaker in San Francisco in the early 90s, where he engaged in political art through the Street Sheet newspaper. He elaborates on the distinction between social commentary and political action, emphasizing his active role in various causes including homelessness and union support. We also talk about his work with the San Francisco Poster Syndicate and teaching drawing at San Quentin prison, highlighting the importance of art as a transformative tool within the prison system. Additionally, we talk about his involvement in Mission Gráfica, a print studio, and his efforts in cataloging artists' estates. The conversation touches on the evolving role of artists, the value of ephemeral art, and the challenges and opportunities within the art world today. Episode image by James Hazelwood https://www.arthazelwood.com/ https://www.arthazelwood.com/impresario/publications/mission-grafica-book.html https://www.arthazelwood.com/impresario/publications/hobos-to-street-book.html Bainbridge Island Museum of Art video on Tipping Point by Art Hazelwood https://www.youtube.com/watch?v=Yx7VNp6sBoo Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Art Hazelwood (American, born 1961). Strike!, 2023. Screenprint. 19 x 12 ¾ in. San Francisco State University California Faculty Association Strike poster. Courtesy of the Artist. Installation shot of Hobos to Street People: Artists' Responses to Homelessness from the New Deal to the Present. The California Historical Society, February 19–August 15, 2009. Installation shot of Hobos to Street People: Artists' Responses to Homelessness from the New Deal to the Present. The California Historical Society, February 19–August 15, 2009. Installation shot of Hobos to Street People: Artists' Responses to Homelessness from the New Deal to the Present. The California Historical Society, February 19–August 15, 2009. Art Hazelwood (American, born 1961). Hobos to Street People: Artist' Responses to Homelessness from the New Deal to the Present. San Francisco: California Historical Society, 2008. Art Hazelwood (American, born 1961). Mission Gráfica: Reflecting a Community in Print. San Francisco: Pacific View PR, 2022. Art Hazelwood (American, born 1961). Die Aktion #70, Grimmiger Jäger / Grim Hunter, 500,000, 2021. Screenprint. 16 3/4 x 11 in. Marking the grim milestone of 500,000 dead of Covid in the US. Courtesy of the Artist. Art Hazelwood (American, born 1961). New Masses #64, Last Tango, January 6, 2020, 2021. Screenprint. 17 x 12 in. Marking the attempted coup on January 6, 2020. Courtesy of the Artist. Art Hazelwood (American, born 1961). The Road to Fascism: It's No Game,  2024. Screenprint. 17 1/2 x 21 ½ in. Courtesy of the Artist. Art Hazelwood (American, born 1961). Iraqopoly, 2006. Screenprint. 20 1/2 x 28 1/2 in. Courtesy of the Artist. Art Hazelwood (American, born 1961). Fascist Mix 'N Match, 2024. Screenprint. 9 x 10 ¾ in. Courtesy of the Artist. Art Hazelwood (American, born 1961). Le Charivari #76, July 19, 2024, Candidat a la Presidentielle 2016–2024, 2024. Screenprint. 17 x 11 1/4. Courtesy of the Artist. Art Hazelwood (American, born 1961). A Sea of Blood, 2022. Woodcut. 19 ¾ x 14 in. Courtesy of the Artist. Art Hazelwood (American, born 1961). Culture Street / Gentrification Lane, 2016. Woodcut. Each panel: 36 x 24. Courtesy of the Artist. Art Hazelwood (American, born 1961). Must We Always Have This? Why Not Housing?, 2023. Screenprint. 16 3/4 x 11 ½ in. Created for Western Regional Advocacy Project's director Paul Boden and his 40 years of activism. Text is from a WPA poster from New York 1930s. Courtesy of the Artist. Art Hazelwood (American, born 1961). Tipping Point, 2021. Artist's book with screenprints (binding and design by Asa Nakata). Overall: 12 x 9 x 1 3/8. Courtesy of the Artist. Art Hazelwood (American, born 1961). Tipping Point, 2021. Artist's book with screenprints (binding and design by Asa Nakata). Overall: 12 x 9 x 1 3/8. Courtesy of the Artist. Art Hazelwood street printing with San Francisco Poster Syndicate, 2023. Photo courtesy of David Bacon. Steamroller, six formerly incarcerated men and three of their teachers created a 3-foot square linocut print and printed it with a steamroller at Diablo Valley College, CA, in March 2024. Photo courtesy of Peter Merts. Steamroller, six formerly incarcerated men and three of their teachers created a 3-foot square linocut print and printed it with a steamroller at Diablo Valley College, CA, in March 2024. Photo courtesy of Peter Merts. Art Hazelwood (American, born 1961). Ayudantes Animales del Sudoeste: Un Guía Para Viajeros Jóvenes / Animal Helpers of the Southwest: A Guide For Young Travelers, 2015. Artist's book with 12 woodcuts with screenprint borders and text. Sheet: 18 x 18 in. Courtesy of the Artist. Art Hazelwood (American, born 1961). End Overdose Now, 2023. Screenprint. 18 1/2 x 11 1/8 in. Created for SF AIDS Foundation, HIV Advocacy Network and city budget fight. Courtesy of the Artist. Art Hazelwood (American, born 1961). Support Our Libraries, 2023. Woodcut. 19 1/4 x 12 1/2. Courtesy of the Artist.    

In this episode of Platemark, Jonathan Higgins discusses his journey as the owner and master printer of Manneken Press, established in 2000 in Bloomington, Illinois. We talk about his early life in Berkeley, California, his initial interest in art and ceramics, and his transition to printmaking. After exploring lithography and working for various artists and print workshops in New York, including at Galamander Press with Randy Hemminghaus, he eventually founded Manneken Press. Jonathan shares insights into the operational strategies, collaborative projects with artists, challenges with photogravure, and his approach to publishing and curating prints. He also touches on the impact of COVID-19 on his work processes and future projects, while emphasizing the importance of selecting artists whose work resonates with him. The interview concludes with a reflection on the evolution of Manneken Press and Jonathan's current focus and achievements.   Episode photo by: Matt Shrier https://mannekenpress.com/ Blog: https://mannekenpress.com/news-the-manneken-press-blog/ Artsy: https://www.artsy.net/partner/manneken-press Printed Editions: https://www.printed-editions.com/gallery/manneken-press/ IG: @mannekenpress IG: jonathiggins   Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook   Philip Van Keuren (American, born 1948). Snowstorm, 2016. Photogravure. 14 x 18 in. Published by Manneken Press. Courtesy of Manneken Press. Philip Van Keuren (American, born 1948). Tulips, 2019. Photogravure. 18 x 14 in. Published by Manneken Press. Courtesy of Manneken Press. Manneken Pis, Brussels, Belgium. Manneken Pis, Brussels, Belgium. Shrine to Manneken Pis at Manneken Press. Courtesy of Manneken Press. Rupert Deese (American, born 1952). Array 1000/Dark Blue, 2011. Woodcut. 45 x 45. Published by Manneken Press. Courtesy of Manneken Press. Ted Kincaid (American, born 1966). Nest 920, 2008. Etching. Plate: 20 x 16 in.; sheet: 25 x 21 in. Published by Manneken Press. Courtesy of Manneken Press. Matt Magee (American, born France, 1961). (L–R) Bugs, Drugs, Plugs, 2021. Set of three aquatints. Each: 21 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press. Matt Magee (American, born France, 1961). Lunar Lantern, 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press. Matt Magee (American, born France, 1961). Mind Gap, 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press. Matt Magee (American, born France, 1961). Winter Pool, 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press. Preparing to print the plate for the watercolor monotype Foursquare Foresworn by Judy Ledgerwood (American, born 1959) at Manneken Press. Courtesy of Manneken Press. Judy Ledgerwood (American, born 1959). Foursquare Foresworn, 2020. Watercolor monotype. 22 x 30 in. Published by Manneken Press. Courtesy of Manneken Press. Judy Ledgerwood (American, born 1959). Detail of watercolor monotype Old Glory, right after printing. Published by Manneken Press. Courtesy of Manneken Press. Judy Ledgerwood (American, born 1959). Old Glory, 2020. Watercolor monotype. 22 x 30 in. Published by Manneken Press. Courtesy of Manneken Press. Judy Ledgerwood (American, born 1959). Inner Vision, 2020. Suite of 9 watercolor monotypes. Published by Manneken Press. Courtesy of Manneken Press. Jill Moser (American, born 1956) working on the plates for Chroma Six in her Long Island City studio. Courtesy of Manneken Press. Jill Moser (American, born 1956). Chroma Six, 2019. Suite of six color aquatints. Each: 23 1/2 x 20 in. Published by Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974) stopping out a copper plate with asphaltum at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974). Detail of a plate with soap ground applied prior to etching at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974) plates with soap ground applied prior to etching at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974). The first plate of Prospect inked and ready to print at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974). The second plate of Prospect inked and ready to print at Manneken Press. Courtesy of Manneken Press. Jonathan Higgins pulling a color proof of Prospect, an etching by Jason Karolak (American, born 1974) at Manneken Press. Courtesy of Manneken Press. Jonathan Higgins pulling a color proof of Prospect with all 10 colors, an etching by Jason Karolak (American, born 1974) at Manneken Press. Courtesy of Manneken Press. Jason Karolak (American, born 1974). Working proof of Prospect, 2024. 2-plate aquatint. Plate:  21 x 18 in.; sheet: 26 1/2 x 23 in. Published by Manneken Press. Courtesy of Manneken Press.

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

This week I'm joined again by Matthew DeLorme. We go into a deep dive about printmaking, including how he started work for Steve Duda's new book, his time getting back to Fine Art, what goes into a woodcut and handprinting, the dangers of printing big, and we even remember to talk about fishing, including some East Coast saltwater.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This Episode, Emily chats with Los Angeles based sculptor & printmaker, Alison Saar. She was visiting the Bay Area recently working with Arion Press on their recent production of Octavia Butler's Kindred. They dive Alison's artistic journey, influences, and her recent project illustrating Octavia Butler's 'Kindred' for Arian Press. Alison reflects on her upbringing in a creatively rich environment, heavily influenced by her artist parents, Betty and Richard Saar. She discusses her techniques, particularly her affinity for woodcuts and linoleum blocks, and the importance of texture in her work. The conversation also touches on Saar's interest in African and Indigenous art, her spiritual connections, and significant influences such as Elizabeth Catlett. The episode concludes with insights into Saar's favorite creatively inspiring places in Los Angeles and her experience of continuously making art from a young age.About Artist Alison Saar:Alison credits her mother, acclaimed collagist and assemblage artist Betye Saar, with exposing her to metaphysical and spiritual traditions. Assisting her father, Richard Saar, a painter and art conservator, in his restoration shop inspired her learning and curiosity about other cultures.Saar studied studio art and art history at Scripps College in Claremont, California, receiving a BA in art history in 1978. In 1981 she earned her MFA from the Otis Art Institute in Los Angeles. In 1983, Saar became an artist-in-residence at the Studio Museum in Harlem, incorporating found objects from the city environment. Saar completed another residency in Roswell, New Mexico, in 1985, which augmented her urban style with Southwest Native American and Mexican influences.Saar's style encompasses a multitude of personal, artistic, and cultural references that reflect the plurality of her own experiences. Her sculptures, installations, and prints incorporate found objects including rough-hewn wood, old tin ceiling panels, nails, shards of pottery, glass, and urban detritus. The resulting figures and objects become powerful totems exploring issues of gender, race, heritage, and history. Saar's art is included in museums and private collections across the U.S.Visit Alison on the web by CLICKING HERE.   Follow Alison  on Instagram:  @Alison_SaarLearn more about her Kindred project with Arion Press HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

In s3e57, Platemark host Ann Shafer speaks with Karen Kunc, an artist who manipulates reduction woodcuts in an amazing and unique way. Karen is a retired professor from the University of Nebraska, and is owner of Constellation Studios in downtown Lincoln. At the studio, which opened ten years ago, Karen offers workshops, curates exhibitions, and makes her own work. The studio includes equipment for papermaking, book arts, letterpress, and other means of creating prints.  Karen's work includes relief prints and artist books reflecting her signature nature-based lyrical abstraction. These images could be macro or micro: the biomorphic shapes could be aerial images of her native Nebraska, or the wiggles and squiggles could be forms held within our cells. Each print becomes a portal to an alternate reality, where the boundaries between the tangible and the intangible blur, inviting us to explore the complexities of our earthly domain.  This all sounds simple, but Karen's process is anything but. She uses stencils, fingers, hands, brushes and any other tool to gain amazing transitions between forms. Plus, she intuitively solves compositional challenges as she goes. Karen is an artist's artist whose groundbreaking woodcuts will amaze and delight you. Karen Kunc (American, born 1952). Array of Raressence, 2018. Woodcut. 72 x 26 in. Courtesy of the artist. Karen Kunc (American, born 1952). Coral Sanctuary, 2019. Woodcut. 72 x 26 in. Courtesy of the artist. Karen Kunc (American, born 1952). Blue Cascade, 2020. Woodcut. 14 1/2 x 42 in. Courtesy of the artist. Karen Kunc (American, born 1952). Gatherings, 2021. Woodcut. 14 x 29 in. Courtesy of the artist. Karen Kunc (American, born 1952). Distillation, 2018. Woodcut, etching, pochoir, and watercolor. 12 x 24 in. Courtesy of the artist. Karen Kunc (American, born 1952). Sacred Allegori, 2018. Woodcut, etching, pochoir, and watercolor. 24 x 24 in. Courtesy of the artist. Karen Kunc (American, born 1952). Drifts of Ice & Gold, 2022. Woodcut. 17 x 56 in. Courtesy of the artist. Karen Kunc (American, born 1952). Blooms of the Present Moment, 2023. Woodcut. 17 x 56 in. Courtesy of the artist. Karen Kunc (American, born 1952). Waves of Riches, 2016. Woodcut and pochoir. 13 1/2 x 57 in. Courtesy of the artist. Karen Kunc (American, born 1952). Panoply, 2016. Woodcut and pochoir. 13 1/2 x 57. Courtesy of the artist. Karen Kunc (American, born 1952). Verse from Macrocosmica, 2010. Woodcut. 29 x 24 in. Courtesy of the artist. Karen Kunc (American, born 1952). Release, 2020–21. Accordion-folded volume with etching, woodcut, and letterpress on various Japanese Nishinouchi papers. Closed: 7 x 4 in.; open: 7 x 56 in. Published by Blue Heron Press at Constellation Studios, Lincoln, Nebraska. Courtesy of the artist. Karen Kunc (American, born 1952). The Way of Water, 2024. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 7 1/2 in.; open: 11 x 45 in. Courtesy of the artist. Karen Kunc (American, born 1952). Incessant White Noise, 2013. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 5 in; open: 11 x 35 in. Courtesy of the artist. Constellation Studios, Lincoln, NE.

On this day in 1754, Benjamin Franklin published the famous “Join, or Die” political cartoon.See omnystudio.com/listener for privacy information.

In s3e55, Platemark host Ann Shafer speaks with Miguel A. Aragón, artist and professor at the City University of New York, Staten Island. They talk about CNC routers, drills as woodcutting tools, growing up in Juarez, Mexico, and that city's war on drugs as a subject in his art. He weaves a tight conceptual circle in prints that explore violence, death, perception, and memory in surprisingly subtle works. Miguel A. Aragón (Mexican, born 1978). Espectadores (Spectators), from the series Meoria Fracturada, 2013. Burnt residue embossment. 11 x 15 in. Courtesy of the artist. Miguel A. Aragón (Mexican, born 1978). Retrato 18, negro (Portrait 18, black), 2008. Hand-drilled paper with drywall dust. 96 x 48 in. Courtesy of the Artist. Miguel A. Aragón (Mexican, born 1978). Retrato 18, negro (Portrait 18, white), 2008. Hand-drilled paper. Each: 96 x 48 in. Courtesy of the Artist. Miguel A. Aragón (Mexican, born 1978). Retrato 06, panel de yeso (Portrait 06, drywall). Hand-drilled drywall. 96 x 48 in. Courtesy of the Artist. Miguel A. Aragón drilling into drywall for the Retrato series. Miguel A. Aragón (Mexican, born 1978). Retrato 06, panel de yeso (Portrait 06, drywall). Hand-drilled drywall. 96 x 48 in. Courtesy of the artist. Miguel A. Aragón (Mexican, born 1978). Aplacado (el Veladero) [Appeased (el Veladero)], 2016. Woodcut. Image: 48 x 36 in.; sheet: 51 ½ x 38 ½ in. Published by Flatbed Press, Austin. Miguel A. Aragón working at Kala Art Institute in Berkeley, CA. Miguel A. Aragón working at Scuola Internazionale di Grafica di Venezia in Venice, Italy. Miguel A. Aragón working at Zygote Press in Cleveland, OH. Miguel A. Aragón working with Wuon Gean Ho at East London Printmakers. Studio view of the Edinburgh Printmakers in Edinburgh, Scotland. Studio view of the Glasgow Print Studio in Glasgow, Scotland Studio view of the Grafikwerkstatt Dresden in Dresden, Germany. Michael Barnes working at the Steindruck München Lithografie-Werkstatt in Munich, Germany. Miguel A. Aragón's mother's doilies at the Morgan Conservatory in Cleveland, OH. Miguel A. Aragón. 26.06.2009, 20:07:31. Color lithograph. Sheet: 27.5 x 22 in. Published by Flatbed Press, Austin. Miguel A. Aragón. Index: 2170. Color lithograph. Sheet: 27 1/2 x 22 in. Published by Flatbed Press, Austin. Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island. Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island. Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island.

On this day in 1633, the banana made its British debut in the window of a London apothecary.   See omnystudio.com/listener for privacy information.

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)  

Back to 'regular programming', we hope you enjoyed out Movement Mini Series, let us know if there is a different 'mini series' topic you'd like us to do. Today we have a bit of a rambling chat that reflects our headspace by this stage of the holidays. We have loved holidays but we are ready for a return to routine and to some alone time! We chat about some of the challenges that summer holidays can kick up, especially for parents of teens. This the podcast episode Susan was a guest on to talk about the worst board game ever "YiYo - energy in Energy out" which is unfortunately still available and advertised to teachers as "Literacy is supported with pictorial association, and colour coding and icons are used to indicate nutritional characteristics including fruit and vegetable serves, dietary fibre, added or ‘free' sugar and energy load. Available in kilojoules only" and even sold in the Perth Children's Hospital's fundraising shop! Gah! We announce that we are working on 'a teen thing' - probably an intensive week of live webinars for parents of teens who are having concerns about eating, dieting, body image and want some practical help in how to help their kids through this challenging time. you can sign up here to stay up to day for when it launches. This was the burrata salad mentioned and the restaurant where she had the scallops and wants to eat steak (it wasn't Woodcut, ti was Black Bar & Grill) and this is the Spanish Restaurant that was Susan's fave. Please share rate and review our podcast if you like what we're doing.

- Ice buildup raises flooding threat - AI 101 - Woodcut retrospective opens at Telluride Arts

Hear the rest of this episode exclusively at the £5 tier on Patreon  On this episode of Beneath the Skin we are joined by medieval historian Dr. Eleanor Janega to talk about the history of medieval woodcuts and their influence on tattooing Follow Eleanor online  Listen to We're Not So Different  If you want to follow us online for more updates CLICK HERE Production by Thomas O'Mahony Artwork by Joe Painter (jcp_art) Intro music by Dan McKenna If you would like to get in touch you can email the show on beneaththeskinpod@gmail.com

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

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

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

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

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

In this episode, James and Janet discuss the impresarios who performed in Atheneum Hall and introduced islanders to the world of magic and illusion.  Resources and additional information: Woodcut images from Yankee Hill's book Scenes from the Life of an Actor (1853). http://1.bp.blogspot.com/_Q6q8FgL3eAA/RrsXpR3WdxI/AAAAAAAAAG8/9TaIPNb2UOg/s1600-h/hiramdodgeyankeepeddler.gifhttp://2.bp.blogspot.com/_Q6q8FgL3eAA/RrsXph3WdyI/AAAAAAAAAHE/_83I2-tJdxY/s1600-h/jedidiahhomebredgreenmountainboy.gifhttp://2.bp.blogspot.com/_Q6q8FgL3eAA/RrsXph3WdzI/AAAAAAAAAHM/u_f83eUs4jM/s1600-h/nathantuckerwifeforaday.gifWoodcut images of Dr. Valentine's Comic MetamorphosesClick here for photos.Portraits of Signor BlitzClick here for photos.Advertisement for Signor Blitz's performance at Atheneum Hall, which appeared in the April 14, 1840 issue of The Islander.Click here to see ad.Andrew MacAllister in his elaborate stage costumes.Click here for photos. This has been a production of the Nantucket Atheneum.It was hosted and edited by Janet Forest. Special thanks to Reference Library Associate James Greider for his knowledge and research. Newspaper announcement voiced by Andrew Cromartie.If you have an idea for what we should talk about next, send us an email at jforest@nantucketatheneum.orgThe Nantucket Atheneum is located at 1 India Street in Nantucket, MA. www.NantucketAtheneum.orgFacebook: @NantucketAtheneumInstagram: @NantucketAtheneum 

God is continually demonstrating his covenant faithfulness towards us. And that faithfulness will always reveal to us our lack of faithfulness toward God, leading us to receive his mercy that comes through the covenant.Image: See page for author, CC BY 4.0 , via Wikimedia Commons. Image location: https://commons.wikimedia.org/wiki/File:Jesus_calls_Matthew_from_among_the_tax_officials._Woodcut,_1_Wellcome_V0034940.jpg

Woodcut art is the oldest form of printmaking. Peoria-based printmaker Cathie Crawford discusses her process of making woodcut prints and the inspiration behind some of her work. Crawford's work is featured in the exhibit "The Floating World" running through May 11, 2023, at the Joe McCauley Gallery located at Heartland Community College.

While growing up Sunny Lusted (Woodcut) had dreams of becoming a pilot, or professional pianist. Although quality food and restaurants were a big part of her life, it wasn't until she landed a part time job in hospitality that it swept her off her feet. After travelling the globe opening resorts in exotic locations, she moved back to Australia with her husband Ross Lusted and the pair opened the restaurant Sydney never knew it needed - The Bridge Room. Now she's at the helm of their new restaurant - five times the size of their first restaurant, and offering one of the most unique experiences in the country. https://www.crownsydney.com.au/indulge/woodcut Follow Deep In The Weeds on Instagram    https://www.instagram.com/deepintheweedspodcast/?hl=en Follow Huck https://www.instagram.com/huckstergram/ Follow Rob Locke (Executive Producer) https://www.instagram.com/foodwinedine/ LISTEN TO OUR OTHER FOOD PODCASTS https://linktr.ee/DeepintheWeedsNetwork Deep in the Weeds is a food podcast hosted by Anthony Huckstep in conversation with chefs, food producers and members of the hospitality industry. An Australian Food Podcast from the Deep in the Weeds Network.

Jesus is able to raise Lazarus from the dead because he is the Resurrection and the Life. What does that mean for us today? Jesus being the resurrection and the life means that we are unbound from sin because death is the result of sin.Image: Jesus Raising Lazarus from the Dead, Woodcut of Jesus raising Lazarus from the dead, scanned from the 19th century book, Half Hours With the Bible, New Testament. Photo by Martin LaBar, CC BY-NC 2.0, no changes made. Image location: https://www.flickr.com/photos/martinlabar/2079382

I WILL BE BACK WITH A NEW EPISODE AT THE END OF JANUARY, 2023. .In this episode, join me and woodcut printmaker, storyteller and artist Julie Goldstein into the worlds of 18th century Icelandic sea women and female, Japanese Ama pearl divers. Goldstein captures the stories of these "anonymous" women, memorializing them through her vivid portrayals. Goldstein's reverence for women lost in history books is awe-inspiring. ."Sea Woman," solo exhibition is at Bridgette Mayer Gallery, opened June 28-August 13, 2022. Learn more at www.bridgettemayergallery.com.Stay Connected with Julie Goldstein:website: www.juliegoldsteinstudio.comIG: @swmwithme.View images highlighted in this episode:www.beyondthepaint.netSign up for my newsletter: www.beyondthepaint.netEmail me: bfranco@beyondthepaint.net

First Tuesday of Advent in the Church Calendar This week we are following the Daily Office lectionary with an episode Monday through Friday. Our general order and lectionary comes from the Book of Common Prayer Daily Office. We'll sing a song I wrote: “Making Room (Let Every Heart).” We'll then offer a Prayer of Confession. We'll read Psalms 5 and 6 followed by the Gloria Patri. Our Scripture Lesson is Luke 20:9-18 . We'll say the Apostles' Creed, the Lord's Prayer, and the Collect of the Day. We'll then have a time of prompted prayer. If you have a prayer request please submit it here. Sign up here for the email list. Visit Patreon to give and support Morning Prayer monthly. Go to PayPal to give a one-time gift. Art: Zarina (Indian American, 1937–2020), Beyond the Stars, 2014. Woodcut printed on BFK light paper collaged with gold leaf and Urdu text, mounted on Somerset Antique paper, 24 × 23 in. Photo: Farzad Owrang. Collect of the Day First Sunday of Advent, Rite Two Almighty God, give us grace to cast away the works of darkness, and put on the armor of light, now in the time of this mortal life in which your Son Jesus Christ came to visit us in great humility; that in the last day, when he shall come again in his glorious majesty to judge both the living and the dead, we may rise to the life immortal; through him who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen.

First Tuesday of Advent in the Church Calendar This week we are following the Daily Office lectionary with an episode Monday through Friday. Our general order and lectionary comes from the Book of Common Prayer Daily Office. We'll sing a song I wrote: “Making Room (Let Every Heart).” We'll then offer a Prayer of Confession. We'll read Psalms 5 and 6 followed by the Gloria Patri. Our Scripture Lesson is Luke 20:9-18 . We'll say the Apostles' Creed, the Lord's Prayer, and the Collect of the Day. We'll then have a time of prompted prayer. If you have a prayer request please submit it here. Sign up here for the email list. Visit Patreon to give and support Morning Prayer monthly. Go to PayPal to give a one-time gift. Art: Zarina (Indian American, 1937–2020), Beyond the Stars, 2014. Woodcut printed on BFK light paper collaged with gold leaf and Urdu text, mounted on Somerset Antique paper, 24 × 23 in. Photo: Farzad Owrang. Collect of the Day First Sunday of Advent, Rite Two Almighty God, give us grace to cast away the works of darkness, and put on the armor of light, now in the time of this mortal life in which your Son Jesus Christ came to visit us in great humility; that in the last day, when he shall come again in his glorious majesty to judge both the living and the dead, we may rise to the life immortal; through him who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen. --- Send in a voice message: https://podcasters.spotify.com/pod/show/prayerandworship/message

My guest today is Noah Verin. Noah is a client of mine and is the CEO & Founder of Urban Green, a vertical farm located in the Barangaroo Towers in Sydney that grows and distributing Microgreens to a wide range of top Sydney restaurants, as well as installing vertical farms in the CBD headquarters of large corporates.Some of the highlights of our conversation include taking a non-negotiable approach to solving problems, the secret ingredient to good business, why coaching is for those who are ready to take leadership seriously, and how Noah beat Amazon in one of his first major deals. Noah is an ex-chef and environmental science graduate with a passion for flavoursome, healthy, and aesthetically pleasing food as well as a passion for caring for the environment. Over the past two years, Urban Green have been awarded NSW winners of the Harvey Norman NSW Produce Awards, and the farm has also been featured on ABC's Gardening Australia, on Channel 10's Taste of Australia, and most recently on Landline. You can check out the show notes for a link to the Landline documentary. While the Macquarie bankers hop in the lift and head skyward, the Urban Green team hit the down button and descend to their subterranean vertical farm to grow their flavoursome range of over 40 micro greens.You'll find Urban Green's sustainably grown marigold leaf, lemon balm and red-veined sorrel “the Mercedes Benz of microgreens”, popping up on the menus of top Sydney restaurants such as Monopole, Yellow, Woodcut, the Bentley Group, Pilu, and O Bar Restaurant & Dining, as well as smaller cult following eateries such as Bennett St Dairy & Cuckoo Callay.Check out the recent Landline documentary on Urban Green at: https://www.youtube.com/watch?v=LNg3IOqlCXw If you'd like to learn more about Urban Green, go to: https://www.urbangreensydney.com/ You can contact Noah directly at: noahverin@urbangreensydney.com To learn more about what it takes to be an evolved leader, and to check out our other podcast episodes, go to:  https://www.evolvedstrategy.com.au

Bishop Terrell joins with us for confirmations and so he preached the sermon for this Sunday. He walks us through the healing of the 10 Lepers from Luke 17 and directs us toward the need for gratitude toward God as we walk through our lives as Christians.Image: See page for author, CC BY 4.0 , via Wikimedia Commons, no changes made. Location: https://commons.wikimedia.org/wiki/File:Christ_cures_ten_lepers._Woodcut._Wellcome_V0034943.jpg

Today's episode is brought to you by our Patreon Patrons at the Gentry, Noble, and Royal Patron levels! They voted on today's topic: Shakespearean Woodcuts!  Woodcuts were a popular Early Modern print-making method used to add illustrations to printed publications and were kind of like an Early Modern meme.  Check out some of our favorites below: Hans Holbein's The Dance of Death series Works by Albrecht Durer The Beggar's Delight (a Broadside Ballad) The English Broadside Ballad Archive Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Cash, Cassidy, host. “Ep 79: James Knapp and Elizabethan Woodcuts.” That Shakespeare Life, episode 79, Publisher, 21 October 2019, https://www.cassidycash.com/ep-79-james-knapp-elizabethan-woodcuts/. Toledo Museum of Art. (2020, July 27). The History of the Woodcut and Printmaking's Collaborative Process [Video]. Youtube. From 1:30 to 17:30. https://www.youtube.com/watch?v=IKyC4DcDu1E&t=254s

In this episode we'll explore the Irish folktale “The Witches Excursion.” It was recorded by Patrick Kennedy in the book Legendary Fictions of the Irish Celts published in 1866. Like the Grimm tale, “Frau Holle,” here is another story that began as a myth and became a folktale.  We'll discuss how the character of Queen Medb is reflected in this tale and how the wise crone once again saves the day! Story:  "The Witches' Excursion" collected and narrated by Patrick Kennedy in Legendary Fictions of the Irish Celts (London: Macmillan), 1866.Cover illustration:  Woodcut by  Mathers' Wonders of the Invisible World (1689) and used in an 18th-century pamphlet about the Lancashire witches. Music:  The Snow Queen Kevin MacLeod (incompetech.com).  Licensed under Creative Commons: By Attribution 3.0 License.  http://creativecommons.org/licenses/by/3.0/.Copyright 2022 Kathy Shimpock.  

Watie White joins Ethics Talk to discuss his article, coauthored with Dr Regina Idoate, Aislinn Rookwood, Sophia Quintero, Shelby Larson, Dr Arturo Aceves, and Dr Keyonna King: “Lead Toxicity and Environmental Health Justice Stories in Black and White Woodcut Portraits”  Recorded April 25, 2022  Read the full article here.

Danielle from Woodcut is here to talk to us all about engineered timber boards. Woodcut is not just another timber flooring company, they combine quality and function to create premium engineered timber flooring that seamlessly integrates into any space.In this episode, we discuss the differences between real timber and engineered boards and the considerations you need to make when you're purchasing. Danielle shares her perspective with us and discusses the features we need to be looking for when choosing the right material for our next build. The main difference between real timber and engineered boards is the stability of the board. Older homes with solid boards start to move, crack or open up between the boards due to age, weathering and moisture. Danielle shares the pros and cons of each type of material. I discuss my process when using real timber solid boards in my builds and the time spent considering each aspect of laying the board, sanding it down, staining and lacquering. The benefit of timber engineered boards is there are no surprises, they're tried and tested, temperature-controlled and what you choose is exactly what you get. Danielle talks us through the benefits for families, the easy process of replacing a damaged board and using the visualiser tool to look at different colour trends. If you're pondering your next flooring choice, Danielle will help you make a decision and spark the creative juices to create a beautiful base for your next build. LINKS:Woodcut: https://woodcut.com.au/ Buy our new book: BuildHer, A practical guide to building and renovatingBuildHer Website: https://buildhercollective.com.au/BuildHer Instagram: @buildhercollectiveBuildHer Facebook: Women who Design, Decorate, Renovate & BuildRegister for a call: https://go.oncehub.com/BuildHer

A discussion with Miranda Metcalf, founder and host of “Hello, Print Friend”, a podcast with over 130 episodes dedicated to the celebration and amplification of printmaking and its culture. In our conversation Miranda provides a historical context for printmaking, its advances, the culture around the medium and advice for the aspiring collector.

Sunderland is a series of dystopian sci-fi graphic novels rendered entirely in woodcuts by Jon Renzella. Jon joins me this month about woodcut comics, end times, and Taiwan. Music by Krudler. Show notes: https://sewermutant.com/sewer-mutant-podcast-woodcut-comics-with-sunderland-creator-jon-renzella-a0483f764205

If you are a printmaker apparently you will be very surprised to learn that Laura Boswell turned down the offer of a free Albion printing press. ‘How stupid she was' (her words, not mine). Although the press did still make it into her possession and encouraged (forced?!) her into revisiting an artform she had embraced at university.Laura's artistic journey from that point onward is literal and metaphorical, taking her to Japan, Cumbria and Aylesbury(!), taking on changes in direction regarding techniques, style of work and subject matter, and moving right up to date with her videos on YouTube, where she has shared her love for printmaking with her many followers, and not been afraid to show that things don't always go to plan.CreativityFound.co.ukInstagram: @creativityfoundpodcastFacebook: @creativityfoundpodcastTwitter: @creativityfoundClubhouse: @clairewaitebrown and Creativity Found Connect clubMusic: Day Trips by KetsaUndercover / Ketsa Creative Commons License Free Music Archive - Ketsa - Day Trips Artworks: Emily Portnoi emilyportnoi.co.uk Support the show (https://ko-fi.com/creativityfoundpodcast)

Order of Divine Service I, p.136  Lutheran Worship Hymn “Come, Let Us Join Our Cheerful Songs” LW 204, TLH 344 Readings:  Exodus 8:16-24, Ephesians 5:1-9, St. Luke 11:14-28 Hymn “A Mighty Fortress Is Our God” LW 298, TLH 262 Sermon Communion Hymns: “I Come, O Savior, to Your Table” LW 242, TLH 315 “Not All the Blood of Beasts” LW 99, TLH 156 “Jesus, Priceless Treasure”  LW 270, TLH 347 “Lord of Our Life” LW 301, TLH 258 --Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). Service Bulletin:  Oculi-Divine-Service-for-Online-3-20-2022.pdf https://vimeo.com/687668907 Picture: The Lamb from  Das Newe Testament Deuotzsch.  The image is from Martin Luther's (1483-1546) September Testament.  The Lamb is worshiped in heaven as the earth is judged. Woodcut designed by Lucas Cranach, the Elder (1472-1553), a close friend of Martin Luther. For information on licensing this image, please send an email, including a link to the image, to dia@emory.edu.  These images are made available by the generous contribution of Thrivent Financial for Lutherans Foundation.

Order of Divine Service I, p.136  Lutheran Worship Hymn “In You, Lord, I Have Put My Trust”  LW 406, TLH 524 Readings:  Genesis 32:22-32, 1 Thessalonians 4:1-7, St. Matthew 15:21-28 Hymn “From Depths of Woe I Cry to You” LW 230, TLH 329 Sermon Communion Hymns: “Let All Mortal Flesh Keep Silence” LW 241 “I Do Not Come Because My Soul” TLH 379 “Not All the Blood of Beasts” LW 99, TLH 156 “When in the Hour of Deepest Need” LW 428, TLH 522 --Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). Service Bulletin:  Reminiscere-Divine-Service-for-Online-3-13-2022.pdf https://vimeo.com/687121781 Picture:  Armageddon from  Das Newe Testament Deuotzsch.  The image is from Martin Luther's (1483-1546) September Testament.  Revelation 19- The rider on the white horse achieves the final victory as the beast is cast into a lake of fire. Woodcut designed by Lucas Cranach, the Elder (1472-1553), a close friend of Martin Luther.  For information on licensing this image, please send an email, including a link to the image, to dia@emory.edu.  These images are made available by the generous contribution of Thrivent Financial for Lutherans Foundation.

Order of Divine Service I, p.136  Lutheran Worship Hymn “Who Trusts in God a Strong Abode” LW 414, TLH 437 Readings:  Genesis 3:1-21, 2 Corinthians 6:1-10, St. Matthew 4:1-11 Hymn “O Christ, Who Art the Light and Day”  TLH 559 Sermon Communion Hymns: “Onward, Christian Soldiers” LW 518, TLH 658 “Lord Jesus Christ, We Humbly Pray” LW 250, TLH 314 “Not All the Blood of Beasts” LW 99, TLH 156 “How Precious Is the Book Divine” LW 332, TLH 285 --Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). Service Bulletin:  Invocabit-Divine-Service-for-Online-3-6-2022.pdf https://vimeo.com/684053998 Picture:  Seven Bowls from  Das Newe Testament Deuotzsch.  The image is from Martin Luther's (1483-1546) September Testament.  Revelation 16- The seven bowls of God's wrath are poured out upon the earth as the dragon breathes evil spirits, depicted as frogs. Woodcut designed by Lucas Cranach, the Elder (1472-1553), a close friend of Martin Luther.  For information on licensing this image, please send an email, including a link to the image, to dia@emory.edu.  These images are made available by the generous contribution of Thrivent Financial for Lutherans Foundation.

Sign up to the free TellyCast newsletterOn this week's show we have two independent producer distributors who discuss the challenges in the market, how the content industry has shifted in the past few years and what those mean for producers right now.Kate Beal, CEO of UK-based Woodcut Media talks us through the lessons she learned from setting up a distribution business during the pandemic and Mark Bishop of Canada's MarbleMedia on the challenges and opportunities in the Canadian TV industry as the new and long overdue Online Streaming Act is set to change the game through the regulation of streaming platforms.  They're both in conversation with Boom! PR's Justin Crosby.TellyCast websiteTellyCast instaTellyCast TwitterTellyCast YouTube TellyCast is edited by Ian Chambers. Recorded in isolation on a bedroom in London.Music by David Turner, lunatrax. Recorded in lockdown March 2020 by David Turner, Will Clark and Justin Crosby. Voiceover by Megan Clark.

Order of Divine Service Introit and the Lenten Address The Litany, p.279-283 Lutheran Worship Readings:  Joel 2:12-19, 2 Peter 1:2-11, St. Matthew 6:1-21 Hymn “When over Sin I Sorrow” LW 367, TLH 152 Sermon Corporate Confession and Absolution, p.308-309 Lutheran Worship Communion Hymns: “Not All the Blood of Beasts” LW 99, TLH 156 “Glory Be To Jesus” LW 98, TLH 158 “By Grace I'm Saved” LW 351, TLH 373 Departing Hymn “Now the Day is Over” LW 491, TLH 654 --Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). Service Bulletin:  Ash-Wednesday-Divine-Service-for-Online-3-2-2022.pdf https://vimeo.com/684037224 Picture:  Judas from  Das Newe Testament Deuotzsch.  The image is from Martin Luther's (1483-1546) September Testament.  Two men attempt to kill a bird on a pole. The first with a bow and arrow and the second by blowing a pellet out of a tube. This is an image of the term "judas bird" in which a bird acts as a trap for hunted birds. Woodcut designed by Lucas Cranach, the Elder (1472-1553), a close friend of Martin Luther. For information on licensing this image, please send an email, including a link to the image, to dia@emory.edu.  These images are made available by the generous contribution of Thrivent Financial for Lutherans Foundation.

Order of Divine Service I, p.136  Lutheran Worship Hymn “Through Jesus' Blood and Merit” LW 369, TLH 372 Readings:  1 Samuel 16:1-13, 1 Corinthians 13:1-13, St. Luke 18:31-43 Hymn “Lord Jesus Christ, My Savior Blest” TLH 353 Sermon Communion Hymns: “If Thy Beloved Son, O God” TLH 375 “God, Whose Almighty Word” LW 317, TLH 307 “In You, Lord, I Have Put My Trust” LW 406, TLH 508 “Let Me Be Yours Forever” LW 257, TLH 334 --Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). Service Bulletin:  Quinquagesima-Divine-Service-for-Online-2-27-2022.pdf This Sunday we had technical difficulties, and thus the final minutes of the sermon and the prayers of the church are skipped. https://vimeo.com/679735925 Picture: The Letter O - Pentecost from  Das Newe Testament Deuotzsch.  The image is from Martin Luther's (1483-1546) September Testament.  Acts 2 - An initial letter O with the Holy Spirit coming down upon the disciples and Mary on Pentecost. Woodcut designed by Lucas Cranach, the Elder (1472-1553), a close friend of Martin Luther.  For information on licensing this image, please send an email, including a link to the image, to dia@emory.edu.  These images are made available by the generous contribution of Thrivent Financial for Lutherans Foundation.

Order of Divine Service I, p.136  Lutheran Worship Hymn “Through Jesus' Blood and Merit” LW 369, TLH 372 Readings: Isaiah 55:10-13, 2 Corinthians 11:19-12:9, St. Luke 8:4-15 Hymn of the Day “May God Embrace Us with His Grace” LW 288, TLH 500 Sermon “Lord Jesus Christ, You Have Prepared” LW 246, TLH 306 “Preserve Your Word, O Savior” LW 337, TLH 264 “Lord, Open Now My Heart to Hear” LW 197, TLH 5 “Lord, Keep Us Steadfast in Your Word” LW 334, TLH 261 Closing Hymn: “On What Has Now Been Sown” LW 217, TLH 46 --Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). Service Bulletin:  Sexagesima-Divine-Service-for-Online-2-20-2022.pdf https://vimeo.com/676845307 Picture: The 6th Seal from  Das Newe Testament Deuotzsch.  The image is from Martin Luther's (1483-1546) September Testament.  Revelation 6- Upon the opening of the sixth seal, there was a great earthquake, the sun turned black, the moon turned to blood, and the stars fell from the heavens. Woodcut designed by Lucas Cranach, the Elder (1472-1553), a close friend of Martin Luther.  For information on licensing this image, please send an email, including a link to the image, to dia@emory.edu.  These images are made available by the generous contribution of Thrivent Financial for Lutherans Foundation.  

Order of Divine Service I, p.136  Lutheran Worship Hymn “O God of God, O Light of Light” LW 83, TLH 132 Readings: Exodus 17:1-7, 1 Corinthians 9:24-10:5, St. Matthew 20:1-16 Hymn of the Day “Salvation unto Us Has Come” LW 355, TLH 377 Sermon “Through Jesus' Blood and Merit” LW 369, TLH 372 “Draw Near and Take the Body of the Lord” LW 240, TLH 307 “Seek Where You May to Find a Way” LW 358, TLH 383 “Dear Christians, One and All” LW 353, TLH 387 --Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). Service Bulletin:  Septuagesima-Divine-Service-for-Online-2-13-2022.pdf https://vimeo.com/676623026 Picture: The 5th Seal from  Das Newe Testament Deuotzsch.  The image is from Martin Luther's (1483-1546) September Testament.  Revelation 6- Upon the opening of the fifth seal, angels give the saints under the altar white robes. Woodcut designed by Lucas Cranach, the Elder (1472-1553), a close friend of Martin Luther For information on licensing this image, please send an email, including a link to the image, to dia@emory.edu.  These images are made available by the generous contribution of Thrivent Financial for Lutherans Foundation.

JACOB BLESSING HIS SONS. Jacob's twelve sons gathered to hear their father's prophecies regarding each of them and to receive his blessing (Genesis 49). Woodcut from the Cologne Bible, 1478-1480. Gen 49:1 In the last scene on Jacob's deathbed, surrounded by his children, he has a prophetic moment when he desires to tell them the (acharit yamim) end days. In the next verse (Gen 49:2) however, he launches into the blessings for each tribe. What happened between these two verses? Why did he not reveal to them the time of redemption? We tour the midrashic responses then three Hassidic masters and finally a dazzling Zohar that sheds light on the secret of survival during the dark night of exile.

Anatomy and surgery have strong extra-textual elements. The development and transmission of these crafts rely heavily on visual communication in a range of media, whether by practitioners or (other) illustrators. Some artists are justifiably renowned (eg Jan van Rymsdyk in the 18th century), some not as famous as they deserve (eg Joseph Towne and Henry Vandyke Carter in the Victorian era), and some (like 20th-century draughtsmen Kirkpatrick Maxwell and Sydney Sewell) are almost lost to history. Each brought new approaches, but older illustrative methods have also endured, even if deployed for different ends. The early 20th century was a key period in the history of depicting anatomy, whether surgical, morbid or comparative. Mass reproduction brought its own challenges and opportunities; pathological illustration played a surprising role in the medical history of WWI. Examining such developments aids our understanding of the relationship between clinician and artist, text and image, material and visual culture. Speaker: Dr Sam Alberti (Keeper of Science and Technology, National Museums Scotland)

How could we not talk about the Black Forest gateau (or cake) for a moment? We get back to reality with the real Black Forest which stands between the Nuremberg, Germany and Basel, Switzerland. Find out about the history and current practices of creating engravings and prints.   Thanks for listening! Be sure to tell a friend about the podcast to help us grow! Danke Schon!  If you're new to the Whispering Gallery podcast and our spooky, spine-tingling and hard-to-believe art stories I hope you'll subscribe and join our community! Please rate and review the podcast. Take care! Say hello, DM me on Instagram and comment on the posts to join the conversation! @whisperinggallerypodcast Please Support the Whispering Gallery Podcast: https://www.patreon.com/suzannenikolaisenart https://www.buymeacoffee.com/suznikart Social Media https://www.facebook.com/whisperinggallerystories/ https://www.instagram.com/whisperinggallerypodcast/ https://www.etsy.com/shop/MysticMediumsStudio

A broadsheet news article was printed and circulated reporting an event that had taken place in the skies over the city of Nuremberg, Germany before dawn on April 14, 1561. The broadsheet featured a woodcut engraving illustrating the “celestial phenomenon” that many who lived in the city, and outside the city gates had witnessed. The woodcut engraving and text were created by Hans Wolff Glaßer. We continue our discussion with the phenomena that continued over Basel Switzerland a few years later recorded with another engraving this time printed in the "Flugblatt of Basel 1566" pamphlet by Samuel Apiarius and Samuel Coccius. If you're new to the Whispering Gallery podcast and our spooky, spine-tingling and hard-to-believe art stories I hope you'll subscribe and join our community! Please rate and review the podcast and share it with a friend. Take care! Say hello, DM me on Instagram and comment on the posts to join the conversation! @whisperinggallerypodcast Please Support the Whispering Gallery Podcast: https://www.patreon.com/suzannenikolaisenart https://www.buymeacoffee.com/suznikart Social Media https://www.facebook.com/whisperinggallerystories/ https://www.instagram.com/whisperinggallerypodcast/ https://www.etsy.com/shop/MysticMediumsStudio