s3e68 editioning digital embroidery with printer Judith Solodkin
Platemark: Prints and the Printmaking Ecosystem
Release Date: 11/19/2024
s3e85 printing vintage semiconductors with artist Deb Puretz
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Deb Puretz, an IT professional and artist, discusses her journey into the art world and navigating it as an outlier. Deb, originally from California and now based in South Carolina, shares her experiences of making connections, leveraging business skills, and adapting to new technologies in art. She talks about her early career in Hong Kong, the pivotal moments in her art practice, and working with semiconductors to create unique prints. Deb emphasizes the importance of connections, perseverance, and aiding fellow artists. She also touches on the evolving...
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s3e84 printing in plaster with artist Jonathan Beaumont Thomas
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann talks with artist and teacher Jonathan Thomas who shares insights from his time at the Maryland Institute College of Art (MICA), the printmaking program he chairs, and his personal studio in Baltimore. We take a deep dive into his exploration of printing in plaster, detailing the technical process, historical context, and the challenges it presents compared to traditional intaglio printmaking. We talk about his shift from multi-plate color works to black and white, emphasizing the joy and struggle of achieving precise visual results. We talk about his...
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s3e83 solarplate etching with Dan Welden
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann sits down with the legendary artist and printmaker Dan Welden. The artist is known for his pioneering work in solarplate etching, a revolutionary, chemical-free printmaking process. Welden recounts his experiences and collaborations with significant artists like Eric Fischl and Elaine and Willem de Kooning. He also delves into his personal creative struggles, preferences for classical music, and tales of his distinctive handmade house filled with artist tiles and unique craftsmanship. The episode is a compelling insight into Welden's artistic journey...
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s3e82 topology- and philosophy-imbued domestic scenes with Ellen Heck
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, I talk with Ellen Heck about her artistic journey and work. We talk about the intricacies of printmaking techniques, Ellen's various portrait series, and the conceptual ideas behind her work. Ellen shares her journey from studying philosophy at Brown, to printmaking at the School of the Art Institute of Chicago, and finally working at the Kala Art Institute in Berkeley. They also explore topics like the influence of Mary Cassatt, the use of color wheels in organizing compositions, and Ellen's fascination with topology in her artwork. Our insightful conversation...
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s3e81 building and fixing presses with Mike Stark
Platemark: Prints and the Printmaking Ecosystem
In this episode of the Platemark, I interview Mike Stark, the co-founder and owner of Stark Press Company. The New Jersey-based company, run by Mike and his brother Tom, builds new presses, services old presses, and aids in moving them. They often collaborate with Perry Tymeson, a legendary press repairman. Mike shares insights into designing new presses, managing a small business, and balancing creative work. We talk about studying print media at SAIC in Chicago and establishing Stark Press. We talk about his experiences in moving heavy presses, sometimes in challenging conditions, and the...
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s3e80 melding printing and publishing with curatorial work with Mae Shore
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, I talk with Mae Shore, a collaborative printer and owner of Shore Publishing in Tuxedo Park, New York. Mae shares her experiences working at Pace Editions with notable artists like Jim Dine and Chuck Close. She discusses the history and evolution of her gallery and print shop, which she established to merge her love for printmaking and curating exhibitions. Mae touches upon specific projects, such as her collaborations with artists like Amy Bennett, Kamrooz Aram, and Katia Santibañez and James Siena, detailing the unique processes and challenges in creating...
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s3e79 contemporary Japanese prints with Michael Verne
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, I talk with Michael Verne, the owner of the Verne Collection in Cleveland, Ohio. Mike's gallery specializes in contemporary Japanese art and works by American artists residing in Japan. We talk about the challenges and rewards of running a small gallery amid larger competitors, and the importance of finding and promoting new artists. Mike shares insights about his journey in the art world, from his childhood surrounded by art to becoming a successful gallerist without a formal art education. He recounts various personal anecdotes, including his experiences at art...
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s3e78 electronic arts in printmaking with Myles Calvert
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Myles Calvert, a printmaker and professor, shares his extensive journey from growing up in Ontario, Canada, to studying and working in the UK, and eventually returning to Alfred University in New York, to become director of the Institute of Electronic Arts. Myles discusses his experiences working at prestigious galleries in London, giving up a tenure-track position, and the pivotal moments that shaped his career. He delves into his role as the Director of IEA at Alfred, including the intricacies of managing residencies, the use of technology in printmaking, and...
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s3e77 documenting the printmaking ecosystem with Susan Goldman
Platemark: Prints and the Printmaking Ecosystem
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...
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s3e76 the print studio as sanctuary with Bryan Raymundo
Platemark: Prints and the Printmaking Ecosystem
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...
info_outlineIn this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith’s passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works.
Cover image: Grace Graupe-Pillard
USEFUL LINKS
https://www.millinersguild.org/
https://www.soloimpression.com/
@judithsolodkin
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June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx.
Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx.
James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press.
Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C.
Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx.
Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx.
Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx.
Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx.
Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in.
Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE.
Judith Solodkin in one of her own creations.
Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY.
Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY.
Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression.
Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx.
Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx.
Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression.
Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore.
Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½ in. Printed and published by SOLO Impression, Bronx.
Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra.
Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx.
Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression.
Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression.
Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression.
Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx.
John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx.
John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx.
Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression.
Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx.
Beryl Korot. Weaver’s Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx.
Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023.
Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.
