Episode 5

Southern Graphics Conference International with Artist Margot Myers

Margot Myers joins the show to discuss site a specific installation and what it’s like to volunteer for the largest printmaking conference in the US.

She is an intaglio print artist working in Bellingham, Washington, running a studio called Runaway Press where she creates her work, maintains a thriving batik business, and offers classes and events. Margot is also on the board of Southern Graphics Conference International and is serving a two-year term as  treasurer for the non-profit that runs the event.

With the 2019 conference recently taking place in Dallas, Texas, I invited her onto the show to tell me about her work on the board and what it’s like to help stage the largest printmaking conference in the US. She gives some perspective on this years event and gives us an eye into what we can expect in the years to come. We discuss programming, and particularly how the conference strives to provide content for all types of audiences including for first-timers like her student who joined her this year.

Margot also installed a large scale printstallation on an outdoor staircase this year, and she shares how that experience opened her eyes to the dynamics of foot traffic when it pertains to art that might tread on the art itself. She sees the irony that some people might not have been aware of the piece at all as they walk upon it, and she likens that lack of awareness to our society’s treatment of our watersheds, which was the imagery portrayed on the piece. She has installed numerous outdoor installations of prints in cities and in the forest, all in the name of pushing the boundary of a work on paper.

This is a great episode for anyone who is curious about how non-profits work, especially organizations that turn over their leadership every two years. How do they create continuity? Do they have systems that help one year inform the next? Steering committees for each new city change over as well, thus leaving each year to define itself in its local context. The next conference is going to be in San Juan, Puerto Rico and it’s the first time that the organization is bringing the event to that territory. That conference is being called Puertografico and information to participate should be available soon.

 

More info about SGCI: www.sgcinternational.org

Follow Margot: @runaway.press

Check out her work: www.runaway.press

More episodes available at: www.theprintcast.com

Follow the show at: @theprintcast

Episode 4

Public Print and Supply Co
with Joey Gross and Andrew Myers

Starting a letterpress shop isn’t easy, and it takes time. In this episode I talk with Andrew Myers and Joey Gross of Public Print and Supply Co in Kansas City. They’re a new printshop in town, but not new to the print game. With three months under their belts, we discuss the difficulty of self branding and previous businesses and shops where they both have worked. I inquire about the types of business they want to cater to, but also what they see for the future. With the start up phase of any business being rather mercurial, the future could result in many outcomes. It’s an exciting time for Joey and Andrew and this episode gives us a tiny view of what it’s like behind the press in a new studio and what that looks like in the early stages of development. 

Public Print and Supply Co is Andrew Myers and Joey Gross (formerly of Survival Letterpress) and is located in the West Bottoms district in Kansas City, Missouri.

Check out their work at
publicprint.co/

Follow Public Print and Supply on Instagram
@publicprintco

Follow The Print Cast on Instagram
@theprintcast

Episode 3

Sandow Birk and Elyse Pignolet

Episode 3 of The Print Cast features an interview with painter Sandow Birk and ceramicist Elyse Pignolet; two artists who collaborate in marriage and in art. We talk about their numerous large scale printmaking projects over the years. Working with Master Printer workshops they execute intaglio, relief and lithographic editions delving into political topics ranging from war, democracy, to the constitution. By appropriating formats, compositions, and production methods from historical artists and printmakers, they manage to create art that is poignant and contemporary while also being timeless.

See more of Sandow Birk’s work at sandowbirk.com

See more of Elyse Pignolet’s work at elysepignolet.com

Follow Sandow @sandowbirk
Follow Elyse @epignolet
Follow the Print Cast @theprintcast

Episode 2

May Tveit

Sometimes it takes an artist to show us the hidden meaning in everyday things, and my guest today has spent her creative career exploring just that. May Tveit is an artist who blurs the boundaries between architecture, design and fine art. Her thought provoking installations reflects on what we consume, how we consume it, and the manufactured landscape.

See May Tveit’s work at maytveit.com

Follow May @maytveit

Follow The Print Cast @theprintcast

Bonus Episode 1

Hugh Merrill Does Shakespeare

In this Print Cast extra, we want to share a priceless bit of audio that didn’t make it into the full length episode with our guest Hugh Merrill. Most people talk about what they ate for breakfast, but Hugh warms up the mic by reciting poetry, and his voice is like gold. We had some fun dressing up the audio and hope everyone enjoys it.

Also included is some general information about how to support the podcast by sharing about it on social media, reviewing and rating us on your favorite podcast platform, and donating via Patreon (http://patreon.com/theprintcast/) where these extras will be available to all donor levels.

 

Episode 1

Hugh Merrill

Hugh Merrill’s art is a conversation with his art form, printmaking. His work is about process and change; a call and response activity where variation is the intention, not the by-product. He creates sequential narratives in his studio practice, resulting in work that is diverse, expansive, evolving and conversational with itself, the artist and the print medium. “Variation is a means to come closer to articulating the essence of truth,” he says, and you can witness this in Merrill’s print work.

Learn more about Hugh Merrill’s work at hughmerrill.com