In episode 12, Ann Shafer and Tru Ludwig discuss the titan of Venetian painting, Titian, who happened to also make prints. Plus Ann and Tru take a deep dive into the epic first book of anatomy, Vesalius' On the Fabric of the Human Body, 1543. It turns out Titian had…
In s2e11, Tru Ludwig and Ann Shafer talk about chiaroscuro woodcuts before moving on to the Mannerist painter and printmaker Parmigianino. Coming off the High Renaissance and the Sack of Rome in 1527, artists were looking for ways to shake it up. Out goes the solid forms and placid emotions…
In this bonus episode, Ann Shafer talks to Tru Ludwig about being an artist and art historian, and how being a professor in both disciplines plays out. It's a fascinating confluence of ideas and passions in one person.
In s2e10, co-hosts Ann Shafer and Tru Ludwig continue talking about Italian printmaking in the 16th century focusing on MarcAntonio Raimondi, Agostino Veneziano, Giulio Romano, and our first female artist, Diana Scultori. They take a deep dive into MarcAntonio's Judgment of Paris (after a drawing by Raphael), from which Edouard…
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…
In s3e49, Platemark host Ann Shafer talks with Valpuri Remling, collaborative printer and manager of the pro workshop at Tamarind Institute, University of New Mexico, Albuquerque, which was established in 1960 by the legendary June Wayne in order to preserve and promote the art of lithography. Valpuri, a native of…
In s2e9, co-hosts Ann Shafer and Tru Ludwig continue their conversation about early Italian printmaking with a strong focus on the engravings of Andrea Mantegna. They also talk about chiaroscuro woodcuts, always keeping the North within eyesight. Episode image: Andrea Mantegna (Italian, c. 1431–1506). Risen Christ between Saints Andrew and…
In s2e8, co-hosts Ann Shafer and Tru Ludwig talk about the early history of prints and books in Italy, comparing it to Northern Europe. Differences in style and materials are discussed using the example of Masaccio's The Holy Trinity with the Virgin and St. John and donors, 1425–27, the fresco…
In s2e7, co-hosts Ann Shafer and Tru Ludwig discuss intaglio printmaking techniques, which include engraving, etching, mezzotint, and drypoint. They also talk about aquatint and other methods of getting an image incised into a copper plate. Images related to the episode are at platemarkpodcast.com.
In s2e6, co-hosts Ann Shafer and Tru Ludwig discuss relief printmaking techniques, which include woodcuts and linoleum cuts. They also talk about reduction woodcuts, aka suicide woodcuts.
In Platemark s2e4, co-hosts Ann Shafer and Tru Ludwig finish talking about Albrecht Dürer. He had a remarkable career, and changed the perception and reception of prints in Europe at the beginning of the 16th century. Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving.…
In s2e5, co-hosts Ann Shafer and Tru Ludwig talk about paper as a support and the ink that is transferred from a matrix. Without these two materials, prints wouldn't exist.
In this bonus episode, co-hosts Ann Shafer and Tru Ludwig talk about how they got into art in the first place. From early childhood encounters through college, the hosts reveal why they love art and believe wholeheartedly in its transformative power.
In s2e3, co-hosts Ann Shafer and Tru Ludwig finally start talking about an artist. While there are artists of note before Dürer--say Martin Schongauer--he really changes everything. From his monogram claiming authorship to marketing his works, Dürer is the man. So much so that Ann and Tru only get through…
In s2e2, co-hosts Ann Shafer and Tru Ludwig talk about Europe in the 15th century and the state of printmaking, the printing press, moveable type, and early woodcuts. This episode sets the stage for the rest of the story of the history of Western printmaking.
Platemark Series Two, History of Prints kicks off with Ann Shafer and co-host Tru Ludwig introducing the series. They talk about teaching the History of Prints (HoP) for the Maryland Institute College of Art (MICA) using the print collection at the Baltimore Museum of Art over the course of 15…
In the final episode in season one, Ann and Ben talk about the print ecosystem: collaborative printmaking, print publishing, galleries, art fairs, and the fabulous cast of characters that inhabit the print world.
Ann and Ben discuss the ballet that occurs in the printshop when the team is editioning a print. Everything is planned. Jigs are made. Everyone has their role. When it's running smoothly, it's sublime. Also, it's hard work.
Ann Shafer has a new podcast called The Curator's Choice in which she talks about one object (or set of set of objects) and why she likes it, how she would pitch it, and other behind-the-thinking stuff.
In s1e7, Ann and Ben finally turn to prints and printmaking, and evangelize about how wonderful prints are, why they are different and special, why it takes work to get over the hump of understanding technique to get to content. They discuss how technique can inform meaning, how the translation…
Editions are the topic of this bonus episode. Ann and Ben talk about the ins and outs of editions: definitions, numbering, exceptions, the publisher-artist relationship. It's definitely not simple.
In episode 106, Ann and Ben continue their conversation about the Western canon, the state of museums in the 21st century, and discuss breaking down the systems that are the foundation of the modern museum.
In this bonus episode, Ann and Ben talk about how they got into this art thing in the first place. Seems it helped to have artists in the family.
In s1e5, Ann and Ben talk about the Western art-historical canon and recent, important efforts to redefine it, to break it apart, to destroy it. How can/should museums embrace multiple voices and points of view? What happens to museum collections?