Episode 9 | Collaborative Printing in New Zealand with Auckland Print Studio
Episode 9 of The Print Cast features a discussion with John Pusateri and Jan Philip Raath who together run Auckland Print Studio in Point Chevalier, New Zealand. It’s one of the few studios in NZ offering litho, intaglio, relief and other print services to artists who want to create editions. We talk business models as they try to search for a way to move forward towards sustainability with print sales and program expansion. It is never clear what the most optimal model is for running a shop, but after 10 years they have created a solid foundation for their next steps forward. If you’ve ever been curious what it would take to do printmaking in far-off locales, this one is for you.
Episode 8 | Part 2 | The Power of Political Satire with Artist Enrique Chagoya
In Part 2 of Nick’s interview with Enrique Chagoya, they do a deep dive into his art. They discuss the history of the codex book format, dating back to pre-columbian times, and why it’s a relevant format for Chagoya’s art. If you recall, it was a lithographic codex that was vandalized in Loveland, Colorado, and we recounted the entire incident in Part 1 of this interview. We go on to talk about appropriation and specifically artists who create art on top of other artists’ work. Chagoya calls prints unique multiples, which implies they possess a similar aura like that of unique works of art. The artist shares how he maintains work-life balance, why meditation helps his daily life, and how he keeps going with a busy teaching and art career.
Episode 7 | Part 1 | The Power of Political Satire with Artist Enrique Chagoya
Nick sits down with artist Enrique Chagoya, in Part 1 of a two-part series. Enrique Chagoya is an artist who inverts cultural appropriation in a manner he calls “Reverse Anthropology”. With a deft wit, his paintings, drawings, prints and codices use “symbols as one would use words in a sentence,” often with hilarious and biting results. At times his art can even arouse misinterpretation, negative press, and even vandalism. Nevertheless he persists and continues to tackle subjects like sexual abuse in the Catholic Church, racism, xenophobia, and pop culture, to name a few. Present in all of his work is humor, thoughtful juxtapositions, and myriad references harkening back to other artists’ work, pop icons, figures of government, and his Mexican heritage. It can be disarming to view his work, where you might be laughing and unsettled at the same time. And that is the power of his art; it is intended not to change minds but provoke conversation and dialog.
Chagoya is currently Professor of Art at Stanford University. His work has been shown internationally and is represented in the collections of the San Francisco Museum of Modern Art, the LA County Museum of Art, the National Museum of American Art, the Des Moines Art Center, the Whitney, MOMA, and the Metropolitan Museum of Art.
Episode 6 | SoCal Community Printmaking with The Printshop LA
Imagine a space where you can spend an afternoon screen printing your own band merch? Or finally learn how to use a Risograph machine to print your own zine? Maybe you want to enroll in a class; maybe make an etching or a woodcut? It can be difficult to find the space and amass the needed tools and learning the techniques is another huge hurdle. Today in Los Angeles, there is one place where you can attempt to do all of that and more. Nestled in Chinatown, sharing a space with an art book seller A.G. Geiger, 4 artists run a communal printmaking studio called Printshop LA. These artists come from diverse backgrounds with personal art practices that dovetail with the mission of the shop. It reflects the vitality of LA’s art scene where artists often have to join forces to make an impact and create opportunities. By combining business models, they not only enhance their individual practices but also extend a lifeline to artists and the public who would love to share their equipment and resources. Printshop LA is Michelle Miller, Jayse Caitlin, Sean Hernandez and Dave Kloc. I welcome three of the four founding members today where we’ll talk about their pursuit of making printmaking accessible in Los Angeles.
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Episode 5 | Southern Graphics Conference International with 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 | Letterpress Startup Public Print and Supply Co
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
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Episode 3 | Artist Duo Sandow Birk and Elyse Pignolet
While maintaining their own artistic careers, husband and wife Sandow Birk and Elyse Pignolet frequently team up to create prints, installations, murals, and films, examining and often lampooning contemporary American life and politics. Merging her background as a ceramicist and his as a printmaker and painter, the couple, according to Birk, works together “really well and it’s a total team effort, from the initial ideas and discussions about concepts, to the fabrication and installation of works.” Their home city of Los Angeles often serves as their primary inspiration. Among their recent collaborations is a diptych of sorts, two lithographed maps of the world titled A Conservative Map of the World and A Liberal Map of the World (2011). Smart and sarcastic, these maps re-label land and sea according to the worldviews of liberals and conservatives—vastly opposed, equally strident. -Artsy
Episode 2 | Universality in Materials with Sculptor May Tveit
May Tveit is an artist who creates large scale and formally succinct sculptural work and installations that are impactful, relevant and memorable. Found in traditional art venues or in nontraditional settings her works may exist for a few hours, a few days, or longer. She typically employs readymade products and architectural structures to investigate systems of order, desire, and use. The visually playfulness in her work generally serves as a seductive entry, giving way to provocation and criticality.
She’s had solo exhibitions at the Nerman Museum of Contemporary Art, Studios Inc. and the Epsten Gallery. Her work has been featured in Art in America, Art Practical, Review Magazine and National Public Radio. Tveit is a Charlotte Street Fellow, recipient of an Andy Warhol Foundation Rocket Grant, American Institute of Architects Allied Arts & Craftsmanship Award and multiple Arts KC inspiration grants. Tveit was selected and participated in Art OMI international artist residency; Creative Capital professional development workshop and has received creative work fellowships and travel grants in support of public happenings in Kansas, New York, Europe and Mongolia. Her work is included in the collections of Hallmark, National Center for Drug Free Sport, Fishnet Security, The MDC Museum of Art and Design and private collections.
Tveit has taught at the Rhode Island School of Design, The Kansas City Art Institute and currently teaches at the University of Kansas. Tveit received her BFA from the Rhode Island School of Design, studied in Rome with the RISD European Honors Program, and received her MastersDegree in Industrial Design from the Domus Academy in Milan, Italy.
Episode 1 | Printmaker and Community Artist Hugh Merrill
Hugh Merrill began his artistic career in 1969 at the Maryland Institute College of Art in Baltimore, Maryland. Very quickly he found himself focused on printmaking, specifically working on etchings of the urban environment in the 1970’s. He resisted the term landscape as a description of his work, feeling the term looked backward towards a time when the relationship between mankind and nature was dominated by romantic ideas of progress. Instead, Merrill referred to these etchings as real-estatescapes, a phrase meant to represent the dominance of society over nature. Nature had been divided up for the economic benefit of industrial corporations. Landscapes were for sale, and he wanted his prints and drawings to confront this reality. His early affinity for printmaking was due in part to an undiagnosed learning disability that made it extremely difficult for him to read. To his eyes, the white spaces of a page dominated the text and the entire page vibrated before him. He often saw words in reverse. Not surprisingly, printmaking’s reliance on the reversal of the drawn image became a natural area of investigation. He discovered a means to achieve his vision, and printmaking became his primary means of expression for the next four decades.
Learn more about Hugh Merrill at his website here.