My interview with Kimberli Gant went live today. She's a curator at the Brooklyn Museum, but in Modern and Contemporary Art, not Prints and Drawings. In fact, Brooklyn doesn't have a print curator. Each curator is responsible for their respective ar…

Platemark series three is on its fifteenth episode. That's fifteen conversations with some of the wonderful people involved in the print ecosystem. As you might imagine, there have been growing pains, especially in the tech end of producing a podcas…

I have a problem that has vexed me since I was a teenager: I always assume people know what I know. It recently struck me that maybe you don’t know what a platemark is. It’s the embossed edges the plate makes as it goes through the press…

Tru and I have reached Rembrandt in our history of prints series and are taking a short break this summer. It turns out that when given an opportunity to relive the class Tru taught at the Maryland Institute College of Art through these episodes, he…

When I hosted Tru Ludwig’s History of Prints class at the museum, I pulled out a lot of wonderful works. During class there was a distinct ballet going on between Tru’s narrative and all the shifting of prints that Ben and I, a…

If you've been following along, you know that as a curator at the Baltimore Museum of Art I directed the last three iterations of its print fair (2012, 2015, 2017). You also likely know that I'm thrilled to be bringing a new print fair to …

I decided to call the podcast Platemark, the mark made by the edges of the plate after printing, because it indicates a framework into which any number of things can be placed. From the get-go my plan was to create content in series. First I wanted …