s3e38 Jillian Ross

In this week's episode of Platemark (s3e38), host Ann Shafer talks with Jillian Ross, collaborative master printer and publisher with an eponymous imprint, Jillian Ross Print, in Saskatoon, Saskatchewan, Canada.

Ross returned to her native Saskatoon after many years in Johannesburg, South Africa, where she was the master printer at the David Krut Workshop (DKW) from 2003 to 2020.  There, she worked with over 100 South African and international artists, most notably William Kentridge. Ross and partner Brendan Copestake founded Jillian Ross Print in 2021 in Saskatoon, where they continue working on collaborative projects in South Africa as well as developing new relationships abroad.

Ross has collaborated with William Kentridge since 2006 on major, complicated, and multi-part print projects, including the Triumphs and Laments Woodcuts (2016–21), The Universal Archive (2011–15), The Noses (2006–10) at DKW, and the recently released Studio Life Gravures (2020–22) from Jillian Ross Print (co-published with DKW). Her collaboration with Kentridge continues.

Other recent projects include a partnerships with Latitudes Online, South African artists Cinthia Sifa Mulanga and Puleng Mongale, and the technical team at The University of Alberta in Canada. Ross recently realized an exhibition, William Kentridge: The Colander, at Griffin Art Projects in Vancouver, BC, with curator Lisa Baldissera, the Kentridge Studio, and David Krut Projects in Johannesburg.

Throughout her work, particularly in the publicly accessible open-studio format of DKW at Arts on Main in Johannesburg, Ross has promoted and enhanced artist, collector, and public knowledge of printmaking through mentorship, educational workshops, and knowledge sharing.

Episode image: Lucy MacGarry

USEFUL LINKS

https://www.jillianrossprint.com

https://www.instagram.com/jillianrossprint_/

https://www.facebook.com/jillian.ross.520

https://www.linkedin.com/in/jillianrossprint

https://www.griffinartprojects.ca/exhibitions/william-kentridge-the-colander

https://latitudes.online/artworks.html

https://latitudesartfair.com/about-the-event/

https://remaimodern.org/about/remai-modern-museum/

Jillian Ross working on William Kentridge’s photogravure plates at the University of Alberta, Edmonton.

Jillian Ross (on ladder) working on William Kentridge prints at David Krut Workshop, Johannesburg, South Africa.

William Kentridge looks at a print with (from l-r) Brendan Copestake, David Krut, Jillian Ross, Roxy Kaczmarek, and Kim-Lee Loggenberg.

Jillian Ross (right) inspecting proofs with (from l-r) Sarah Judge, David Krut, and William Kentridge at David Krut Workshop, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with Arakaji Natural Gampi and White Gampi MM20 chine collé on Hahnemühle Natural White 300gsm paper. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 ¼ x 16 ½ in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Universal Archive: Big Tree, 2012. Linoleum cut on 15 sheets of Encyclopedia Britannica pages. Sheet: 82 x 90 cm. (32 ¼ x 35 3/8 in.); image: 77 x 72.4 cm. (30 3/8 x 28 ½ in.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Nose: #25, 2009. Drypoint, etching, and liftground aquatint. Plate: 35 x 14.9 cm. (13 ¾ x 6 in.); sheet: 40 x 35 cm. (15 ¾ x 13 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.

Jillian Ross creating assembly instructions, charts, and maps for Kentridge’s Triumphs and Laments, 2018–19.

Jillian Ross working on the complicated print Triumphs and Laments: Refugees, 2018–19, by William Kentridge. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum cut on Somerset Velvet Soft White 300 gsm. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge | The Colander. Exhibition curated by Lisa Baldiserra. Griffin Art Projects, Vancouver, BC. May 29–September 4, 2021.

William Kentridge and DKW printer Kim-Lee Loggenberg.

A scene from William Kentridge’s Self-Portrait as a Coffee Pot.

Giorgio Morandi (Italian, 1890–1964). Grande natura morta con la caffettiera (Large Still Life with Coffeepot), 1933, printed later. Etching. Plate: 11 11/16 x 15 3/8 in. (29.7 x 39 cm.); sheet: 15 1/16 x 20 1/8 in. (38.3 x 51.1 cm.). Published by Calcografia Nazionale, Rome. Museum of Modern Art, New York.

William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published by Jillian Ross.

William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with chine collé. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 ¼ x 16 ½ in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge in studio.

Components of William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published David Krut Projects, Johannesburg, South Africa.

David Krut watches William Kentridge work in his studio on Eight Vessels.

Installation view of William Kentridge | The Colander. Exhibition curated by Lisa Baldiserra. Griffin Art Projects, Vancouver, BC. May 29–September 4, 2021, featuring Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.

William Kentridge’s Triumphs and Laments, Tiber River.

William Kentridge (South African, born 1955). Tree (17), 2022. Direct gravure with drypoint on gampi chine with red pencil. 563.5 x 62.9 cm. Published by David Krut Workshop and Jillian Ross Print.

Cinithia Sifa Mulanga (South African, born 1997). Vulnerable, 2022. Direct gravure with photogravure on chine collé and collage. Plate: 40.5 x 30.2 cm.); sheet: 51 x 40.5 cm.). Published by David Krut Projects, Johannesburg, South Africa.

Puleng Mongale signing the edition of Grounded, 2021. Photogravure with etching with color roll on surface Gampi chine collé. 48.5 x 62.5 cm. Co-published by Latitudes Online and Jillian Ross Print.

William Kentridge (South African, born 1955). The Old Gods Have Retired, 2022. Photogravure with liftground aquatint, direct gravure, drypoint and chine collé with found ledger paper and hand painting. Sheet: 175 x 210 cm. Co-published by David Krut Projects and Jillian Ross Print.

William Kentridge working on Mantegna from the Triumphs and Laments series.

Latitudes Online website.

Shepstone Gardens, site of the RMB Latitudes Art Fair. Johannesburg, South Africa.

RMB Latitudes Art Fair. Johannesburg, South Africa.

Remai Modern Museum, Saskatoon, Sasketchawan.

Nick Cave (American, born 1959).  Spinner Forest, 2020. Installation view at Remai Modern, 2023. Photo: Carey Shaw.

Chad Cordiero and Sbongiseni Khulu printing one of 77 elements for Kentridge’s Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.

Robyn Penn prints in process. Lithographs on Awagami Kitkata chine collé pn Zerkall White. Each: 76 x 63.5 cm. Published by Jillian Ross Print.

William Kentridge at work.

William Kentridge and David Krut inspect an impression of Tree (17).

Platemark is produced by Ann Shafer
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