s3e73 seeking a higher meaning in art with artist-activist Art Hazelwood
Platemark: Prints and the Printmaking Ecosystem
Release Date: 01/28/2025
S3e94 arts 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...
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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 !!
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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 (1756–1857). 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...
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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...
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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...
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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...
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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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s3e88 art consulting X ministry with Quahana Hendree
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Dr. Quahana Hendree, owner of Q Hendree Art Consulting in St. Louis, Missouri, shares her unique journey as an art consultant. Despite not being directly involved in the printmaking scene, Dr. Hendree brings a wealth of knowledge about art and its importance in various settings including corporate, commercial, and government spaces. She discusses the multifaceted role of an art consultant, detailing how she helps businesses curate collections that reflect their identity and values, manages existing collections, and advocates for the intrinsic value of art. The...
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HoP deep dive on ONE PRINT: Peter Milton's The Train from Munich
Platemark: Prints and the Printmaking Ecosystem
In Platemark's history of prints series, Ann Shafer and Tru Ludwig present a second installment of their ONE PRINT series, this time on Peter Milton's The Train from Munich, 1991. In this episode, Ann and Tru take a single work considered to be a high point in the history of prints, and pull it apart to explore its subject matter, technique, style, and composition. It's a deep, deep dive into a single work--what a luxury. All images of Peter’s art are © 2025 Peter Milton / Artists Rights Society (ARS), New York. Show me the !!
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s3e87 color printing in the 18th century with Meg Grasselli and Elizabeth Savage
Platemark: Prints and the Printmaking Ecosystem
In this episode Ann talks with Margaret Morgan Grasselli and Elizabeth Savage about their new, massive book, Printing Colour 1700–1830: Histories, Techniques, Functions, and Receptions (Oxford: Oxford University Press and the British Academy, 2025). The book, coming in at nearly 450 pages with 350 illustrations, is a landmark study blowing open a new field of study in print history. It offers a deep dive into a rich period of invention, experimentation, and creativity surrounding color printing in Europe between two critically important developments: four-color separation printing...
info_outlineIn 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/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
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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.
