Show Notes: s3e114 Rachel Vogel
What happens when a visionary publisher collaborates with minimalist and conceptual giants like Chuck Close, Agnes Martin, and Dorothea Rockburne? In this episode, host Ann Shafer sits down with Rachel Vogel, Assistant Curator at the Addison Gallery of American Art, to explore the monumental legacy of Parasol Press. Rachel shares the behind-the-scenes stories of curating the exhibition Parasol Press: Breaking New Ground, diving into the innovative vision of founder Bob Feldman, the intricate technical synergy between artists and printers, and how this iconic press fundamentally revitalized the contemporary printmaking ecosystem.
Rachel Vogel. Parasol Press: Breaking New Ground. Andover, MA: Addison Gallery of American Art, 2026.
Rachel Vogel welcomes visitors to Parasol Press: Breaking New Ground at the Addison Gallery of American Art, 2026. That’s Wayne Thiebaud’s portfolio Seven Still Lifes and a Rabbit, 1971, on the left and Sol LeWitt’s Bands of Color in Four Directions & All Combinations, 1971, on the right. Straight back is Richard Tuttle’s portfolio Seven Aquatints, 1973. Photo: Tongji Philip Qian.
Dorothea Rockburne. Locus, 1972, published 1975. Six double-sided aquatint etchings with folding and embossing. Sheet (each): 40 x 30 in. Printed by Crown Point Press; published by Parasol Press, Ltd. Photo: Julia Featheringill.
Rachel Vogel talking about Dorothea Rockburne’s portfolio Locus, 1972, in Parasol Press: Breaking New Ground at the Addison Gallery of American Art, 2026. Photo: Tongji Philip Qian.
Chuck Close. Keith/Four Times, 1975. Lithograph. Sheet: 30 x 79 7/8 in.; Chuck Close. Final and proof of Keith, 1972. Mezzotint. Sheet: 51 x 41 ½ in.; Daniel Buren. 1000 Placements from the Rubber Stamp Portfolio, 1976, published 1977. Rubber stamp print. 8 x 8 in. Printed by Crown Point Press; published by Parasol Press, Ltd. Photo: Julia Featheringill.
Rachel Vogel conversing with Neil Onerheim in Parasol Press: Breaking New Ground at the Addison Gallery of American Art, 2026. That’s Chuck Close’s Keith in the background. Photo: Susan Golden Eventide Photo.
Agnes Martin. On a Clear Day, 1973. Portfolio of 30 screenprints. Sheet (each): 12 x 12 in. Printed by Edition Domberger; published by Parasol Press, Ltd. Photo: Julia Featheringill.
Rachel Vogel talking about Agnes Martin’s On a Clear Day, 1973, portfolio in Parasol Press: Breaking New Ground at the Addison Gallery of American Art, 2026. Photo: Tongji Philip Qian.
Bill Thompson. Edition, 2015. Etching with chine collé. Sheet: 21 ½ x 22 ¼ in. Printed and published by Center Street Studio.
Rubber Stamp Portfolio, 1976, published 1977. Rubber-stamp prints. Sheet (each): 8 x 8 in. Published by Parasol Press, Ltd. Photo: Julia Featheringill.
Curator / Podcaster / Fair Organizer
Ann Shafer is an independent curator, art historian, and a leading expert on the legacy of Stanley William Hayter and Atelier 17. As the creator and host of the Platemark podcast, she bridges the gap between technical print scholarship and the global community of artists and collectors.
Ann previously served as Associate Curator of Prints, Drawings, and Photographs at the Baltimore Museum of Art and has held curatorial positions at the Whitney Museum of American Art and the National Gallery of Art. She holds a BA from The College of Wooster and an MA from Williams College. Today, she channels her three decades of expertise into organizing the Brooklyn Fine Art Print Fair, co-editing a major centennial festschrift on Atelier 17, and leading curated art history tours across Europe. (Photo credit: Becky Redett)
Show Notes: s3e112 Marie Tennyson
