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s2e31 History of Prints The Enlightenment (part two)

Platemark: Prints and the Printmaking Ecosystem

Release Date: 07/23/2024

S3e97 the impulsivity and expressionism of artist Chuck Webster

Platemark: Prints and the Printmaking Ecosystem

Welcome to Platemark, where we dive into the creative minds shaping the art world. This week, we connect with Chuck Webster, an exceptional artist whose deep and impulsive connection to drawing is both therapeutic and transformative. From publishing his own childhood sketches to constantly finding inspiration in sources ranging from Russian folk art to urban graffiti, Chuck's work is a fascinating dialogue between instinct and refinement. Join us as he opens up about his cathartic process, how content magically emerges from form, his love for experimenting with vintage materials, and how his...

s3e96 directing David Krut Projects with Amé Bell

Platemark: Prints and the Printmaking Ecosystem

Ready to be globally inspired? On this episode of Platemark, Ann connects with the visionary Amé Bell, Director of David Krut Projects, who wears the hats of artist, historian, and curator. From the bustling print studios of Johannesburg, Amé brought South African voices to the world stage by curating the 2022 Venice Biennale Pavilion. They dive into the profound journey of collaborating with artists, how digital spaces are rewriting the rules of curating, and even get a peek at Amé's other passion: podcasting! Find out what it takes to make a moment in art history and the enriching impact...

s3e95 collaging identity with Yashua Klos

Platemark: Prints and the Printmaking Ecosystem

In this episode of Platemark, Ann converses with Yashua Klos, a passionate artist finding new connections through collaborative printmaking. They discuss his unique woodblock collage technique, his journey of self-discovery, and the impact of reuniting with family. We talk about the nuances of his artistic process, the emotional resonance of his work, and the importance of representation in the art world. Don't miss this insightful conversation that intertwines personal growth, artistic expression, and the vibrant community of printmaking. Cover image: Sean Pressley Artist’s IG:...

S3e94 art law with Yayoi Shionoiri

Platemark: Prints and the Printmaking Ecosystem

In this episode of Platemark, Ann talks with Yayoi Shionoiri, an arts lawyer and Vice President of External Affairs & General Counsel at Powerhouse Arts. Yayoi, who has over two decades of experience in art law, discusses her unique career path, from her initial interest in art history to working in law supporting artists and cultural workers. They talk about working together on the Brooklyn Fine Art Print Fair, the significance of transparency in art production, the evolving field of art law, and the intersections of technology and art, particularly generative AI. The conversation also...

S3e93 printing Peter Milton etchings with Robert Townsend

Platemark: Prints and the Printmaking Ecosystem

In this episode of Platemark, Ann delves into the intricate world of prints and printmaking with master printer Robert Townsend. With over 55 years of experience, Bob shares his journey, techniques, and notable collaborations with artists like Peter Milton, Jim Dine, and Michael Mazur. They take a deep dive into plate wiping, steel facing, and other essential intaglio processes. Tune in to learn about the nuances of printing detailed etchings, and gain insights into the collaborative efforts that bring them to life. IG @retownsendstudio !!

s2e35 History of Prints James Gillray

Platemark: Prints and the Printmaking Ecosystem

In this History of Prints episode, Tru and Ann look at the considerable output of British satirist James Gillray (1756–1815). Younger than William Hogarth by nearly sixty years, Gillray took Hogarth’s social commentary, its energy, and caustic approach, and used his skills to skewer politicians and kings, laugh at Napoleon and his empire building, point out the absurdity of the fear of vaccines, and make clear the debauchery of public executions. In fact, he’s now called the father of the political cartoon. With scary parallels to current events, Gillray’s acerbic eye nails it every...

s3e92 collagraph with artist Evan Summer

Platemark: Prints and the Printmaking Ecosystem

In this episode of Platemark, Ann talks with Evan Summer, who shares his journey from studying chemistry to becoming a printmaker and educator. We talk about the technical aspects and challenges of collagraph, a lesser-known printmaking technique, discussing its potential and common pitfalls. Evan also offers some essential hot tips on the technique. Evan explains the intersection of science and art in printmaking, emphasizing safety and technical precision. We also explore his dark, apocalyptic-themed landscapes contrasted with his occasional, whimsical animal prints. We talk about his his...

s3e91 watercolor monotypes with artist and printer Sue Oehme

Platemark: Prints and the Printmaking Ecosystem

In this episode of Platemark, Ann talks with Sue Oehme, owner of Oehme Graphics in Steamboat Springs, Colorado. Sue shares her journey into printmaking, starting with her initial foray into lithography before discovering her love for etching. We talk about the unique process and intricate technique behind her renowned watercolor monotypes, including how different surfaces and types of paper influence the final artwork. We also talk about her collaborative approach and highlight her experience with artists at Oehme Graphics. Sue also touches on her previous significant work experience at Tyler...

s3e90 Printing Black America with William Villalongo and Shraddha Ramani

Platemark: Prints and the Printmaking Ecosystem

In this episode of Platemark, Shraddha Ramani and William Villalongo discuss their monumental project Printing Black America: Du Bois’s Data Portraits in the 21st Century, which is being published in fall 2025. This modern update of W.E.B. Du Bois's data visualizations from 1900, which was created in response to the George Floyd protests, focuses on the lives of Black Americans today, incorporating contemporary data and research. The project includes 30 prints produced by six major printshops across the U.S., aiming to reflect the geographic and demographic shifts of Black populations since...

s3e89 monoprints with artist Nicholas Ruth

Platemark: Prints and the Printmaking Ecosystem

In this episode of Platemark, Ann talks with artist and educator Nick Ruth to discuss his multifaceted approach to art. Nick, who lives in Rochester and teaches at Hobart and William Smith Colleges, shares insights into his work across various media, including painting, drawing, and printmaking. They talk about his creative process, particularly his use of monoprints as a space for experimentation and growth. They talk about his inspirations, such as the bizarre charm of cell towers and the intriguing backs of road signs, and how these elements serve as metaphors for human communication. They...

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Enlightenment publications on human anatomy changed the way artists understood their place in the world. Check out these examples of life-changing images brought to you by prints in books!

In s2e31 of Platemark’s History of Prints series, Tru and Ann continue their discussion of the Enlightenment. This time they look at several publications that put forward new discoveries about human anatomy: William Hunter’s The Anatomy of the Human Gravid Uterus, Bernhard Siegfried Albinus’ Tabulae sceleti et musculorum corporis humani, and Jacques Fabien Gautier d’Agoty’s Myologie complette en couleur et grandeur naturelle. They conclude with Denis Diderot’s Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, a 17-volume tome that attempted to define and codify all of human knowledge.

At the end of the episode, Ann and Tru wax philosophical about how incredible this blossoming of human knowledge is, and how talking about it makes each of them think about our place as humans on the planet. It gets a bit deep, but worthwhile.

A. Hadamart. Exhibition of the Royal Academy of Painting and Sculpture in the Grande Galerie of the Louvre, 1699. Engraving.

Gabriel de Saint-Aubin (French, 1724–1780). Vue du Louvre en l’année 1753, 1753. Etching. Plate: 5 13/16 x 7 1/8 in. (14.8 x 18.1 cm.); sheet: 6 ¼ x 7 5/8 in. (15.8 x 19.3 cm.). Metropolitan Museum of Art, New York.

Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1785, 1785. Etching. Plate: 10 7/8 x 19 1/8 in. (27.6 x 48.6 cm.); sheet: 14 1/4 x 20 3/4 in. (36.2 x 52.7 cm.). Metropolitan Museum of Art, New York.

Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1787, 1787. Etching. Plate: 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York.

Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). The Exhibition of the Royal Academy 1787, 1787. Engraving. Plate: 36.1 x 49.9 cm. British Museum, London.

Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris.

Sir Joshua Reynolds (British, 1723–1792). Lady Sarah Bunbury Sacrificing to Graces, 1765. Oil on canvas. 242.6 × 151.5 cm. (95 1/2 × 59 3/4 in.). Art Institute of Chicago.

Sir Joshua Reynolds (British, 1723–1792). Lord Heathfield of Gibraltar, 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London.

Pietro Antonio Martini (Italian, 1738–1797). Salon de 1787: view of the Salon Carre at the Louvre during the painting exhibition in Paris, 1852. Engraving. From Frank Leslie’s Popular Monthly.

Jean-Antoine Houdon (French, 1741–1828). Voltaire Seated, 1781. Terra-cotta. 120 cm. tall. Musée Fabre, Montpellier.

Jean Honoré Fragonard (French, 1732–1806). Les hasards heureux de l’escarpolette (The Swing), c. 1767–68. Oil on canvas. 81 x 64.2 cm. The Wallace Collection, London.

Jean-Antoine Houdon (French, 1741–1828). Benjamin Franklin, 1778. Marble. 23 1/8 × 14 1/2 × 11 1/4 in. Metropolitan Museum of Art, New York.

Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague.

William Hunter (British, 1718–1783). Title page from The Anatomy of the Human Gravid Uterus. Birmingham: John Baskerville, 1774.

Jan van Rymsdyk (Dutch, c. 1730–1790). Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving.

Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.

Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the female genetalia and fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.

Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London.

Roman copy of Greek marble. The Dying Gaul, late 3^rd century BCE. Marble. Capitoline Museums, Rome.

William Pink (British, 1809–1857), after Agostini Carlini (British, born Italy, c. 1718–1790). Smugglerius, c. 1834. Plaster. Royal Academy of Arts, London.

Thomas Banks (British, 1735–1805). Anatomical Crucifixion (James Legg), 1801. Plaster cast. Royal Academy of Arts, London.

Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Title page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.

Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.

Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.

Leonardo da Vinci (Italian, 1452–1519). Sketchbook page, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.

Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London.

Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.

Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie générale des viscères. Paris: 1752.

Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie des parties de la génération de l'homme et de la femme. Paris, 1773.' Pregnant Woman

Jean-Antoine Houdon (French, 1741–1828). Denis Diderot (1713–1784), 1773. Marble. Height (bust): 15 3/4 in. (40 cm.); height (stand): 4 11/16 in. (11.9 cm.). Metropolitan Museum of Art, New York.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

Anatomy pages from the Encyclopedia Britannia, 1963.

Flags pages from the Encyclopedia Britannia, 1963.

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.

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