WEBVTT

1
00:00:32.790 --> 00:00:33.729
Hello everyone.

2
00:00:33.730 --> 00:00:35.130
Oh, what a great crowd.

3
00:00:36.150 --> 00:00:37.809
Welcome to the Billy Wilder Theater.

4
00:00:37.810 --> 00:00:39.689
My name is Shannon Sanova and I

5
00:00:39.690 --> 00:00:41.409
am the manager of public programs

6
00:00:41.410 --> 00:00:43.569
here at the Hammer Museum.

7
00:00:43.570 --> 00:00:45.169
I hope you all know that I'm not

8
00:00:45.170 --> 00:00:46.809
exaggerating when I say it's a great

9
00:00:46.810 --> 00:00:48.829
honor to support the production of

10
00:00:48.830 --> 00:00:50.869
conversations like this one about to

11
00:00:50.870 --> 00:00:52.449
happen on stage.

12
00:00:52.450 --> 00:00:53.969
With the uncertainty surrounding the

13
00:00:53.970 --> 00:00:55.189
future of arts funding in this

14
00:00:55.190 --> 00:00:57.169
country, it's really heartening to

15
00:00:57.170 --> 00:00:59.069
be in community with artists and

16
00:00:59.070 --> 00:00:59.949
thinkers.

17
00:00:59.950 --> 00:01:01.709
Committed to the promise of art and

18
00:01:01.710 --> 00:01:03.529
ideas to illuminate our lives and

19
00:01:03.530 --> 00:01:05.509
build a more just world.

20
00:01:05.510 --> 00:01:07.489
We're also deeply grateful for

21
00:01:07.490 --> 00:01:09.369
the support for this program from

22
00:01:09.370 --> 00:01:11.549
the Getty through the Paper Project

23
00:01:11.550 --> 00:01:12.550
Initiative.

24
00:01:13.410 --> 00:01:15.169
Tonight's panel is moderated by

25
00:01:15.170 --> 00:01:17.189
Naoko Takahate, the Director and

26
00:01:17.190 --> 00:01:19.469
Chief Curator of the UCLA Grunwald

27
00:01:19.470 --> 00:01:21.369
Center for the Graphic Arts,

28
00:01:21.370 --> 00:01:23.529
which is housed here in the Hammer.

29
00:01:23.530 --> 00:01:25.449
Prior to her time here, Naoko

30
00:01:25.450 --> 00:01:27.269
oversaw and expanded the Getty

31
00:01:27.270 --> 00:01:29.209
Research Institute's extensive

32
00:01:29.210 --> 00:01:31.209
holdings of works on paper from

33
00:01:31.210 --> 00:01:33.409
the 15th to the 21st centuries

34
00:01:33.410 --> 00:01:35.969
and contributed to the organization

35
00:01:35.970 --> 00:01:38.189
of many outstanding exhibitions.

36
00:01:39.210 --> 00:01:40.989
She also served as the curator of

37
00:01:40.990 --> 00:01:43.309
prints and drawings at LACMA,

38
00:01:43.310 --> 00:01:44.569
leading the charge for a vast

39
00:01:44.570 --> 00:01:46.349
reorganization of their prints and

40
00:01:46.350 --> 00:01:47.739
drawing collection.

41
00:01:47.740 --> 00:01:49.039
There's very little printmaking

42
00:01:49.040 --> 00:01:50.719
scholarship that her work has not

43
00:01:50.720 --> 00:01:52.099
touched, and we're thrilled to have

44
00:01:52.100 --> 00:01:53.919
her here at the Hammer overseeing

45
00:01:53.920 --> 00:01:54.920
the Grunwald.

46
00:01:55.680 --> 00:01:57.259
The Grunewald Center for the Graphic

47
00:01:57.260 --> 00:01:59.499
Arts was established in 1956

48
00:01:59.500 --> 00:02:01.559
and has grown over the years

49
00:02:01.560 --> 00:02:04.459
and now holds more than 45,000

50
00:02:04.460 --> 00:02:06.939
prints, drawings, and photographs

51
00:02:06.940 --> 00:02:09.000
from the Renaissance to the present.

52
00:02:10.020 --> 00:02:11.739
The Hammer has a gallery dedicated

53
00:02:11.740 --> 00:02:13.639
to works on paper which frequently

54
00:02:13.640 --> 00:02:15.339
exhibits works from the Grünwald

55
00:02:15.340 --> 00:02:16.429
collection.

56
00:02:16.430 --> 00:02:18.189
As well as a study center where

57
00:02:18.190 --> 00:02:20.089
students, scholars, or other

58
00:02:20.090 --> 00:02:21.809
members of the public can make

59
00:02:21.810 --> 00:02:23.389
appointments to view works from the

60
00:02:23.390 --> 00:02:24.770
vast and varied collection.

61
00:02:25.790 --> 00:02:27.289
We just opened an incredible

62
00:02:27.290 --> 00:02:29.169
exhibition titled Performance

63
00:02:29.170 --> 00:02:31.689
on Paper curated by NELCO,

64
00:02:31.690 --> 00:02:33.609
which investigates how works of art

65
00:02:33.610 --> 00:02:35.649
on paper can store sound

66
00:02:35.650 --> 00:02:37.829
and movement, becoming lasting

67
00:02:37.830 --> 00:02:40.049
visual records of ephemeral sonic

68
00:02:40.050 --> 00:02:42.429
and dance experiences.

69
00:02:42.430 --> 00:02:43.889
I encourage everyone to come back

70
00:02:43.890 --> 00:02:45.129
and spend some time in the

71
00:02:45.130 --> 00:02:46.130
galleries.

72
00:02:46.840 --> 00:02:48.299
So tonight's conversation explores

73
00:02:48.300 --> 00:02:50.199
the place of printmaking in Los

74
00:02:50.200 --> 00:02:52.539
Angeles through Analia Saban's

75
00:02:52.540 --> 00:02:54.219
creative practice and her many

76
00:02:54.220 --> 00:02:56.019
innovative collaborations with

77
00:02:56.020 --> 00:02:58.339
renowned Los Angeles print shops,

78
00:02:58.340 --> 00:03:00.899
including Gemini Gel, Mixographia,

79
00:03:00.900 --> 00:03:02.419
and El Nepal Press.

80
00:03:02.420 --> 00:03:04.479
You'll hear more from and about the

81
00:03:04.480 --> 00:03:06.439
incredible master printmakers,

82
00:03:06.440 --> 00:03:08.179
press directors, and founders.

83
00:03:08.180 --> 00:03:10.319
But for now, I'll introduce Analia.

84
00:03:11.640 --> 00:03:13.759
Born in Argentina and based in Los

85
00:03:13.760 --> 00:03:15.659
Angelus, Analia Saban works

86
00:03:15.660 --> 00:03:17.129
across mediums.

87
00:03:17.130 --> 00:03:19.169
Exploring how art objects are

88
00:03:19.170 --> 00:03:21.229
constructed and understood.

89
00:03:21.230 --> 00:03:23.049
Her work is deeply engaged with the

90
00:03:23.050 --> 00:03:24.849
tools of art making.

91
00:03:24.850 --> 00:03:26.429
While she regularly uses traditional

92
00:03:26.430 --> 00:03:28.269
materials, she subverts and

93
00:03:28.270 --> 00:03:29.869
often combines them with digital

94
00:03:29.870 --> 00:03:32.029
technologies to completely rethink

95
00:03:32.030 --> 00:03:33.769
how an artwork functions.

96
00:03:34.870 --> 00:03:36.509
Saban's work is in collections as

97
00:03:36.510 --> 00:03:39.069
close as that of the Hammer Museum,

98
00:03:39.070 --> 00:03:40.929
LACMA, the Getty Research Institute,

99
00:03:40.930 --> 00:03:43.069
and MOCA, to as far-reaching

100
00:03:43.070 --> 00:03:44.949
as MOMA, the National Gallery

101
00:03:44.950 --> 00:03:46.869
in Washington DC, the

102
00:03:46.870 --> 00:03:48.709
Center Pompidou, Malba

103
00:03:48.710 --> 00:03:50.669
and Buenos Aires, the Israel

104
00:03:50.670 --> 00:03:52.609
Museum in Jerusalem,

105
00:03:52.610 --> 00:03:54.409
the National Gallery of Victoria and

106
00:03:54.410 --> 00:03:57.349
Melbourne, among many others.

107
00:03:57.350 --> 00:03:58.949
Now please join me in welcoming

108
00:03:58.950 --> 00:04:01.749
Naoko Takahateke, Analia Saban,

109
00:04:01.750 --> 00:04:03.689
Case Hudson, Master Printmaker at

110
00:04:03.690 --> 00:04:05.809
Gemini Gel, Shaya Remba,

111
00:04:05.810 --> 00:04:07.489
Director of Mixographia, and

112
00:04:07.490 --> 00:04:09.469
Francesco Siqueiros, founder of El

113
00:04:09.470 --> 00:04:10.470
Nopal Press.

114
00:04:41.620 --> 00:04:43.439
Good evening, thank you Shannon

115
00:04:43.440 --> 00:04:45.219
for the introduction and thank you

116
00:04:45.220 --> 00:04:47.039
all for being here with us this

117
00:04:47.040 --> 00:04:49.059
evening. So many friendly

118
00:04:49.060 --> 00:04:50.979
faces and we're

119
00:04:50.980 --> 00:04:52.119
just so delighted.

120
00:04:53.460 --> 00:04:55.259
Since its first maturity in the

121
00:04:55.260 --> 00:04:57.139
Renaissance, the making of prints in

122
00:04:57.140 --> 00:04:59.079
the Western tradition has involved

123
00:04:59.080 --> 00:05:01.559
the combined skills of a designer,

124
00:05:01.560 --> 00:05:03.639
printmaker and printer.

125
00:05:03.640 --> 00:05:05.339
While the role of the artist is

126
00:05:05.340 --> 00:05:07.319
widely acknowledged, that of the

127
00:05:07.320 --> 00:05:09.199
printer over the centuries has

128
00:05:09.200 --> 00:05:11.639
often escaped attention.

129
00:05:11.640 --> 00:05:13.179
And yet, it is the hand of the

130
00:05:13.180 --> 00:05:15.039
printer that can be essential to

131
00:05:15.040 --> 00:05:16.719
understanding how a print was

132
00:05:16.720 --> 00:05:18.139
created.

133
00:05:18.140 --> 00:05:20.079
Crucially, the print shop is

134
00:05:20.080 --> 00:05:22.279
the locus of collaboration, and

135
00:05:22.280 --> 00:05:24.279
it is a creative partnership between

136
00:05:24.280 --> 00:05:26.219
artist and printer that is the

137
00:05:26.220 --> 00:05:27.899
subject of our panel this evening.

138
00:05:29.560 --> 00:05:31.419
It's always a pleasure to be in

139
00:05:31.420 --> 00:05:33.319
conversation with Analia Saban,

140
00:05:33.320 --> 00:05:35.279
and I'm delighted that we are joined

141
00:05:35.280 --> 00:05:37.559
by three of Analia's

142
00:05:37.560 --> 00:05:39.419
printmaking collaborators,

143
00:05:39.420 --> 00:05:41.919
Francesca Sequeiros of El Nopal.

144
00:05:41.920 --> 00:05:44.259
Kase Hudson of Gemini GEL,

145
00:05:44.260 --> 00:05:46.120
and Shaya Remba of Mixographia.

146
00:05:47.320 --> 00:05:49.219
Just to give you an overview

147
00:05:49.220 --> 00:05:51.279
of our program, I

148
00:05:51.280 --> 00:05:53.079
will start by turning the floor over

149
00:05:53.080 --> 00:05:54.959
to Analia, who will tell us

150
00:05:54.960 --> 00:05:57.019
about her creative practice and

151
00:05:57.020 --> 00:05:58.599
the important place of printmaking

152
00:05:58.600 --> 00:05:59.759
within it.

153
00:05:59.760 --> 00:06:01.619
And then I'll speak

154
00:06:01.620 --> 00:06:03.539
to each printmaker in turn, and

155
00:06:03.540 --> 00:06:05.160
then we'll open up the dialog.

156
00:06:06.800 --> 00:06:09.039
And yes, I'm looking forward to

157
00:06:09.040 --> 00:06:11.099
a very stimulating conversation.

158
00:06:11.100 --> 00:06:12.100
To.

159
00:06:13.390 --> 00:06:14.569
I'm just going to say a few words

160
00:06:14.570 --> 00:06:16.789
about Analia's work.

161
00:06:16.790 --> 00:06:18.729
Analia creative practice begins

162
00:06:18.730 --> 00:06:20.649
with a series of fundamental

163
00:06:20.650 --> 00:06:22.489
generative questions about the

164
00:06:22.490 --> 00:06:25.129
purpose and significance of art.

165
00:06:25.130 --> 00:06:26.849
She interrogates the nature and

166
00:06:26.850 --> 00:06:29.149
meaning of materials and processes,

167
00:06:29.150 --> 00:06:30.389
exploring and challenging

168
00:06:30.390 --> 00:06:32.389
conventional assumptions about

169
00:06:32.390 --> 00:06:34.369
the formal properties and values

170
00:06:34.370 --> 00:06:36.929
attached to a given medium.

171
00:06:36.930 --> 00:06:39.289
Her approach is at once rigorously

172
00:06:39.290 --> 00:06:41.949
research-based and inventive,

173
00:06:41.950 --> 00:06:43.979
forensic and playful.

174
00:06:43.980 --> 00:06:45.959
Her work bridges and subverts

175
00:06:45.960 --> 00:06:47.919
material functions,

176
00:06:47.920 --> 00:06:49.619
proposing new dialogs between

177
00:06:49.620 --> 00:06:51.999
printmaking, painting, photography,

178
00:06:52.000 --> 00:06:53.040
sculpture, and weaving.

179
00:06:54.200 --> 00:06:56.179
Saban conceptually and physically

180
00:06:56.180 --> 00:06:58.119
deconstructs and reconfigures

181
00:06:58.120 --> 00:06:59.860
familiar materials and forms.

182
00:07:04.350 --> 00:07:05.769
Here we go. Here's an example.

183
00:07:07.470 --> 00:07:09.669
Weaving dried acrylic paint

184
00:07:09.670 --> 00:07:11.509
strips into the warp and weft

185
00:07:11.510 --> 00:07:13.569
of linen canvas, draping

186
00:07:13.570 --> 00:07:15.409
slabs of concrete and marble

187
00:07:15.410 --> 00:07:17.709
over wooden sawhorses,

188
00:07:17.710 --> 00:07:19.689
sculpting the form of plastic bags

189
00:07:19.690 --> 00:07:21.729
with paper pulp, or digitally

190
00:07:21.730 --> 00:07:23.769
printing an image of an unraveling

191
00:07:23.770 --> 00:07:25.789
canvas onto a paper-thin sheet

192
00:07:25.790 --> 00:07:27.649
of paint, which is what you see here

193
00:07:27.650 --> 00:07:29.569
in a print edition made at Lapis

194
00:07:29.570 --> 00:07:30.769
Press here in Los Angeles.

195
00:07:31.890 --> 00:07:33.649
Keenly interested in old and new

196
00:07:33.650 --> 00:07:35.649
technologies, Saban has remarked

197
00:07:35.650 --> 00:07:37.589
how the discovery of a tool or

198
00:07:37.590 --> 00:07:39.589
machine might generate a project,

199
00:07:39.590 --> 00:07:41.069
and we'll hear more about that this

200
00:07:41.070 --> 00:07:42.409
evening.

201
00:07:42.410 --> 00:07:44.429
In printmaking, Analia probes

202
00:07:44.430 --> 00:07:46.549
the possibilities of its materials,

203
00:07:46.550 --> 00:07:48.409
tools, operations,

204
00:07:48.410 --> 00:07:50.449
and underlying logic.

205
00:07:50.450 --> 00:07:52.709
Works such as Flowchart,

206
00:07:53.710 --> 00:07:55.789
which maps the technical steps

207
00:07:55.790 --> 00:07:56.910
of making an etching.

208
00:07:58.980 --> 00:08:00.859
This one, which visually

209
00:08:00.860 --> 00:08:03.399
explores the concept of editioning,

210
00:08:03.400 --> 00:08:04.959
take the procedures of printmaking

211
00:08:04.960 --> 00:08:06.839
as their subject.

212
00:08:06.840 --> 00:08:08.659
In Los Angeles, she has

213
00:08:08.660 --> 00:08:10.339
collaborated with edition Jacob

214
00:08:10.340 --> 00:08:12.179
Samuel, El Nopal,

215
00:08:12.180 --> 00:08:14.599
Gemini GEL, Mixografia,

216
00:08:14.600 --> 00:08:16.739
Lapis Press, and Adler.

217
00:08:16.740 --> 00:08:18.979
These experimental partnerships push

218
00:08:18.980 --> 00:08:20.839
the technical and conceptual limits

219
00:08:20.840 --> 00:08:23.079
of the medium, often prompting

220
00:08:23.080 --> 00:08:24.939
the invention of new artistic

221
00:08:24.940 --> 00:08:26.979
methods and raising the

222
00:08:26.980 --> 00:08:28.489
fundamental question.

223
00:08:28.490 --> 00:08:29.490
What is a print?

224
00:08:32.960 --> 00:08:33.960
Thank you, Naoko.

225
00:08:35.860 --> 00:08:38.459
It's a pleasure to be here.

226
00:08:38.460 --> 00:08:40.239
I'm back at home.

227
00:08:40.240 --> 00:08:41.439
This is my home.

228
00:08:41.440 --> 00:08:43.459
I am a product

229
00:08:43.460 --> 00:08:44.559
of UCLA.

230
00:08:44.560 --> 00:08:46.319
I graduated in 2005.

231
00:08:46.320 --> 00:08:48.179
I've been to so many lectures here.

232
00:08:48.180 --> 00:08:49.719
I've never been on this side of it,

233
00:08:49.720 --> 00:08:51.679
so I'm extremely nervous, because

234
00:08:51.680 --> 00:08:54.679
it's hard to come home and be

235
00:08:54.680 --> 00:08:56.539
in front of your home, your

236
00:08:56.540 --> 00:08:58.379
peers. But I learned so

237
00:08:58.380 --> 00:08:59.999
much. And...

238
00:09:00.000 --> 00:09:01.899
And now I learned so much from you.

239
00:09:01.900 --> 00:09:03.679
I feel like I have an art historian

240
00:09:03.680 --> 00:09:05.639
friend, mentor, and every time

241
00:09:05.640 --> 00:09:07.539
it's incredible

242
00:09:07.540 --> 00:09:09.499
just to be your friend.

243
00:09:09.500 --> 00:09:11.439
And thank you Shia, Case, and

244
00:09:11.440 --> 00:09:13.699
Francesco for joining me.

245
00:09:13.700 --> 00:09:15.739
We have so many slides to

246
00:09:15.740 --> 00:09:17.879
go through, so please like

247
00:09:17.880 --> 00:09:18.940
stay with us.

248
00:09:20.400 --> 00:09:22.220
They're all in this clicker.

249
00:09:23.759 --> 00:09:25.779
And I want to say

250
00:09:25.780 --> 00:09:27.299
we can't really start the

251
00:09:27.300 --> 00:09:28.409
conversation.

252
00:09:28.410 --> 00:09:31.109
About printmaking in LA without

253
00:09:31.110 --> 00:09:32.969
honoring a very special friend

254
00:09:32.970 --> 00:09:35.589
who's Sidney Felsen.

255
00:09:35.590 --> 00:09:37.529
He's co-founder of Gemini

256
00:09:37.530 --> 00:09:38.530
GL.

257
00:09:39.670 --> 00:09:41.489
And I mean, what

258
00:09:41.490 --> 00:09:42.309
can we say?

259
00:09:42.310 --> 00:09:43.669
I feel like you see it in the

260
00:09:43.670 --> 00:09:44.809
picture.

261
00:09:44.810 --> 00:09:46.809
He's, it's very

262
00:09:46.810 --> 00:09:47.789
recent. I don't want to get

263
00:09:47.790 --> 00:09:49.469
emotional because we have like 400

264
00:09:49.470 --> 00:09:51.429
slides after this one.

265
00:09:51.430 --> 00:09:53.429
And I only have 10 minutes.

266
00:09:53.430 --> 00:09:55.169
And I could spend way more talking

267
00:09:55.170 --> 00:09:56.109
about Sidney.

268
00:09:56.110 --> 00:09:57.199
Um, but.

269
00:09:57.200 --> 00:09:59.059
I know a lot of people here

270
00:09:59.060 --> 00:10:00.799
have been touched by Gemini,

271
00:10:01.980 --> 00:10:03.899
and Francesco worked at Gemini in

272
00:10:03.900 --> 00:10:05.959
1984 doing a,

273
00:10:05.960 --> 00:10:07.819
working on a Licksteinstein

274
00:10:07.820 --> 00:10:08.899
project.

275
00:10:08.900 --> 00:10:10.839
Jacob Samuel worked at Gemiini,

276
00:10:10.840 --> 00:10:12.999
like, it's really,

277
00:10:13.000 --> 00:10:14.939
you know, this amazing history of

278
00:10:14.940 --> 00:10:17.039
friendship, playfulness,

279
00:10:17.040 --> 00:10:17.959
as you can see.

280
00:10:17.960 --> 00:10:19.939
This is with my

281
00:10:19.940 --> 00:10:21.919
baby, our baby, Ava, so,

282
00:10:21.920 --> 00:10:22.949
sorry.

283
00:10:22.950 --> 00:10:25.189
Let's move on, but Sidney's

284
00:10:25.190 --> 00:10:27.229
with us, and I just really

285
00:10:27.230 --> 00:10:29.629
wanna acknowledge his

286
00:10:29.630 --> 00:10:30.630
spirit.

287
00:10:32.490 --> 00:10:34.309
We have to summarize 20 years

288
00:10:34.310 --> 00:10:35.729
of practice in 10 minutes.

289
00:10:35.730 --> 00:10:37.889
So I'm going to now really

290
00:10:37.890 --> 00:10:38.890
wake up.

291
00:10:39.630 --> 00:10:41.569
And this is called

292
00:10:41.570 --> 00:10:42.389
the Painting Balls.

293
00:10:42.390 --> 00:10:44.649
As I said, I came here to school.

294
00:10:44.650 --> 00:10:46.069
And basically, I was coming from a

295
00:10:46.070 --> 00:10:47.769
film and television background.

296
00:10:47.770 --> 00:10:49.749
And when I came to UCLA, I have

297
00:10:49.750 --> 00:10:51.389
to say, and my painting friends will

298
00:10:51.390 --> 00:10:52.929
probably disagree with me, but they

299
00:10:52.930 --> 00:10:54.209
felt they were getting all the

300
00:10:54.210 --> 00:10:55.869
attention. And we weren't.

301
00:10:55.870 --> 00:10:57.949
So I was like.

302
00:10:57.950 --> 00:10:59.489
What's up with painting?

303
00:10:59.490 --> 00:11:01.449
I never had thought so much about

304
00:11:01.450 --> 00:11:02.509
painting before.

305
00:11:02.510 --> 00:11:04.569
I just kind of would go to a museum

306
00:11:04.570 --> 00:11:06.949
and see paintings.

307
00:11:06.950 --> 00:11:08.209
I come from Argentina.

308
00:11:08.210 --> 00:11:10.109
I was a product of

309
00:11:10.110 --> 00:11:11.409
1980s.

310
00:11:12.510 --> 00:11:14.869
I grew up after a dictatorship,

311
00:11:14.870 --> 00:11:16.809
which is something to think about

312
00:11:16.810 --> 00:11:18.629
these days, because

313
00:11:18.630 --> 00:11:20.609
all the arts were gone when I was

314
00:11:20.610 --> 00:11:22.629
growing up. So the only museum left

315
00:11:22.630 --> 00:11:24.449
was completely out of budget.

316
00:11:24.450 --> 00:11:25.949
I hope that doesn't resonate.

317
00:11:25.950 --> 00:11:28.189
Um, but...

318
00:11:28.190 --> 00:11:30.169
Growing up, there was just no art

319
00:11:30.170 --> 00:11:31.689
really for me to look at.

320
00:11:31.690 --> 00:11:33.589
And only when I came to the US and I

321
00:11:33.590 --> 00:11:35.529
went to MoMA for the first time,

322
00:11:35.530 --> 00:11:36.589
I saw a lot of art.

323
00:11:36.590 --> 00:11:38.709
And then when I was at UCLA,

324
00:11:38.710 --> 00:11:40.689
I was like,

325
00:11:40.690 --> 00:11:41.889
what's up with paintings?

326
00:11:41.890 --> 00:11:44.029
So I thought about painting a lot.

327
00:11:44.030 --> 00:11:45.909
And this was my reaction to it.

328
00:11:45.910 --> 00:11:47.929
I was, like, I need to open up

329
00:11:47.930 --> 00:11:49.670
a painting to see what's in it.

330
00:11:50.690 --> 00:11:52.429
So I started opening it up.

331
00:11:52.430 --> 00:11:53.769
And it wasn't about destroying

332
00:11:53.770 --> 00:11:55.849
painting, but it was about like

333
00:11:55.850 --> 00:11:57.719
just looking at.

334
00:11:57.720 --> 00:11:59.519
What's inside the painting, almost

335
00:11:59.520 --> 00:12:01.419
like looking at the microphone,

336
00:12:01.420 --> 00:12:03.079
at the microscope, and try to

337
00:12:03.080 --> 00:12:05.039
understand the substance of it.

338
00:12:05.040 --> 00:12:06.919
So this is all the little

339
00:12:06.920 --> 00:12:08.499
pigments attached to it.

340
00:12:08.500 --> 00:12:09.619
I see oil.

341
00:12:09.620 --> 00:12:11.019
I see acrylic paint.

342
00:12:11.020 --> 00:12:12.399
I see tempera.

343
00:12:12.400 --> 00:12:14.539
I see canvas, fabric,

344
00:12:14.540 --> 00:12:16.339
similar to the fabric we wear.

345
00:12:16.340 --> 00:12:18.099
So I think this is kind of like the

346
00:12:18.100 --> 00:12:19.320
foundation to my work.

347
00:12:21.020 --> 00:12:22.539
I was trying to understand how a

348
00:12:22.540 --> 00:12:23.539
painting is made.

349
00:12:23.540 --> 00:12:25.359
So like I see brushstrokes.

350
00:12:25.360 --> 00:12:27.759
They move the hand from A to B.

351
00:12:27.760 --> 00:12:29.879
So it's like a vector system.

352
00:12:29.880 --> 00:12:31.519
And I was trying to like, I'm like,

353
00:12:31.520 --> 00:12:33.339
what are the forces inside

354
00:12:33.340 --> 00:12:34.340
the painting?

355
00:12:35.520 --> 00:12:36.719
I chose a lot of work.

356
00:12:36.720 --> 00:12:38.979
It was really hard to choose works,

357
00:12:38.980 --> 00:12:40.839
because we have so many works.

358
00:12:40.840 --> 00:12:42.679
But I chose works that have to

359
00:12:42.680 --> 00:12:44.239
deal with the language of

360
00:12:44.240 --> 00:12:46.119
printmaking and reproduction.

361
00:12:46.120 --> 00:12:48.039
So this is a painting

362
00:12:48.040 --> 00:12:50.119
that's reproduced in China.

363
00:12:50.120 --> 00:12:51.959
So they have these factories that

364
00:12:51.960 --> 00:12:53.519
reproduce classic paintings.

365
00:12:53.520 --> 00:12:55.479
And in this case, you can see how

366
00:12:55.480 --> 00:12:57.259
like... You have two reproductions

367
00:12:57.260 --> 00:12:59.159
of the same painting, but

368
00:12:59.160 --> 00:13:00.719
then if you look at them closely,

369
00:13:00.720 --> 00:13:01.999
like you see all the differences.

370
00:13:02.000 --> 00:13:03.619
So it was kind of this capitalist

371
00:13:03.620 --> 00:13:05.479
like gesture of like,

372
00:13:05.480 --> 00:13:06.879
okay, let's send it back to China.

373
00:13:06.880 --> 00:13:08.139
So they make it perfect.

374
00:13:08.140 --> 00:13:09.899
But of course, you know, they are

375
00:13:09.900 --> 00:13:10.679
still amazing.

376
00:13:10.680 --> 00:13:12.819
They have a three person

377
00:13:12.820 --> 00:13:14.699
and a background person and they

378
00:13:14.700 --> 00:13:16.959
are made kind of like as a chain.

379
00:13:16.960 --> 00:13:18.799
So similar to printmaking, but

380
00:13:18.800 --> 00:13:20.779
you know people do it instead

381
00:13:20.780 --> 00:13:21.780
of a press.

382
00:13:24.140 --> 00:13:25.879
I was thinking a lot also about

383
00:13:25.880 --> 00:13:27.739
reproduction and the language within

384
00:13:27.740 --> 00:13:29.959
art. So this is taking

385
00:13:29.960 --> 00:13:32.179
a line from Kandinsky and

386
00:13:32.180 --> 00:13:34.359
then taking almost like abstracting

387
00:13:34.360 --> 00:13:35.439
the language of it.

388
00:13:35.440 --> 00:13:36.859
So like cutting the line in

389
00:13:36.860 --> 00:13:39.019
different sizes and then using

390
00:13:39.020 --> 00:13:41.259
those lines again,

391
00:13:41.260 --> 00:13:43.219
reusing them in these compositions

392
00:13:43.220 --> 00:13:45.019
that the idea is to use like a

393
00:13:45.020 --> 00:13:47.019
ready-made language, a ready made

394
00:13:47.020 --> 00:13:48.179
vocabulary of lines.

395
00:13:53.770 --> 00:13:55.229
I was thinking a lot about, like,

396
00:13:55.230 --> 00:13:56.309
what makes a painting?

397
00:13:56.310 --> 00:13:57.449
So brush strokes.

398
00:13:57.450 --> 00:13:59.129
If I use acrylic paint, can they

399
00:13:59.130 --> 00:13:59.969
stand on their own?

400
00:13:59.970 --> 00:14:02.009
Can I attach them in different ways?

401
00:14:02.010 --> 00:14:03.549
And here is where I want to make

402
00:14:03.550 --> 00:14:05.089
some connections with some of the

403
00:14:05.090 --> 00:14:06.909
projects we'll see later,

404
00:14:06.910 --> 00:14:08.789
which are, for instance, in this

405
00:14:08.790 --> 00:14:10.949
case, one of the first Gemini pieces

406
00:14:10.950 --> 00:14:11.950
I made.

407
00:14:15.220 --> 00:14:17.199
I'm like, is painting kind of like

408
00:14:17.200 --> 00:14:18.679
a container for paint?

409
00:14:18.680 --> 00:14:20.679
So can it like exist inside

410
00:14:20.680 --> 00:14:22.739
the bag as opposed to,

411
00:14:22.740 --> 00:14:24.579
like how is the paint held

412
00:14:24.580 --> 00:14:26.559
on to like the wall?

413
00:14:26.560 --> 00:14:28.019
And why is it hanging on the wall,

414
00:14:28.020 --> 00:14:29.959
like if it's like, like

415
00:14:29.960 --> 00:14:31.959
a body in a way, like a, you know,

416
00:14:31.960 --> 00:14:33.459
like a square with this canvas

417
00:14:33.460 --> 00:14:34.279
attached to it?

418
00:14:34.280 --> 00:14:35.820
Like why is even on the walls?

419
00:14:37.400 --> 00:14:38.849
Could it be like?

420
00:14:38.850 --> 00:14:40.509
Out of the same materials.

421
00:14:40.510 --> 00:14:42.329
But I was just

422
00:14:42.330 --> 00:14:43.889
trying to really understand the

423
00:14:43.890 --> 00:14:45.369
different elements in them.

424
00:14:45.370 --> 00:14:47.409
And then these are like bags of

425
00:14:47.410 --> 00:14:49.029
paint with the same material.

426
00:14:49.030 --> 00:14:50.370
There is a stretcher bar inside.

427
00:14:54.300 --> 00:14:56.239
And then you see the

428
00:14:56.240 --> 00:14:58.399
paint coming out.

429
00:14:58.400 --> 00:14:59.859
And then this is another Gemini

430
00:14:59.860 --> 00:15:01.679
edition called Press Paint,

431
00:15:01.680 --> 00:15:04.099
where we were running the

432
00:15:04.100 --> 00:15:05.299
piece through the press.

433
00:15:05.300 --> 00:15:07.080
And then the paint was oozing out.

434
00:15:10.660 --> 00:15:11.820
And look at it out of air.

435
00:15:14.490 --> 00:15:15.749
Because it's so much material.

436
00:15:21.410 --> 00:15:24.169
I think a lot about transcendence.

437
00:15:24.170 --> 00:15:25.789
And in a way, it's almost like the

438
00:15:25.790 --> 00:15:27.389
soul. We don't know what happens to

439
00:15:27.390 --> 00:15:29.509
it. But I love the idea of

440
00:15:29.510 --> 00:15:31.729
something going into something

441
00:15:31.730 --> 00:15:33.449
and then transforming into something

442
00:15:33.450 --> 00:15:34.309
else.

443
00:15:34.310 --> 00:15:35.989
This is one of my favorite pieces,

444
00:15:35.990 --> 00:15:37.929
where the line goes into the canvas

445
00:15:37.930 --> 00:15:39.889
and then it exists outside

446
00:15:39.890 --> 00:15:40.669
of the canvas.

447
00:15:40.670 --> 00:15:42.269
Maybe it becomes something else?

448
00:15:45.100 --> 00:15:46.679
And then this is a piece we work

449
00:15:46.680 --> 00:15:48.579
with Francesco about

450
00:15:48.580 --> 00:15:50.799
like the ink coming

451
00:15:50.800 --> 00:15:52.779
into this tree, making

452
00:15:52.780 --> 00:15:54.179
the outline of it and then

453
00:15:54.180 --> 00:15:55.180
continuing.

454
00:15:59.540 --> 00:16:01.039
This is from a photograph where,

455
00:16:01.040 --> 00:16:02.659
like, I'm taking the emulsion from

456
00:16:02.660 --> 00:16:04.319
the photograph and then painting

457
00:16:04.320 --> 00:16:05.219
with the emulsions.

458
00:16:05.220 --> 00:16:07.019
So in a way, like that line, instead

459
00:16:07.020 --> 00:16:08.879
of being a pigment, it's

460
00:16:08.880 --> 00:16:10.659
actually I'm painting with a

461
00:16:10.660 --> 00:16:11.919
photograph, which I think it's

462
00:16:11.920 --> 00:16:13.739
important as an idea,

463
00:16:13.740 --> 00:16:15.959
because art materials can

464
00:16:15.960 --> 00:16:16.960
be anything.

465
00:16:18.500 --> 00:16:21.059
And this is my portrait on the left.

466
00:16:21.060 --> 00:16:22.979
So you can see how my face

467
00:16:22.980 --> 00:16:24.979
became abstracted into this line.

468
00:16:24.980 --> 00:16:26.919
And then a piece that we

469
00:16:26.920 --> 00:16:28.679
worked with Francesco the Nopal

470
00:16:28.680 --> 00:16:29.680
Press.

471
00:16:33.450 --> 00:16:34.969
This is a similar idea, but made

472
00:16:34.970 --> 00:16:36.009
with wax.

473
00:16:36.010 --> 00:16:37.889
So the idea of, again, the paint

474
00:16:37.890 --> 00:16:38.890
as a container.

475
00:16:44.360 --> 00:16:46.099
And here I was starting to think,

476
00:16:46.100 --> 00:16:47.519
okay, so if we're doing acrylic

477
00:16:47.520 --> 00:16:49.499
paint, like why do we have to

478
00:16:49.500 --> 00:16:51.859
even like paint on canvas?

479
00:16:51.860 --> 00:16:53.299
Acrylic paint is basically a

480
00:16:53.300 --> 00:16:54.579
polymer, it's a plastic.

481
00:16:54.580 --> 00:16:55.679
So I'm like, well, maybe it can

482
00:16:55.680 --> 00:16:57.739
exist on its own.

483
00:16:57.740 --> 00:16:59.879
So then we started making

484
00:16:59.880 --> 00:17:02.099
these pieces which were made

485
00:17:02.100 --> 00:17:03.899
out of acrylic paint only.

486
00:17:03.900 --> 00:17:05.838
So this is a towel that's just

487
00:17:05.839 --> 00:17:07.098
draping on the canvas.

488
00:17:07.099 --> 00:17:08.399
So at the end of the day, it is

489
00:17:08.400 --> 00:17:10.139
acrylic on canvas, but it's totally

490
00:17:10.140 --> 00:17:12.078
different the way it's made.

491
00:17:12.079 --> 00:17:12.868
And then.

492
00:17:12.869 --> 00:17:14.809
This brings me to the first edition

493
00:17:14.810 --> 00:17:17.269
that we work with Mixografia,

494
00:17:17.270 --> 00:17:19.749
which is a towel that's

495
00:17:19.750 --> 00:17:20.750
made out of paper.

496
00:17:25.230 --> 00:17:26.569
More paint objects

497
00:17:31.010 --> 00:17:32.949
This brings me to the first,

498
00:17:32.950 --> 00:17:34.929
one of the early editions

499
00:17:34.930 --> 00:17:37.349
at Gemini, where we

500
00:17:37.350 --> 00:17:39.169
made this

501
00:17:39.170 --> 00:17:42.129
paint, ink vase.

502
00:17:42.130 --> 00:17:44.129
And then we let it dry

503
00:17:44.130 --> 00:17:45.709
just a little bit.

504
00:17:45.710 --> 00:17:47.609
But then inside the vase, it was a

505
00:17:47.610 --> 00:17:49.509
still. So the ink made like a

506
00:17:49.510 --> 00:17:51.189
skin. And then inside of the vase

507
00:17:51.190 --> 00:17:52.529
the still was wet.

508
00:17:52.530 --> 00:17:53.909
So then we ran it through the press.

509
00:17:53.910 --> 00:17:55.769
And then the ink kind of came out

510
00:17:55.770 --> 00:17:58.129
because of the inside of, the actual

511
00:17:58.130 --> 00:17:59.409
body of ink.

512
00:18:03.960 --> 00:18:06.419
More of my paint objects.

513
00:18:06.420 --> 00:18:09.419
One of them was in

514
00:18:09.420 --> 00:18:11.479
a home in Paris and

515
00:18:11.480 --> 00:18:13.599
somebody actually

516
00:18:13.600 --> 00:18:16.099
broke into the home and looking

517
00:18:16.100 --> 00:18:17.959
for paintings to steal and

518
00:18:17.960 --> 00:18:19.599
they actually broke the bag to see

519
00:18:19.600 --> 00:18:21.339
if there was something inside.

520
00:18:21.340 --> 00:18:22.340
You

521
00:18:25.160 --> 00:18:26.880
but I was actually happy about it.

522
00:18:30.860 --> 00:18:32.439
This is a piece that actually I

523
00:18:32.440 --> 00:18:34.419
showed here at the Hammer Museum for

524
00:18:34.420 --> 00:18:36.279
the first Made in LA,

525
00:18:36.280 --> 00:18:38.159
which was not as popular

526
00:18:38.160 --> 00:18:39.379
as Made in L.A.

527
00:18:39.380 --> 00:18:41.499
These days, but still an amazing

528
00:18:41.500 --> 00:18:43.459
show and

529
00:18:43.460 --> 00:18:45.279
same thing.

530
00:18:45.280 --> 00:18:46.899
At some point we were installing the

531
00:18:46.900 --> 00:18:48.879
show and people were like, why

532
00:18:48.880 --> 00:18:50.679
is this bag here on the floor?

533
00:18:50.680 --> 00:18:52.079
And they wanted to like pick it up

534
00:18:52.080 --> 00:18:53.359
and take it away.

535
00:18:54.520 --> 00:18:56.339
But I love working on these bags and

536
00:18:56.340 --> 00:18:58.159
then we did a

537
00:18:58.160 --> 00:19:00.579
mixography edition about.

538
00:19:00.580 --> 00:19:03.299
Plastic bags, also because

539
00:19:03.300 --> 00:19:05.679
plastic bags, you know, are always

540
00:19:05.680 --> 00:19:07.799
very, you

541
00:19:07.800 --> 00:19:08.759
now, political.

542
00:19:08.760 --> 00:19:10.419
I mean, they kind of go away, they

543
00:19:10.420 --> 00:19:11.420
come back.

544
00:19:13.120 --> 00:19:15.219
These are other paper

545
00:19:15.220 --> 00:19:17.299
projects that we do in the studio.

546
00:19:17.300 --> 00:19:19.379
So we do a lot of

547
00:19:19.380 --> 00:19:21.359
painting and ink-based projects in

548
00:19:21.360 --> 00:19:22.159
the studios.

549
00:19:22.160 --> 00:19:25.379
In this case, we're carving a

550
00:19:25.380 --> 00:19:27.039
piece of paper, very thin piece of

551
00:19:27.040 --> 00:19:28.379
papers, with a laser machine.

552
00:19:28.380 --> 00:19:30.199
So you can see how it's almost about

553
00:19:30.200 --> 00:19:32.119
to collapse, but it's still

554
00:19:32.120 --> 00:19:34.079
there. And then we put a

555
00:19:34.080 --> 00:19:35.079
paper underneath.

556
00:19:35.080 --> 00:19:36.679
So everything that gets burned on

557
00:19:36.680 --> 00:19:38.499
the first layer gets imprinted

558
00:19:38.500 --> 00:19:39.759
on the second layer.

559
00:19:39.760 --> 00:19:41.199
And then, we try to produce

560
00:19:41.200 --> 00:19:42.779
different ways of printing.

561
00:19:46.310 --> 00:19:48.729
This is applied to a painting.

562
00:19:48.730 --> 00:19:50.549
So carving, I was like, can a

563
00:19:50.550 --> 00:19:52.489
painting be carved

564
00:19:52.490 --> 00:19:54.089
as if I was carving a piece of

565
00:19:54.090 --> 00:19:55.090
marble?

566
00:19:55.850 --> 00:19:57.709
And we carved it with

567
00:19:57.710 --> 00:19:58.710
a laser cutter.

568
00:20:00.050 --> 00:20:02.209
And then it starts with

569
00:20:02.210 --> 00:20:04.149
a fully painted canvas.

570
00:20:04.150 --> 00:20:05.991
And then in the machine, it gets

571
00:20:08.250 --> 00:20:10.149
And this is beautiful

572
00:20:10.150 --> 00:20:12.089
Gemini edition that we worked with

573
00:20:12.090 --> 00:20:13.090
Kase.

574
00:20:14.570 --> 00:20:16.389
Another beautiful Gemani edition

575
00:20:16.390 --> 00:20:18.329
that I love working on

576
00:20:18.330 --> 00:20:20.249
because those lines were

577
00:20:20.250 --> 00:20:22.429
kind of really fun to make with

578
00:20:22.430 --> 00:20:24.189
a Dremel, and we'll see a picture

579
00:20:24.190 --> 00:20:25.190
later.

580
00:20:27.020 --> 00:20:29.179
And then other works,

581
00:20:29.180 --> 00:20:31.199
more sculptural from the studio,

582
00:20:31.200 --> 00:20:32.599
related to marble.

583
00:20:32.600 --> 00:20:34.199
I was thinking, can a piece of

584
00:20:34.200 --> 00:20:36.779
marble, so approaching the

585
00:20:36.780 --> 00:20:38.619
same way, to be like,

586
00:20:38.620 --> 00:20:40.239
OK, what's a sculpture?

587
00:20:40.240 --> 00:20:41.579
What's a piece piece of marble?

588
00:20:41.580 --> 00:20:42.959
What's the history of drape

589
00:20:42.960 --> 00:20:44.079
sculpture?

590
00:20:44.080 --> 00:20:46.139
Can I now do my own

591
00:20:46.140 --> 00:20:48.020
drapery in terms of marble?

592
00:20:49.100 --> 00:20:50.359
So I tried.

593
00:20:57.520 --> 00:20:59.359
And then we work with

594
00:20:59.360 --> 00:21:02.419
breaking some vases at Gemini.

595
00:21:02.420 --> 00:21:04.839
Again, a super fun project.

596
00:21:04.840 --> 00:21:07.119
They have a very strong

597
00:21:07.120 --> 00:21:08.959
press that

598
00:21:08.960 --> 00:21:10.839
goes, boom, how many tons?

599
00:21:14.950 --> 00:21:18.849
20 times the hydraulic

600
00:21:18.850 --> 00:21:19.850
pressure.

601
00:21:25.010 --> 00:21:27.249
We crashed these vases.

602
00:21:27.250 --> 00:21:28.989
And I wanted to include these

603
00:21:28.990 --> 00:21:30.849
pieces, because

604
00:21:30.850 --> 00:21:32.869
even though we're folding a

605
00:21:32.870 --> 00:21:34.889
piece of concrete, I'm embracing the

606
00:21:34.890 --> 00:21:36.669
language of paper folding.

607
00:21:36.670 --> 00:21:38.029
So accordion fold.

608
00:21:38.030 --> 00:21:39.889
These are for brochures and

609
00:21:39.890 --> 00:21:40.890
paper pieces.

610
00:21:42.150 --> 00:21:44.249
Gate fold and spiral fold.

611
00:21:47.390 --> 00:21:49.669
And then most, more recently,

612
00:21:49.670 --> 00:21:51.789
I've been thinking of, you know,

613
00:21:51.790 --> 00:21:53.149
what's another relationship between

614
00:21:53.150 --> 00:21:54.569
canvas and paint?

615
00:21:54.570 --> 00:21:56.469
So I've weaving the paint through

616
00:21:56.470 --> 00:21:58.029
the canvas at the same time, so

617
00:21:58.030 --> 00:21:59.449
making the paint and the canvas

618
00:21:59.450 --> 00:22:00.450
together.

619
00:22:01.590 --> 00:22:04.209
And these are some of the

620
00:22:04.210 --> 00:22:06.130
more recent Gemini editions.

621
00:22:10.080 --> 00:22:11.940
I think we're coming to the end.

622
00:22:12.980 --> 00:22:14.859
This is called flowchart.

623
00:22:14.860 --> 00:22:16.759
I've been drawing for the first time

624
00:22:16.760 --> 00:22:18.619
and thinking a lot about AI

625
00:22:18.620 --> 00:22:20.479
and computer technology and what it

626
00:22:20.480 --> 00:22:21.860
means for the creative process.

627
00:22:24.310 --> 00:22:26.669
That's a close-up of flowchart.

628
00:22:26.670 --> 00:22:28.869
And then that's the process of

629
00:22:28.870 --> 00:22:30.929
making a print that case

630
00:22:30.930 --> 00:22:33.229
helped me figure out.

631
00:22:33.230 --> 00:22:35.329
Because moving into AI and

632
00:22:35.330 --> 00:22:37.789
almost giving the

633
00:22:37.790 --> 00:22:39.949
keys to our creative

634
00:22:39.950 --> 00:22:41.809
process to a computer,

635
00:22:41.810 --> 00:22:43.389
first we have to define what the

636
00:22:43.390 --> 00:22:44.630
creative process is.

637
00:22:45.790 --> 00:22:47.029
So I've been thinking a lot about

638
00:22:47.030 --> 00:22:48.030
that.

639
00:22:48.910 --> 00:22:51.129
Sometimes happy, sometimes upset,

640
00:22:51.130 --> 00:22:52.130
I don't know yet.

641
00:22:53.220 --> 00:22:55.339
And because this is such

642
00:22:55.340 --> 00:22:57.219
a,

643
00:22:57.220 --> 00:22:58.839
like the spirit of collaboration is

644
00:22:58.840 --> 00:23:00.819
so present in printmaking,

645
00:23:00.820 --> 00:23:02.899
I don't think, maybe Francesco,

646
00:23:02.900 --> 00:23:04.819
you're more like a one-man operation

647
00:23:04.820 --> 00:23:06.799
mostly, but

648
00:23:06.800 --> 00:23:09.199
it really is such demanding

649
00:23:09.200 --> 00:23:11.299
process and

650
00:23:11.300 --> 00:23:12.699
everything is about collaboration

651
00:23:12.700 --> 00:23:15.059
and learning and sharing materials

652
00:23:15.060 --> 00:23:17.339
and experiences and techniques.

653
00:23:17.340 --> 00:23:19.159
So I want to acknowledge the

654
00:23:19.160 --> 00:23:20.599
way we work in my studio.

655
00:23:20.600 --> 00:23:22.309
So this is my studio?

656
00:23:22.310 --> 00:23:24.949
For many years, different periods,

657
00:23:24.950 --> 00:23:26.309
different assistance, everyone

658
00:23:26.310 --> 00:23:28.449
brought something to the table.

659
00:23:28.450 --> 00:23:30.349
And I thought it would

660
00:23:30.350 --> 00:23:32.269
be a nice parallelism before

661
00:23:32.270 --> 00:23:34.589
we move on to Francesco.

662
00:23:43.180 --> 00:23:44.099
Thank you, Analia.

663
00:23:44.100 --> 00:23:47.039
That was remarkable.

664
00:23:47.040 --> 00:23:49.219
And I'm looking forward to

665
00:23:49.220 --> 00:23:50.699
speaking in a little more detail

666
00:23:50.700 --> 00:23:52.339
about some of these projects, some

667
00:23:52.340 --> 00:23:54.299
of these collaborations, and the

668
00:23:54.300 --> 00:23:56.479
ways in which your work works across

669
00:23:56.480 --> 00:23:57.480
mediums.

670
00:24:05.090 --> 00:24:07.109
So I will start by

671
00:24:07.110 --> 00:24:09.189
introducing you, Francesco.

672
00:24:09.190 --> 00:24:11.549
Francesco Sequero is an artist,

673
00:24:11.550 --> 00:24:13.489
printmaker and publisher,

674
00:24:13.490 --> 00:24:15.349
born in Los Angeles and raised

675
00:24:15.350 --> 00:24:16.529
in Mexicali.

676
00:24:16.530 --> 00:24:18.529
He earned a BA in psychology

677
00:24:18.530 --> 00:24:20.509
from UC Berkeley and

678
00:24:20.510 --> 00:24:22.349
a diplome d'art plastique from

679
00:24:22.350 --> 00:24:23.849
the University of Paris, Juan

680
00:24:23.850 --> 00:24:25.049
Sorbonne.

681
00:24:25.050 --> 00:24:26.669
After a period of painting in New

682
00:24:26.670 --> 00:24:28.489
York, he returned to California

683
00:24:28.490 --> 00:24:30.449
to study printmaking at UC

684
00:24:30.450 --> 00:24:31.679
Santa Cruz.

685
00:24:31.680 --> 00:24:33.859
Later working as a printer at Gemini

686
00:24:33.860 --> 00:24:35.839
GEL, as Analia mentioned,

687
00:24:35.840 --> 00:24:37.959
and at Cirrus Editions.

688
00:24:37.960 --> 00:24:39.959
His creative practice and social

689
00:24:39.960 --> 00:24:42.159
participatory awareness have

690
00:24:42.160 --> 00:24:44.159
been shaped by his encounters with

691
00:24:44.160 --> 00:24:45.619
the political graphics of the

692
00:24:45.620 --> 00:24:47.879
Chicano movement, Argentinian

693
00:24:47.880 --> 00:24:49.919
exile artists in Paris,

694
00:24:49.920 --> 00:24:51.859
and the 1980s New York art

695
00:24:51.860 --> 00:24:52.860
scene.

696
00:24:53.200 --> 00:24:55.219
A formative 1987 trip to

697
00:24:55.220 --> 00:24:57.339
Mexico City deepened his engagement

698
00:24:57.340 --> 00:24:59.259
with cross-border artistic

699
00:24:59.260 --> 00:25:00.389
dialogs.

700
00:25:00.390 --> 00:25:02.229
And ultimately led to

701
00:25:02.230 --> 00:25:04.189
the Aki Yaya exhibition

702
00:25:04.190 --> 00:25:06.069
in 1990, which

703
00:25:06.070 --> 00:25:07.849
featured artists from Mexico City

704
00:25:07.850 --> 00:25:09.929
and from the diaspora of the Chicano

705
00:25:09.930 --> 00:25:12.589
art experience in Los Angeles.

706
00:25:12.590 --> 00:25:14.469
This work inspired the founding

707
00:25:14.470 --> 00:25:16.709
of El Nopal Press,

708
00:25:16.710 --> 00:25:19.009
dedicated to fostering international

709
00:25:19.010 --> 00:25:20.889
conversations on Chicano and

710
00:25:20.890 --> 00:25:22.589
Mexican art.

711
00:25:22.590 --> 00:25:24.429
Siqueira's views El Nómpal Press

712
00:25:24.430 --> 00:25:26.389
as an ongoing artistic

713
00:25:26.390 --> 00:25:28.269
and cultural project rooted

714
00:25:28.270 --> 00:25:31.119
in collaboration and community.

715
00:25:31.120 --> 00:25:33.119
El Nopal has published some 500

716
00:25:33.120 --> 00:25:35.459
projects by close to 100

717
00:25:35.460 --> 00:25:37.379
artists, including

718
00:25:37.380 --> 00:25:39.399
Irina Cervantes, Ruben

719
00:25:39.400 --> 00:25:42.259
Ortiz Torres, Barbara Carrasco,

720
00:25:42.260 --> 00:25:45.219
Anita Boone, Fabian Cerejito,

721
00:25:45.220 --> 00:25:47.219
John Baldessari, Roberto Gil

722
00:25:47.220 --> 00:25:49.739
de Montes, Harry Gamboa,

723
00:25:49.740 --> 00:25:50.820
among many others.

724
00:25:52.140 --> 00:25:54.219
And El Nomopal editions have been

725
00:25:54.220 --> 00:25:56.059
collected by museums worldwide.

726
00:25:57.560 --> 00:25:59.659
Thank you for being here, Francesco.

727
00:25:59.660 --> 00:26:01.739
I'm going to start by asking

728
00:26:01.740 --> 00:26:03.579
you to talk about

729
00:26:03.580 --> 00:26:05.519
how you see the

730
00:26:05.520 --> 00:26:07.039
role of the printer, how you would

731
00:26:07.040 --> 00:26:08.359
describe the role the printer.

732
00:26:09.590 --> 00:26:12.309
Yeah, thank you for

733
00:26:12.310 --> 00:26:14.849
the introduction.

734
00:26:14.850 --> 00:26:16.609
And can everybody hear me out there?

735
00:26:19.350 --> 00:26:21.369
And it's a pleasure to be here next

736
00:26:21.370 --> 00:26:23.349
to Keis Cheye

737
00:26:23.350 --> 00:26:25.429
and talking about the

738
00:26:25.430 --> 00:26:28.149
graphics of Analia Saban.

739
00:26:29.630 --> 00:26:31.849
It's a good question,

740
00:26:31.850 --> 00:26:32.850
the function

741
00:26:34.009 --> 00:26:35.829
of the role of

742
00:26:35.830 --> 00:26:37.059
the printer.

743
00:26:37.060 --> 00:26:38.919
And I often think that the

744
00:26:38.920 --> 00:26:40.659
printer is really the medium, or

745
00:26:40.660 --> 00:26:42.559
rather, the print

746
00:26:42.560 --> 00:26:45.059
shop is the medium

747
00:26:45.060 --> 00:26:47.479
in which the architecture

748
00:26:47.480 --> 00:26:49.299
of the place,

749
00:26:49.300 --> 00:26:51.119
the setting of the print job,

750
00:26:51.120 --> 00:26:52.480
the odor of the chemicals,

751
00:26:53.560 --> 00:26:55.659
the conversations that go into the

752
00:26:55.660 --> 00:26:57.479
place as

753
00:26:57.480 --> 00:26:59.439
depending on the time that the

754
00:26:59.440 --> 00:27:00.440
artist is there,

755
00:27:01.760 --> 00:27:03.839
the paper and the

756
00:27:03.840 --> 00:27:05.499
possibilities that are possible

757
00:27:05.500 --> 00:27:06.409
there.

758
00:27:06.410 --> 00:27:08.509
They contribute

759
00:27:08.510 --> 00:27:11.349
to the

760
00:27:11.350 --> 00:27:13.449
finished work, the

761
00:27:13.450 --> 00:27:15.609
print, or the multiple

762
00:27:15.610 --> 00:27:17.489
of the

763
00:27:17.490 --> 00:27:18.490
print shop.

764
00:27:19.210 --> 00:27:23.069
And I find that

765
00:27:23.070 --> 00:27:25.049
medium,

766
00:27:25.050 --> 00:27:26.869
if we call it a medium,

767
00:27:26.870 --> 00:27:28.749
it is almost like if it was

768
00:27:28.750 --> 00:27:30.809
a charcoal or a paint

769
00:27:30.810 --> 00:27:32.829
itself in which things get

770
00:27:32.830 --> 00:27:33.969
transformed in there.

771
00:27:33.970 --> 00:27:35.349
But it is a collective.

772
00:27:36.419 --> 00:27:38.699
Endeavor in terms of

773
00:27:38.700 --> 00:27:41.079
the history of the

774
00:27:41.080 --> 00:27:42.080
place,

775
00:27:43.060 --> 00:27:44.659
the physicality and the atmosphere.

776
00:27:46.450 --> 00:27:48.069
Thank you. And I think we'll hear

777
00:27:48.070 --> 00:27:49.709
echoes of this throughout the

778
00:27:49.710 --> 00:27:50.710
conversation.

779
00:27:52.510 --> 00:27:54.449
I want to ask you, you have

780
00:27:54.450 --> 00:27:56.509
worked, as I mentioned, with over

781
00:27:56.510 --> 00:27:58.369
100 artists.

782
00:27:58.370 --> 00:28:00.289
And I'm hoping you can say a few

783
00:28:00.290 --> 00:28:02.009
words about what marks your

784
00:28:02.010 --> 00:28:03.909
collaboration or your relationship

785
00:28:03.910 --> 00:28:05.729
with Analia as distinct

786
00:28:05.730 --> 00:28:06.730
or unique.

787
00:28:09.379 --> 00:28:10.379
Well,

788
00:28:12.420 --> 00:28:14.139
your introduction really covered

789
00:28:14.140 --> 00:28:16.019
really some of the main

790
00:28:16.020 --> 00:28:17.999
aspects of the,

791
00:28:18.000 --> 00:28:20.099
you know, meeting

792
00:28:20.100 --> 00:28:21.979
Analia.

793
00:28:21.980 --> 00:28:24.099
And she introduced this

794
00:28:24.100 --> 00:28:25.999
very unique way of

795
00:28:26.000 --> 00:28:28.679
dealing with the stencils.

796
00:28:28.680 --> 00:28:30.859
And in working

797
00:28:30.860 --> 00:28:32.679
with 100

798
00:28:32.680 --> 00:28:34.799
artists, close to 100

799
00:28:34.800 --> 00:28:36.979
artists for 35 years,

800
00:28:36.980 --> 00:28:39.699
And as you

801
00:28:39.700 --> 00:28:41.200
said in the introduction,

802
00:28:42.760 --> 00:28:44.679
the driving force of El Nopal

803
00:28:44.680 --> 00:28:46.679
Press was to

804
00:28:46.680 --> 00:28:52.259
create a

805
00:28:52.260 --> 00:28:54.499
presence of the

806
00:28:54.500 --> 00:28:56.559
very dynamic Chicano

807
00:28:56.560 --> 00:28:59.259
art dynamic.

808
00:28:59.260 --> 00:29:01.239
And Analía

809
00:29:01.240 --> 00:29:03.619
with her

810
00:29:03.620 --> 00:29:05.599
very keen observations

811
00:29:05.600 --> 00:29:07.129
of materials.

812
00:29:07.130 --> 00:29:09.089
I think she brings about

813
00:29:09.090 --> 00:29:11.029
a certain

814
00:29:11.030 --> 00:29:12.929
sense of dialectic in

815
00:29:12.930 --> 00:29:14.589
terms of breaking down the

816
00:29:14.590 --> 00:29:18.309
relationship of

817
00:29:18.310 --> 00:29:19.310
objects.

818
00:29:20.090 --> 00:29:23.389
And now that psychoanalysis,

819
00:29:23.390 --> 00:29:25.249
it was a big interest in her

820
00:29:25.250 --> 00:29:27.089
life. Things make a little bit

821
00:29:27.090 --> 00:29:28.989
more sense now

822
00:29:28.990 --> 00:29:30.969
as I look back at some of these

823
00:29:30.970 --> 00:29:31.970
projects that

824
00:29:33.830 --> 00:29:35.649
right after, maybe a

825
00:29:35.650 --> 00:29:38.189
few years after she graduated from

826
00:29:38.190 --> 00:29:39.190
UCLA.

827
00:29:40.850 --> 00:29:43.049
And the stencil work

828
00:29:43.050 --> 00:29:44.909
was a really big

829
00:29:44.910 --> 00:29:46.789
eye-opener, and

830
00:29:46.790 --> 00:29:48.969
a contribution to

831
00:29:48.970 --> 00:29:50.889
furthering this conversation

832
00:29:50.890 --> 00:29:52.789
that I've had with El

833
00:29:52.790 --> 00:29:54.629
Nopal Press, sort of

834
00:29:54.630 --> 00:29:57.049
to broaden its conversation

835
00:29:57.050 --> 00:29:59.129
into a larger global

836
00:29:59.130 --> 00:30:00.130
audience.

837
00:30:01.340 --> 00:30:02.719
Let's talk about the stencil.

838
00:30:04.840 --> 00:30:06.859
So the stencil is,

839
00:30:06.860 --> 00:30:08.379
in a way, an early form, a very

840
00:30:08.380 --> 00:30:09.739
early form of printmaking.

841
00:30:09.740 --> 00:30:11.659
The stencil acts as

842
00:30:11.660 --> 00:30:12.660
the matrix.

843
00:30:13.440 --> 00:30:15.239
But as you will see, and the

844
00:30:15.240 --> 00:30:17.279
selection of works that I would

845
00:30:17.280 --> 00:30:18.599
like to hear the two of you talk

846
00:30:18.600 --> 00:30:20.479
about are really around the

847
00:30:20.480 --> 00:30:22.059
use of the stencil that Analia has

848
00:30:22.060 --> 00:30:23.939
made prints at Alnopal that are

849
00:30:23.940 --> 00:30:25.779
not around the used of this kind

850
00:30:25.780 --> 00:30:28.219
of matrix, but this is a focused

851
00:30:28.220 --> 00:30:29.929
selection.

852
00:30:29.930 --> 00:30:32.089
And what I think is really exciting

853
00:30:32.090 --> 00:30:33.410
in looking at these

854
00:30:34.670 --> 00:30:37.369
is the aspect of

855
00:30:37.370 --> 00:30:39.569
having a fixed matrix, but then

856
00:30:39.570 --> 00:30:41.569
the work at the end

857
00:30:41.570 --> 00:30:43.509
embracing breakage

858
00:30:43.510 --> 00:30:45.390
and potential failure and chance

859
00:30:46.870 --> 00:30:48.989
in each iteration that

860
00:30:48.990 --> 00:30:49.990
you're printing.

861
00:30:50.950 --> 00:30:52.969
So I can move these slides

862
00:30:52.970 --> 00:30:54.509
forward if you want.

863
00:30:54.510 --> 00:30:55.569
So these are, you know, and.

864
00:30:55.570 --> 00:30:57.769
Well this was the,

865
00:30:57.770 --> 00:30:59.609
this was actually an addition

866
00:30:59.610 --> 00:31:01.989
and I don't think this is the

867
00:31:01.990 --> 00:31:03.929
very, I think that on

868
00:31:03.930 --> 00:31:05.809
the, I mean number

869
00:31:05.810 --> 00:31:07.589
one I think that this stencil

870
00:31:07.590 --> 00:31:09.449
experimentation maybe this

871
00:31:09.450 --> 00:31:11.629
was the first time that it was done,

872
00:31:11.630 --> 00:31:13.509
but it was actually conceived as an

873
00:31:13.510 --> 00:31:14.349
addition though.

874
00:31:14.350 --> 00:31:16.369
So there's 20

875
00:31:16.370 --> 00:31:18.249
of each of these ones and that

876
00:31:18.250 --> 00:31:19.449
was never done.

877
00:31:19.450 --> 00:31:21.669
And then we moved on to

878
00:31:21.670 --> 00:31:23.289
larger sizes and more.

879
00:31:25.120 --> 00:31:26.599
Maybe experimental, you know,

880
00:31:26.600 --> 00:31:28.419
playing with the pressure as

881
00:31:28.420 --> 00:31:29.499
you can see right here.

882
00:31:31.350 --> 00:31:33.289
Analia, do you want to comment on

883
00:31:33.290 --> 00:31:34.349
these? Yes, so.

884
00:31:34.350 --> 00:31:35.350
Um

885
00:31:37.610 --> 00:31:38.449
Same thing.

886
00:31:38.450 --> 00:31:39.909
I didn't understand painting.

887
00:31:39.910 --> 00:31:42.009
I don't fully understand culture or

888
00:31:42.010 --> 00:31:43.769
art. I don' really understand why

889
00:31:43.770 --> 00:31:45.049
we're here talking about it.

890
00:31:45.050 --> 00:31:47.549
But let's go with it.

891
00:31:49.210 --> 00:31:51.229
So printmaking, I'm like,

892
00:31:51.230 --> 00:31:53.429
why does an image deserve

893
00:31:53.430 --> 00:31:55.249
to exist 100 times,

894
00:31:55.250 --> 00:31:56.889
and the other image doesn't?

895
00:31:56.890 --> 00:31:58.709
Why does a unique work is

896
00:31:58.710 --> 00:32:01.229
unique? And then this image,

897
00:32:01.230 --> 00:32:02.509
you're like, OK, you're going to

898
00:32:02.510 --> 00:32:04.329
become an edition, and 100

899
00:32:04.330 --> 00:32:06.049
people will have access to the same

900
00:32:06.050 --> 00:32:07.189
image.

901
00:32:07.190 --> 00:32:09.329
I still don't understand it.

902
00:32:09.330 --> 00:32:11.089
So while I was working with

903
00:32:11.090 --> 00:32:13.629
Francesco, as you can see,

904
00:32:13.630 --> 00:32:14.769
I didn't get there.

905
00:32:14.770 --> 00:32:16.529
We never made an edition.

906
00:32:16.530 --> 00:32:18.969
Every print was a monoprint,

907
00:32:18.970 --> 00:32:21.469
right? That's how you call it.

908
00:32:21.470 --> 00:32:23.349
But I did love to play

909
00:32:23.350 --> 00:32:24.209
with the press.

910
00:32:24.210 --> 00:32:26.429
I mean, he has this amazing press,

911
00:32:26.430 --> 00:32:28.269
and he's just like,

912
00:32:28.270 --> 00:32:30.429
and he was very open to

913
00:32:30.430 --> 00:32:32.309
making a big mess because,

914
00:32:32.310 --> 00:32:34.229
you know, now the ink is

915
00:32:34.230 --> 00:32:36.469
dry and beautiful, but...

916
00:32:36.470 --> 00:32:38.629
When we were working on it,

917
00:32:38.630 --> 00:32:40.279
it was like...

918
00:32:40.280 --> 00:32:42.659
It was sometimes a

919
00:32:42.660 --> 00:32:44.299
catastrophe that meant great.

920
00:32:46.610 --> 00:32:48.309
And by the way, so many pieces

921
00:32:48.310 --> 00:32:49.310
didn't make it.

922
00:32:50.580 --> 00:32:52.419
Like this one right here, this

923
00:32:52.420 --> 00:32:54.879
is the newspaper clippings

924
00:32:54.880 --> 00:32:56.919
came in in

925
00:32:56.920 --> 00:32:59.259
2011, I think, no?

926
00:32:59.260 --> 00:33:01.839
And actually this particular series,

927
00:33:01.840 --> 00:33:03.759
which actually started with

928
00:33:03.760 --> 00:33:05.819
the, I'm sorry, with the New York

929
00:33:05.820 --> 00:33:07.919
Times, and eventually it

930
00:33:07.920 --> 00:33:10.319
became a

931
00:33:10.320 --> 00:33:13.439
roster of global newspapers.

932
00:33:13.440 --> 00:33:16.379
And they actually were

933
00:33:16.380 --> 00:33:18.339
exhibited in

934
00:33:18.340 --> 00:33:19.380
Buenos Aires.

935
00:33:20.540 --> 00:33:23.539
For the first time and

936
00:33:23.540 --> 00:33:25.379
I think it was like actually

937
00:33:25.380 --> 00:33:27.579
two parts. We finished like

938
00:33:27.580 --> 00:33:29.859
a whole series of these newspaper

939
00:33:29.860 --> 00:33:31.259
clippings and then there was a

940
00:33:31.260 --> 00:33:32.799
second part finished in Los Angeles.

941
00:33:34.210 --> 00:33:35.609
So something that's really

942
00:33:35.610 --> 00:33:37.489
interesting about printmaking, and

943
00:33:37.490 --> 00:33:39.609
Naoko actually introduced me to this

944
00:33:39.610 --> 00:33:41.709
incredible art historian, Jennifer

945
00:33:41.710 --> 00:33:43.629
Roberts, that if you're interested

946
00:33:43.630 --> 00:33:45.609
in very good

947
00:33:45.610 --> 00:33:47.669
printmaking writings about print

948
00:33:47.670 --> 00:33:49.509
making, I recommend her

949
00:33:49.510 --> 00:33:50.890
book. It's called Contact.

950
00:33:52.610 --> 00:33:54.669
And something that is

951
00:33:54.670 --> 00:33:55.689
really interesting about

952
00:33:55.690 --> 00:33:57.429
print-making is that it's a blind

953
00:33:57.430 --> 00:33:58.449
process.

954
00:33:58.450 --> 00:34:00.509
So you have to put the plate

955
00:34:00.510 --> 00:34:02.369
and the paper, and you

956
00:34:02.370 --> 00:34:03.899
put the blanket on top.

957
00:34:03.900 --> 00:34:06.139
And then you either turn

958
00:34:06.140 --> 00:34:07.939
the wheel or press a button.

959
00:34:07.940 --> 00:34:08.718
Gemini has both.

960
00:34:08.719 --> 00:34:10.779
You have the button type,

961
00:34:10.780 --> 00:34:11.849
right?

962
00:34:11.850 --> 00:34:12.850
Yeah.

963
00:34:13.760 --> 00:34:16.299
And then it

964
00:34:16.300 --> 00:34:17.999
comes out the other side and it's

965
00:34:18.000 --> 00:34:19.000
always a surprise.

966
00:34:20.600 --> 00:34:22.579
So this particular process

967
00:34:22.580 --> 00:34:23.580
because.

968
00:34:26.659 --> 00:34:27.698
What was the process?

969
00:34:27.699 --> 00:34:29.759
We put like a layer of paper.

970
00:34:29.760 --> 00:34:31.799
Well, in all

971
00:34:31.800 --> 00:34:33.559
of them, even from the beginning,

972
00:34:33.560 --> 00:34:35.779
these ones are much larger.

973
00:34:35.780 --> 00:34:38.678
But there is a support paper,

974
00:34:38.679 --> 00:34:40.658
like a good paper, support

975
00:34:40.659 --> 00:34:42.138
paper meaning good paper and

976
00:34:42.139 --> 00:34:44.099
printmaking is

977
00:34:44.100 --> 00:34:46.119
archival paper.

978
00:34:46.120 --> 00:34:48.399
And then there is this, and then

979
00:34:48.400 --> 00:34:50.820
Analia would apply ink,

980
00:34:52.800 --> 00:34:54.698
maybe super calculated

981
00:34:54.699 --> 00:34:56.999
or whatever, you know, she was.

982
00:34:57.000 --> 00:34:58.879
Applying the

983
00:34:58.880 --> 00:35:00.919
ink, and

984
00:35:00.920 --> 00:35:03.039
then we dropped the

985
00:35:03.040 --> 00:35:04.979
stencil on top, and

986
00:35:04.980 --> 00:35:06.999
then it was covered with another

987
00:35:07.000 --> 00:35:09.299
protective sheet, the cover sheet,

988
00:35:09.300 --> 00:35:11.139
and it was run through the press

989
00:35:11.140 --> 00:35:12.999
at different levels of pressure

990
00:35:13.000 --> 00:35:15.279
to create different reactions

991
00:35:15.280 --> 00:35:17.559
on the

992
00:35:17.560 --> 00:35:19.379
result at the end.

993
00:35:19.380 --> 00:35:21.119
So in some cases, the paper will

994
00:35:21.120 --> 00:35:23.019
break, in some other cases, it

995
00:35:23.020 --> 00:35:24.379
will stay the same.

996
00:35:25.600 --> 00:35:27.419
And then this was one project you

997
00:35:27.420 --> 00:35:28.420
wanted to mention.

998
00:35:29.420 --> 00:35:31.559
Well, I mean, I was just, you

999
00:35:31.560 --> 00:35:33.919
know, again, I was thinking the

1000
00:35:33.920 --> 00:35:35.859
possibilities of your

1001
00:35:35.860 --> 00:35:37.759
work as the idea again,

1002
00:35:37.760 --> 00:35:39.619
the ideas of

1003
00:35:39.620 --> 00:35:42.040
psychological dynamics.

1004
00:35:43.240 --> 00:35:45.159
The one on the right

1005
00:35:45.160 --> 00:35:47.299
is the one with

1006
00:35:47.300 --> 00:35:48.979
the stencil. You can see that with

1007
00:35:48.980 --> 00:35:50.459
the tensile.

1008
00:35:50.460 --> 00:35:52.379
And the cover sheet that

1009
00:35:52.380 --> 00:35:54.399
was the protective sheet

1010
00:35:54.400 --> 00:35:55.940
that I talked about,

1011
00:35:57.240 --> 00:35:58.240
actually.

1012
00:36:01.609 --> 00:36:03.609
The image was

1013
00:36:03.610 --> 00:36:05.829
copied entirely on

1014
00:36:05.830 --> 00:36:07.969
the cover sheet, and then it was

1015
00:36:07.970 --> 00:36:10.089
transferred to

1016
00:36:10.090 --> 00:36:12.090
another good paper.

1017
00:36:13.310 --> 00:36:16.609
So in a way, it acts as a

1018
00:36:16.610 --> 00:36:18.789
conversation

1019
00:36:18.790 --> 00:36:21.209
of

1020
00:36:21.210 --> 00:36:23.049
the dynamic of a, of

1021
00:36:23.050 --> 00:36:24.869
a hidden truth

1022
00:36:24.870 --> 00:36:26.369
or.

1023
00:36:26.370 --> 00:36:28.349
Some subtleties that goes in

1024
00:36:28.350 --> 00:36:29.989
the information towards something

1025
00:36:29.990 --> 00:36:30.789
else.

1026
00:36:30.790 --> 00:36:33.329
And you can actually ask,

1027
00:36:33.330 --> 00:36:35.489
you know, which one is the original

1028
00:36:35.490 --> 00:36:37.489
in the sense that, you,

1029
00:36:37.490 --> 00:36:39.009
know, there are some hidden things

1030
00:36:39.010 --> 00:36:41.489
in one or the other that informs the

1031
00:36:41.490 --> 00:36:42.490
whole project.

1032
00:36:43.230 --> 00:36:45.129
And it's the idea of the offset, of

1033
00:36:45.130 --> 00:36:46.929
the off set, and reversal, of

1034
00:36:46.930 --> 00:36:48.909
course, is such an important aspect

1035
00:36:48.910 --> 00:36:50.869
in the logic of printmaking.

1036
00:36:51.990 --> 00:36:54.149
Um, I'm going to

1037
00:36:54.150 --> 00:36:56.129
move on now to,

1038
00:36:56.130 --> 00:36:57.949
um, Gemini,

1039
00:36:57.950 --> 00:37:00.869
um Gemini G-E-L.

1040
00:37:00.870 --> 00:37:02.489
The renowned artist, workshop, and

1041
00:37:02.490 --> 00:37:04.349
publisher of limited edition prints

1042
00:37:04.350 --> 00:37:05.849
and sculpture was founded here in

1043
00:37:05.850 --> 00:37:08.189
Los Angeles in 1966 by

1044
00:37:08.190 --> 00:37:11.009
Sidney Felsen, Stanley Grinstein.

1045
00:37:11.010 --> 00:37:13.309
And master printer Ken Tyler,

1046
00:37:13.310 --> 00:37:15.129
together with Rosamund Felsen and

1047
00:37:15.130 --> 00:37:16.569
Elise Grinstein.

1048
00:37:16.570 --> 00:37:18.289
From its inception, Gemini has

1049
00:37:18.290 --> 00:37:19.369
championed technical

1050
00:37:19.370 --> 00:37:21.349
experimentation, providing artists

1051
00:37:21.350 --> 00:37:22.529
with the means to produce

1052
00:37:22.530 --> 00:37:24.449
groundbreaking work.

1053
00:37:24.450 --> 00:37:26.209
Within its first five years, Gemani

1054
00:37:26.210 --> 00:37:27.829
collaborated with artists such as

1055
00:37:27.830 --> 00:37:29.109
Robert Rauschenberg, Klaus

1056
00:37:29.110 --> 00:37:31.049
Oldenburg, Ellsworth Kelly, Jasper

1057
00:37:31.050 --> 00:37:32.909
Johns, and Roy Lichtenstein,

1058
00:37:32.910 --> 00:37:34.849
and established a reputation for

1059
00:37:34.850 --> 00:37:37.549
bold collaborative experimentation.

1060
00:37:37.550 --> 00:37:39.449
And this experimental ethos

1061
00:37:39.450 --> 00:37:40.859
continues to this day.

1062
00:37:40.860 --> 00:37:42.999
Recent collaborators include Julie

1063
00:37:43.000 --> 00:37:44.819
Marutu, Tassadine, Toba

1064
00:37:44.820 --> 00:37:46.919
Kadori, and of course, Analia

1065
00:37:46.920 --> 00:37:48.359
Saban.

1066
00:37:48.360 --> 00:37:50.279
Gemini has worked with 70 artists

1067
00:37:50.280 --> 00:37:52.639
and engaged over 155

1068
00:37:52.640 --> 00:37:54.499
printers, publishing nearly

1069
00:37:54.500 --> 00:37:56.219
2,700 editions.

1070
00:37:57.860 --> 00:37:59.999
They have specialized shops

1071
00:38:00.000 --> 00:38:01.959
for intaglio, lithography, and

1072
00:38:01.960 --> 00:38:03.859
screen printing, with a lot

1073
00:38:03.860 --> 00:38:05.699
of crossover between them.

1074
00:38:05.700 --> 00:38:07.459
And until recently maintained a

1075
00:38:07.460 --> 00:38:09.399
dedicated space for Richard Serra,

1076
00:38:09.400 --> 00:38:11.699
with whom they produced over 330

1077
00:38:11.700 --> 00:38:14.659
editions across 52 years.

1078
00:38:14.660 --> 00:38:16.479
At Gemini, Case Hudson is

1079
00:38:16.480 --> 00:38:18.439
a master printer and manager of the

1080
00:38:18.440 --> 00:38:19.719
Intaglio Shop.

1081
00:38:19.720 --> 00:38:22.259
Since joining Gemini in 2006,

1082
00:38:22.260 --> 00:38:24.959
he has collaborated with 12 artists,

1083
00:38:24.960 --> 00:38:27.599
including Bruce Nauman, Tassadine,

1084
00:38:27.600 --> 00:38:29.519
Jasper Johns, Richard Tuttle,

1085
00:38:29.520 --> 00:38:31.779
Julie Maritou, and Toba Kadori,

1086
00:38:31.780 --> 00:38:32.780
and of course, Analia.

1087
00:38:33.780 --> 00:38:36.359
From 1997 to 2004,

1088
00:38:36.360 --> 00:38:38.179
he was a master printer at

1089
00:38:38.180 --> 00:38:40.059
Crown Point Press, the San Francisco

1090
00:38:40.060 --> 00:38:41.939
publisher of fine art etching,

1091
00:38:41.940 --> 00:38:43.199
where he worked with some 25

1092
00:38:43.200 --> 00:38:44.359
artists.

1093
00:38:44.360 --> 00:38:46.179
He completed the printer training

1094
00:38:46.180 --> 00:38:48.059
program at the Tamarind Institute

1095
00:38:48.060 --> 00:38:50.159
in Albuquerque, New Mexico,

1096
00:38:50.160 --> 00:38:51.999
and earned his MFA in

1097
00:38:52.000 --> 00:38:53.719
printmaking from the Rhode Island

1098
00:38:53.720 --> 00:38:54.820
School of Design.

1099
00:38:56.160 --> 00:38:57.160
Hi, Case.

1100
00:38:58.700 --> 00:39:00.839
I'm going to start by asking you

1101
00:39:00.840 --> 00:39:02.379
the same question, how do you

1102
00:39:02.380 --> 00:39:03.699
describe the role of the printer?

1103
00:39:06.260 --> 00:39:08.119
I would describe it the same way

1104
00:39:08.120 --> 00:39:10.179
I have in the past, which is

1105
00:39:10.180 --> 00:39:12.139
really making a

1106
00:39:12.140 --> 00:39:14.079
space for any artist

1107
00:39:14.080 --> 00:39:16.479
who comes through the door to

1108
00:39:16.480 --> 00:39:18.539
feel free to make whatever

1109
00:39:18.540 --> 00:39:19.519
they want.

1110
00:39:19.520 --> 00:39:21.859
And I sort of take my experience

1111
00:39:21.860 --> 00:39:23.999
that I've had to

1112
00:39:24.000 --> 00:39:25.179
create that space.

1113
00:39:25.180 --> 00:39:27.119
So it's mental space, it's

1114
00:39:27.120 --> 00:39:28.979
physical space,

1115
00:39:28.980 --> 00:39:30.959
but coming in

1116
00:39:30.960 --> 00:39:32.739
and working at different shops at

1117
00:39:32.740 --> 00:39:34.599
Crown Point and Gemini, I would also

1118
00:39:34.600 --> 00:39:35.600
say that.

1119
00:39:36.280 --> 00:39:38.759
Sidney Felsen and Stanley Grinstein

1120
00:39:38.760 --> 00:39:40.699
created an incredible

1121
00:39:40.700 --> 00:39:43.099
space for printers also to

1122
00:39:43.100 --> 00:39:45.739
come in and have the space to

1123
00:39:45.740 --> 00:39:47.619
create that space for artists.

1124
00:39:47.620 --> 00:39:49.839
So it's, there's a chain that

1125
00:39:49.840 --> 00:39:51.879
goes down and also a history

1126
00:39:51.880 --> 00:39:53.499
that goes back.

1127
00:39:53.500 --> 00:39:54.500
And

1128
00:39:57.300 --> 00:39:58.859
that's basically how I would

1129
00:39:58.860 --> 00:40:00.989
describe it is, is

1130
00:40:00.990 --> 00:40:03.049
And so in terms of making

1131
00:40:03.050 --> 00:40:05.049
space for Analia to come

1132
00:40:05.050 --> 00:40:07.829
in and make something new,

1133
00:40:07.830 --> 00:40:10.049
can you talk a little bit about what

1134
00:40:10.050 --> 00:40:12.589
has marked her collaboration

1135
00:40:12.590 --> 00:40:14.869
at Gemini as distinct?

1136
00:40:14.870 --> 00:40:16.249
And I think you have a rough count

1137
00:40:16.250 --> 00:40:18.089
of how many projects you

1138
00:40:18.090 --> 00:40:19.399
worked on together.

1139
00:40:19.400 --> 00:40:21.359
Um, roughly 50 projects

1140
00:40:21.360 --> 00:40:22.919
with Annali, which might be the

1141
00:40:22.920 --> 00:40:24.759
record of, of the

1142
00:40:24.760 --> 00:40:26.659
12 or 13 artists I've worked

1143
00:40:26.660 --> 00:40:28.179
with at Cheminai.

1144
00:40:28.180 --> 00:40:30.779
Um, so Annalia is very ambitious,

1145
00:40:30.780 --> 00:40:32.519
which is very satisfying to have an

1146
00:40:32.520 --> 00:40:34.239
artist come in and just want to go,

1147
00:40:34.240 --> 00:40:36.059
go, go and make lots and lots

1148
00:40:36.060 --> 00:40:37.839
of work. It's, it's great.

1149
00:40:37.840 --> 00:40:39.879
Some artists come in, and very timid

1150
00:40:39.880 --> 00:40:41.619
and not quite sure what they want to

1151
00:40:41.620 --> 00:40:43.919
do. And it, um, it,

1152
00:40:43.920 --> 00:40:46.139
it what got me into printmaking

1153
00:40:46.140 --> 00:40:48.389
is, is the process.

1154
00:40:48.390 --> 00:40:50.249
And so that was satisfying to have

1155
00:40:50.250 --> 00:40:52.149
an artist like Analia come in

1156
00:40:52.150 --> 00:40:54.509
who's very interested in the process

1157
00:40:54.510 --> 00:40:56.449
and how that's even

1158
00:40:56.450 --> 00:40:57.550
how she started.

1159
00:40:59.110 --> 00:41:01.149
There's a moment at Gemini that's

1160
00:41:01.150 --> 00:41:03.089
the building that the etching

1161
00:41:03.090 --> 00:41:05.049
department is in is a

1162
00:41:05.050 --> 00:41:06.969
Frank Gehry building which has a

1163
00:41:06.970 --> 00:41:08.529
stairwell that goes up and there's a

1164
00:41:08.530 --> 00:41:10.389
big glass window that looks into the

1165
00:41:10.390 --> 00:41:11.390
shop.

1166
00:41:12.130 --> 00:41:13.429
So constantly throughout the day

1167
00:41:13.430 --> 00:41:14.829
there's people walking by some

1168
00:41:14.830 --> 00:41:17.199
people stop and watch us and.

1169
00:41:17.200 --> 00:41:19.459
As printers, we're very excited

1170
00:41:19.460 --> 00:41:21.559
about these moments that happen,

1171
00:41:21.560 --> 00:41:23.579
all these, you know,

1172
00:41:23.580 --> 00:41:25.779
very repetitive, but it stays very

1173
00:41:25.780 --> 00:41:27.819
exciting moments where you see

1174
00:41:27.820 --> 00:41:29.819
separate layers of an artist's

1175
00:41:29.820 --> 00:41:32.259
work happening and fresh, sparkling,

1176
00:41:32.260 --> 00:41:34.539
wet ink coming off.

1177
00:41:34.540 --> 00:41:36.219
And a person will be coming in and

1178
00:41:36.220 --> 00:41:38.099
they'll watch for a moment and we're

1179
00:41:38.100 --> 00:41:39.299
getting excited because someone's

1180
00:41:39.300 --> 00:41:40.259
watching and they're going to see

1181
00:41:40.260 --> 00:41:42.459
this thing come off the press.

1182
00:41:42.460 --> 00:41:44.279
And we'll just, she's just about

1183
00:41:44.280 --> 00:41:45.679
to pull it off the press and they'll

1184
00:41:45.680 --> 00:41:47.079
walk on and walk away.

1185
00:41:47.080 --> 00:41:48.479
And she's like, okay, well, they

1186
00:41:48.480 --> 00:41:50.599
missed it. But they watched the

1187
00:41:50.600 --> 00:41:51.979
slow, you know, it's a slow process.

1188
00:41:51.980 --> 00:41:53.539
So they get a little bored.

1189
00:41:53.540 --> 00:41:55.619
But what was really satisfying is

1190
00:41:55.620 --> 00:41:58.739
when Annalita first showed up,

1191
00:41:58.740 --> 00:41:59.879
she wanted to just, all she wanted

1192
00:41:59.880 --> 00:42:01.419
do was just watch us work.

1193
00:42:01.420 --> 00:42:03.259
She watched us work for, I

1194
00:42:03.260 --> 00:42:05.319
don't know, two or three days she

1195
00:42:05.320 --> 00:42:06.899
came in and just, she just said,

1196
00:42:06.900 --> 00:42:08.199
just keep working.

1197
00:42:08.200 --> 00:42:09.809
Just go about your business.

1198
00:42:09.810 --> 00:42:11.189
She was looking at the materials

1199
00:42:11.190 --> 00:42:13.289
where we were using, the equipment,

1200
00:42:13.290 --> 00:42:16.149
the way we were physically moving,

1201
00:42:16.150 --> 00:42:17.089
all these things.

1202
00:42:17.090 --> 00:42:19.989
And it was kind of a satisfying

1203
00:42:19.990 --> 00:42:21.909
way of building

1204
00:42:21.910 --> 00:42:23.389
a relationship with an artist that

1205
00:42:23.390 --> 00:42:24.709
was very different than someone

1206
00:42:24.710 --> 00:42:26.489
coming in and just being like, okay,

1207
00:42:26.490 --> 00:42:27.769
what do I do?

1208
00:42:27.770 --> 00:42:29.669
And start from there, which

1209
00:42:29.670 --> 00:42:31.029
happens and it's fine.

1210
00:42:31.030 --> 00:42:32.929
But it was a nice

1211
00:42:32.930 --> 00:42:34.129
way of building a relationship

1212
00:42:34.130 --> 00:42:35.130
within artists.

1213
00:42:39.850 --> 00:42:41.669
Now, looking at the photos, too,

1214
00:42:41.670 --> 00:42:43.289
and should I be referring to the

1215
00:42:43.290 --> 00:42:43.979
photos?

1216
00:42:43.980 --> 00:42:44.980
Would you like me to go back?

1217
00:42:47.820 --> 00:42:51.039
Just in terms of using tools,

1218
00:42:51.040 --> 00:42:53.339
Ana Leo's very involved

1219
00:42:53.340 --> 00:42:55.519
too, where some artists might be

1220
00:42:55.520 --> 00:42:57.519
standing back and just doing

1221
00:42:57.520 --> 00:42:59.119
a drawing, and then we'll take that

1222
00:42:59.120 --> 00:43:00.959
and get that onto the plate and

1223
00:43:00.960 --> 00:43:02.219
then bring that back and forth.

1224
00:43:03.840 --> 00:43:05.759
It was, it's nice to have somebody

1225
00:43:05.760 --> 00:43:07.699
just jump into it

1226
00:43:07.700 --> 00:43:09.579
with us. So after those few days

1227
00:43:09.580 --> 00:43:11.639
of observing,

1228
00:43:11.640 --> 00:43:13.599
she really dove in and

1229
00:43:13.600 --> 00:43:15.559
sort of joined the team in

1230
00:43:15.560 --> 00:43:17.039
working, which was a nice way of

1231
00:43:17.040 --> 00:43:18.040
working too.

1232
00:43:18.780 --> 00:43:20.879
Okay,

1233
00:43:20.880 --> 00:43:22.819
and this

1234
00:43:22.820 --> 00:43:23.820
one.

1235
00:43:24.230 --> 00:43:26.009
Analia, do you want to say a few

1236
00:43:26.010 --> 00:43:27.010
words about this?

1237
00:43:30.640 --> 00:43:32.519
Um, this is, I

1238
00:43:32.520 --> 00:43:34.379
think, my first Gemini project.

1239
00:43:34.380 --> 00:43:37.299
And I just want to very quickly, uh,

1240
00:43:37.300 --> 00:43:39.179
share, you know,

1241
00:43:39.180 --> 00:43:40.639
what does it feel like to work at

1242
00:43:40.640 --> 00:43:42.779
Gemini for the first time?

1243
00:43:42.780 --> 00:43:45.799
So, you, know,

1244
00:43:45.800 --> 00:43:47.639
it's so intimidating.

1245
00:43:47.640 --> 00:43:49.279
I mean, beyond, right?

1246
00:43:49.280 --> 00:43:51.639
Like, you go in and...

1247
00:43:51.640 --> 00:43:54.139
You know, Sidney has this incredible

1248
00:43:54.140 --> 00:43:56.119
wall that you saw in the

1249
00:43:56.120 --> 00:43:58.079
first picture of all the artists

1250
00:43:58.080 --> 00:44:00.979
that have come before you.

1251
00:44:00.980 --> 00:44:03.559
And he has photographed them all.

1252
00:44:03.560 --> 00:44:04.979
He's now co-made this incredible

1253
00:44:04.980 --> 00:44:06.999
exhibition at the Getty

1254
00:44:07.000 --> 00:44:08.600
on his photos.

1255
00:44:09.900 --> 00:44:12.119
And so you go in and all

1256
00:44:12.120 --> 00:44:14.159
the people, all the artist that

1257
00:44:14.160 --> 00:44:16.119
you love and you admire, they

1258
00:44:16.120 --> 00:44:18.679
have all gone through Gemini.

1259
00:44:18.680 --> 00:44:20.798
And then, He

1260
00:44:20.799 --> 00:44:23.419
welcomes you in this room,

1261
00:44:23.420 --> 00:44:24.699
which we saw in the picture.

1262
00:44:24.700 --> 00:44:26.019
It's called the artist studio, and

1263
00:44:26.020 --> 00:44:27.020
it's an empty room.

1264
00:44:28.919 --> 00:44:30.179
And he's like, OK.

1265
00:44:32.930 --> 00:44:35.709
I'm like, okay, you know,

1266
00:44:35.710 --> 00:44:37.569
um, so he, the one

1267
00:44:37.570 --> 00:44:39.709
thing about Sydney that he

1268
00:44:39.710 --> 00:44:41.049
gave me, and that's probably the

1269
00:44:41.050 --> 00:44:43.329
biggest gift an artist could get,

1270
00:44:43.330 --> 00:44:45.889
um full certainty.

1271
00:44:45.890 --> 00:44:47.789
He was like, it's going to

1272
00:44:47.790 --> 00:44:48.790
happen.

1273
00:44:49.870 --> 00:44:51.549
Might take two, three weeks, but it

1274
00:44:51.550 --> 00:44:52.550
will happen.

1275
00:44:54.150 --> 00:44:56.189
And, and you know I

1276
00:44:56.190 --> 00:44:57.929
didn't have that certainty myself,

1277
00:44:57.930 --> 00:44:59.589
so, um.

1278
00:44:59.590 --> 00:45:01.469
I have to say, as I said, I wouldn't

1279
00:45:01.470 --> 00:45:03.429
be here tonight without his

1280
00:45:03.430 --> 00:45:04.430
support.

1281
00:45:06.550 --> 00:45:08.449
Fingerprint was out of

1282
00:45:08.450 --> 00:45:10.429
seeing the printer's work and

1283
00:45:10.430 --> 00:45:12.469
the wiping of the plate and

1284
00:45:12.470 --> 00:45:14.129
the pristine.

1285
00:45:14.130 --> 00:45:16.049
So you have like such

1286
00:45:16.050 --> 00:45:17.409
a messy process.

1287
00:45:17.410 --> 00:45:18.889
I mean, like if you go to Gemini, I

1288
00:45:18.890 --> 00:45:19.749
don't know, wear black.

1289
00:45:19.750 --> 00:45:21.569
I mean that's my recommendation.

1290
00:45:21.570 --> 00:45:23.089
Or wear the color that they're

1291
00:45:23.090 --> 00:45:24.769
working with.

1292
00:45:24.770 --> 00:45:25.549
Try too much.

1293
00:45:25.550 --> 00:45:26.949
Julie may try too because that's

1294
00:45:26.950 --> 00:45:28.449
like so many colors.

1295
00:45:30.170 --> 00:45:32.029
You know, like, it's

1296
00:45:32.030 --> 00:45:33.849
such an interesting process.

1297
00:45:33.850 --> 00:45:36.369
You're working with this viscosity,

1298
00:45:36.370 --> 00:45:38.029
the material, it's ink, it

1299
00:45:38.030 --> 00:45:40.009
oil-based, it gets on everything,

1300
00:45:40.010 --> 00:45:41.809
and yet they're working on this,

1301
00:45:41.810 --> 00:45:43.649
like super pristine paper.

1302
00:45:43.650 --> 00:45:45.909
And I just love that relationship

1303
00:45:45.910 --> 00:45:47.849
between, like just the

1304
00:45:47.850 --> 00:45:49.149
handling. And I think that's what

1305
00:45:49.150 --> 00:45:50.049
Kay's referred to.

1306
00:45:50.050 --> 00:45:51.309
Like, I just kept looking at the

1307
00:45:51.310 --> 00:45:52.289
printers, how they work.

1308
00:45:52.290 --> 00:45:54.069
I mean, it, it basically a

1309
00:45:54.070 --> 00:45:55.749
choreography. I mean and And I know

1310
00:45:55.750 --> 00:45:57.409
if one is missing, like it's really

1311
00:45:57.410 --> 00:45:59.009
a problem for you guys because it's

1312
00:45:59.010 --> 00:46:01.289
like they need each other

1313
00:46:01.290 --> 00:46:03.189
and just the way the paper is

1314
00:46:03.190 --> 00:46:05.029
handled, the way that the plates are

1315
00:46:05.030 --> 00:46:05.989
handled.

1316
00:46:05.990 --> 00:46:07.949
So fingerprint is a testament to

1317
00:46:07.950 --> 00:46:08.950
that.

1318
00:46:09.730 --> 00:46:11.669
And as an Argentinian, we have only

1319
00:46:11.670 --> 00:46:13.330
a few things to be proud of, like,

1320
00:46:13.331 --> 00:46:15.169
you know, messy and all this,

1321
00:46:15.170 --> 00:46:17.169
like just really like I can count

1322
00:46:17.170 --> 00:46:18.009
them with one hand.

1323
00:46:18.010 --> 00:46:19.279
But...

1324
00:46:19.280 --> 00:46:21.179
We came up with the ID,

1325
00:46:21.180 --> 00:46:23.119
like the fingerprint as an ID.

1326
00:46:23.120 --> 00:46:24.699
And that's like the one thing you

1327
00:46:24.700 --> 00:46:27.259
grow up knowing about your country.

1328
00:46:27.260 --> 00:46:29.159
But I really love that moment of

1329
00:46:29.160 --> 00:46:30.999
like messing up that pristine

1330
00:46:31.000 --> 00:46:32.000
space.

1331
00:46:32.880 --> 00:46:34.359
And it's just, yeah, I love that

1332
00:46:34.360 --> 00:46:36.219
that's the first Gemini print,

1333
00:46:36.220 --> 00:46:37.819
the little gesture.

1334
00:46:37.820 --> 00:46:39.799
And I also think that

1335
00:46:39.800 --> 00:46:41.659
as we go through the couple of

1336
00:46:41.660 --> 00:46:43.799
projects, the great diversity

1337
00:46:43.800 --> 00:46:45.719
of projects that came out of a

1338
00:46:45.720 --> 00:46:47.459
very short, intense proofing

1339
00:46:47.460 --> 00:46:49.059
session, which is the time where the

1340
00:46:49.060 --> 00:46:51.039
artist is working directly with the

1341
00:46:51.040 --> 00:46:52.899
printers to develop ideas,

1342
00:46:52.900 --> 00:46:54.779
but that you

1343
00:46:54.780 --> 00:46:56.679
really, you know, we talked about

1344
00:46:56.680 --> 00:46:58.679
the stencil as one form of

1345
00:46:58.680 --> 00:47:00.739
matrix, but the fingerprint being

1346
00:47:00.740 --> 00:47:02.739
this kind of original matrix that

1347
00:47:02.740 --> 00:47:03.859
we all carry with us.

1348
00:47:03.860 --> 00:47:05.839
And so. The ways in which we can

1349
00:47:05.840 --> 00:47:07.799
find ways to push the language

1350
00:47:07.800 --> 00:47:09.440
and logic of printmaking forward.

1351
00:47:10.940 --> 00:47:12.519
So speaking of prints that are not

1352
00:47:12.520 --> 00:47:14.379
prints, but that are kind

1353
00:47:14.380 --> 00:47:16.239
of somewhere between the world

1354
00:47:16.240 --> 00:47:17.539
of the prints, the sculpture, and

1355
00:47:17.540 --> 00:47:18.540
the multiple,

1356
00:47:19.860 --> 00:47:22.039
I think this is a wonderful example

1357
00:47:22.040 --> 00:47:24.319
of that. And again, here,

1358
00:47:24.320 --> 00:47:26.219
I'll have Kacen and Leah talk

1359
00:47:26.220 --> 00:47:28.119
about it, but you know,

1360
00:47:28.120 --> 00:47:29.979
so much of. The work that happens

1361
00:47:29.980 --> 00:47:32.099
in the shop is around the press

1362
00:47:32.100 --> 00:47:34.139
and the pressure of the press.

1363
00:47:34.140 --> 00:47:36.239
And I think that Analia has really

1364
00:47:36.240 --> 00:47:38.059
found ways at Gemini to kind

1365
00:47:38.060 --> 00:47:39.019
of explore that.

1366
00:47:39.020 --> 00:47:40.559
The way you've heard her explore

1367
00:47:40.560 --> 00:47:42.079
kind of in painting, what is a

1368
00:47:42.080 --> 00:47:43.199
painting, what is sculpture, well,

1369
00:47:43.200 --> 00:47:44.200
what a print.

1370
00:47:47.230 --> 00:47:49.189
I'd also just want to back up

1371
00:47:49.190 --> 00:47:51.329
and comment on the fingerprint

1372
00:47:51.330 --> 00:47:52.269
one also.

1373
00:47:52.270 --> 00:47:54.609
Because from the printer's angle,

1374
00:47:54.610 --> 00:47:56.489
this idea of having a fingerprint in

1375
00:47:56.490 --> 00:47:58.209
the border is like what you're

1376
00:47:58.210 --> 00:48:00.169
constantly trying to avoid.

1377
00:48:00.170 --> 00:48:02.189
Or touching the plate, what you

1378
00:48:02.190 --> 00:48:04.069
are trying to, trying to a void.

1379
00:48:04.070 --> 00:48:05.869
And Analia is having the printer

1380
00:48:05.870 --> 00:48:07.809
stick their

1381
00:48:07.810 --> 00:48:09.669
finger in that plate and then

1382
00:48:09.670 --> 00:48:10.869
stick it into the border.

1383
00:48:10.870 --> 00:48:12.049
So physically doing that.

1384
00:48:12.050 --> 00:48:14.009
So throughout the edition,

1385
00:48:14.010 --> 00:48:16.639
that's what the printer was doing.

1386
00:48:16.640 --> 00:48:18.539
What we're like always trying

1387
00:48:18.540 --> 00:48:20.519
not to do, so I just wanted to

1388
00:48:20.520 --> 00:48:21.879
point that out and add that, which

1389
00:48:21.880 --> 00:48:23.500
is a great part of that print.

1390
00:48:25.160 --> 00:48:26.979
This I wanted to show,

1391
00:48:26.980 --> 00:48:29.659
which was, you

1392
00:48:29.660 --> 00:48:31.759
know, really grew out

1393
00:48:31.760 --> 00:48:33.759
of Analia's observation of

1394
00:48:33.760 --> 00:48:35.739
just the equipment, the way the

1395
00:48:35.740 --> 00:48:37.519
press worked, the roller on the

1396
00:48:37.520 --> 00:48:39.199
press, the way that the blankets

1397
00:48:39.200 --> 00:48:41.459
went through the

1398
00:48:41.460 --> 00:48:42.459
press.

1399
00:48:42.460 --> 00:48:44.359
The sort of high pressure and sort

1400
00:48:44.360 --> 00:48:46.309
of squishing quality The

1401
00:48:46.310 --> 00:48:48.989
ink getting pressed into the

1402
00:48:48.990 --> 00:48:51.949
paper.

1403
00:48:51.950 --> 00:48:53.449
This is a good example where we

1404
00:48:53.450 --> 00:48:55.569
started where we just took some

1405
00:48:55.570 --> 00:48:57.549
of the cleaning rags

1406
00:48:57.550 --> 00:48:59.409
that we had and because she

1407
00:48:59.410 --> 00:49:00.869
was looking at all the materials we

1408
00:49:00.870 --> 00:49:02.589
had and we just take a cleaning rag

1409
00:49:02.590 --> 00:49:04.829
and I think Amy, the printer

1410
00:49:04.830 --> 00:49:07.029
stitched some together

1411
00:49:07.030 --> 00:49:08.889
and I only wanted to see how

1412
00:49:08.890 --> 00:49:10.709
the ink would squish through

1413
00:49:10.710 --> 00:49:12.649
those, that cloth.

1414
00:49:12.650 --> 00:49:14.569
So here's, this is that little

1415
00:49:14.570 --> 00:49:16.409
short video. We can see the.

1416
00:49:16.410 --> 00:49:18.329
Ink squishing through the cloth of

1417
00:49:18.330 --> 00:49:19.169
these rags.

1418
00:49:19.170 --> 00:49:21.129
And then, Analia brought in

1419
00:49:21.130 --> 00:49:23.210
new materials with the linen,

1420
00:49:24.790 --> 00:49:26.989
which got used in many

1421
00:49:26.990 --> 00:49:28.589
different projects.

1422
00:49:28.590 --> 00:49:30.169
These are some other small tests.

1423
00:49:30.170 --> 00:49:32.389
You can see on the left is the

1424
00:49:32.390 --> 00:49:34.489
rag test and then bringing in

1425
00:49:34.490 --> 00:49:37.009
the linen that we were squishing

1426
00:49:37.010 --> 00:49:38.429
ink through.

1427
00:49:40.590 --> 00:49:42.589
The amount of ink was building

1428
00:49:42.590 --> 00:49:44.469
and building, and I was saying

1429
00:49:44.470 --> 00:49:46.449
that, well, at this

1430
00:49:46.450 --> 00:49:47.949
level where you see it, if that were

1431
00:49:47.950 --> 00:49:49.989
ink, it might take 20 years to

1432
00:49:49.990 --> 00:49:51.129
dry for oil.

1433
00:49:51.130 --> 00:49:53.009
So we switched to acrylic

1434
00:49:53.010 --> 00:49:55.449
paint for these and

1435
00:49:55.450 --> 00:49:57.529
ended up for the addition

1436
00:49:57.530 --> 00:49:59.909
stitching bags of

1437
00:49:59.910 --> 00:50:00.910
linen,

1438
00:50:01.970 --> 00:50:04.389
pouring in, I don't know,

1439
00:50:04.390 --> 00:50:06.729
a gallon or, I dunno,

1440
00:50:06.730 --> 00:50:08.789
half gallon to a gallon of acrylic

1441
00:50:08.790 --> 00:50:09.769
paint.

1442
00:50:09.770 --> 00:50:11.429
Into these bags and then running

1443
00:50:11.430 --> 00:50:12.969
them through the press.

1444
00:50:12.970 --> 00:50:14.809
And so, trying it in different

1445
00:50:14.810 --> 00:50:16.689
ways from that first test

1446
00:50:16.690 --> 00:50:19.429
of squishing it through the bags to

1447
00:50:19.430 --> 00:50:21.469
then squishing out into

1448
00:50:21.470 --> 00:50:23.449
the open end is what you see in

1449
00:50:23.450 --> 00:50:24.510
that last photo.

1450
00:50:27.350 --> 00:50:29.849
And that became the final

1451
00:50:29.850 --> 00:50:31.209
piece.

1452
00:50:31.210 --> 00:50:32.569
One thing I'd like to point out

1453
00:50:32.570 --> 00:50:34.829
because it was sort of

1454
00:50:34.830 --> 00:50:36.669
came out of the process and I

1455
00:50:36.670 --> 00:50:37.769
wasn't even sure why it was

1456
00:50:37.770 --> 00:50:39.119
happening at first.

1457
00:50:39.120 --> 00:50:40.960
Can you go back to the bags,

1458
00:50:42.320 --> 00:50:44.399
yeah there,

1459
00:50:44.400 --> 00:50:46.339
so that in the color where

1460
00:50:46.340 --> 00:50:48.879
you can see the texture of the

1461
00:50:48.880 --> 00:50:50.819
linen coming through, I wasn't

1462
00:50:50.820 --> 00:50:52.060
sure why that was happening.

1463
00:50:53.180 --> 00:50:55.879
And it turned out it was the,

1464
00:50:55.880 --> 00:50:57.799
as we were putting the paint in

1465
00:50:57.800 --> 00:50:59.719
the bag, it took a little

1466
00:50:59.720 --> 00:51:01.579
bit of time and just that short

1467
00:51:01.580 --> 00:51:03.099
amount of time, the paint would

1468
00:51:03.100 --> 00:51:04.439
start to dry.

1469
00:51:04.440 --> 00:51:06.399
And so where it dried on the

1470
00:51:06.400 --> 00:51:08.359
bag it wouldn't come through

1471
00:51:08.360 --> 00:51:10.359
the... The linen and where

1472
00:51:10.360 --> 00:51:12.339
it was still wet and fresh it would

1473
00:51:12.340 --> 00:51:13.539
soak right through.

1474
00:51:13.540 --> 00:51:15.399
So it was interesting to see that

1475
00:51:15.400 --> 00:51:17.299
just sort of as a result of the

1476
00:51:17.300 --> 00:51:19.139
process and that became part of

1477
00:51:19.140 --> 00:51:20.140
the addition.

1478
00:51:22.520 --> 00:51:24.559
I'm going to move us to the next

1479
00:51:24.560 --> 00:51:26.979
project in

1480
00:51:26.980 --> 00:51:28.939
the interest of time.

1481
00:51:28.940 --> 00:51:29.940
So if you want to.

1482
00:51:33.250 --> 00:51:35.229
Yeah, this brush stroke matrix,

1483
00:51:35.230 --> 00:51:38.149
there were a

1484
00:51:38.150 --> 00:51:40.349
series, I think, six different

1485
00:51:40.350 --> 00:51:42.389
matrix that

1486
00:51:42.390 --> 00:51:44.349
Analia made out of

1487
00:51:44.350 --> 00:51:46.509
acrylic medium,

1488
00:51:46.510 --> 00:51:48.209
heavy brush stroke, which you saw

1489
00:51:48.210 --> 00:51:49.649
some reference to that she made

1490
00:51:49.650 --> 00:51:51.729
earlier from other pieces

1491
00:51:51.730 --> 00:51:53.789
that she put onto

1492
00:51:53.790 --> 00:51:55.629
paper. So she just put these

1493
00:51:55.630 --> 00:51:57.589
brush strokes with a brush, heavy,

1494
00:51:57.590 --> 00:51:59.509
heavy. As you can see,

1495
00:51:59.510 --> 00:52:01.369
3D pieces.

1496
00:52:01.370 --> 00:52:03.189
That we dried onto paper, then we

1497
00:52:03.190 --> 00:52:04.349
ran those through the press, and

1498
00:52:04.350 --> 00:52:05.609
then on the right, you can see where

1499
00:52:05.610 --> 00:52:07.489
it was embossed into the paper that

1500
00:52:07.490 --> 00:52:08.490
we ended up using.

1501
00:52:09.410 --> 00:52:11.269
And then that embossment,

1502
00:52:11.270 --> 00:52:13.529
she wanted the

1503
00:52:13.530 --> 00:52:15.129
ink or the paint that we were using

1504
00:52:15.130 --> 00:52:17.209
to go into those,

1505
00:52:17.210 --> 00:52:19.329
and to kind of display

1506
00:52:19.330 --> 00:52:21.109
those embossments.

1507
00:52:21.110 --> 00:52:24.609
At first, we were a squeegee

1508
00:52:24.610 --> 00:52:26.469
for silkscreen, which has a rubber

1509
00:52:26.470 --> 00:52:27.789
squeege on it.

1510
00:52:27.790 --> 00:52:29.370
And it was a little bit too soft, so

1511
00:52:29.371 --> 00:52:30.989
it was sinking into those

1512
00:52:30.990 --> 00:52:32.469
embossments and scooping out too

1513
00:52:32.470 --> 00:52:33.449
much ink.

1514
00:52:33.450 --> 00:52:35.449
So I made this squeegee out of

1515
00:52:35.450 --> 00:52:37.369
copper, which was very stiff and was

1516
00:52:37.370 --> 00:52:38.849
able to just drag across the

1517
00:52:38.850 --> 00:52:39.729
surface.

1518
00:52:39.730 --> 00:52:41.309
And here's a little video you can

1519
00:52:41.310 --> 00:52:43.709
see of how, how

1520
00:52:43.710 --> 00:52:44.709
we were doing that.

1521
00:52:44.710 --> 00:52:46.969
So that the paper you see that

1522
00:52:46.970 --> 00:52:48.149
we're about to squeege on has

1523
00:52:48.150 --> 00:52:50.369
already been embossed.

1524
00:52:50.370 --> 00:52:52.629
It's wet, wet

1525
00:52:52.630 --> 00:52:53.630
paint.

1526
00:52:54.910 --> 00:52:56.709
And then as we pull across.

1527
00:52:57.960 --> 00:53:00.339
You'll see the embossed

1528
00:53:00.340 --> 00:53:02.439
brushstrokes kind of appear.

1529
00:53:02.440 --> 00:53:04.119
And this is a moment too where I was

1530
00:53:04.120 --> 00:53:05.759
saying, like I was say earlier,

1531
00:53:05.760 --> 00:53:07.839
where we get to see these moments

1532
00:53:07.840 --> 00:53:09.859
in the artwork that nobody else

1533
00:53:09.860 --> 00:53:11.139
gets to see where it's still

1534
00:53:11.140 --> 00:53:13.019
glistening and just kind of

1535
00:53:13.020 --> 00:53:14.820
a beautiful birth of a new artwork.

1536
00:53:17.250 --> 00:53:20.129
And again, here we see

1537
00:53:20.130 --> 00:53:21.969
Analia playing with

1538
00:53:21.970 --> 00:53:24.089
the logic of the

1539
00:53:24.090 --> 00:53:26.009
print, the tools, the

1540
00:53:26.010 --> 00:53:28.029
materials, but also the printer

1541
00:53:28.030 --> 00:53:29.629
playing with that.

1542
00:53:29.630 --> 00:53:30.849
So, you know, the copper that's

1543
00:53:30.850 --> 00:53:32.149
used, that's usually the copper

1544
00:53:32.150 --> 00:53:34.329
that's use for the matrix,

1545
00:53:34.330 --> 00:53:36.389
but here it's becoming a tool

1546
00:53:36.390 --> 00:53:38.229
for the actual printing or

1547
00:53:38.230 --> 00:53:39.569
the spreading of the ink, so

1548
00:53:39.570 --> 00:53:41.449
subverting these relationships.

1549
00:53:43.390 --> 00:53:45.409
I'm going to now introduce our

1550
00:53:45.410 --> 00:53:46.410
third printer.

1551
00:53:47.060 --> 00:53:48.979
Shiremba, the director of

1552
00:53:48.980 --> 00:53:51.039
Mixografia, the innovative

1553
00:53:51.040 --> 00:53:53.299
print studio founded by his parents,

1554
00:53:53.300 --> 00:53:55.539
Luis and Leirembah.

1555
00:53:55.540 --> 00:53:57.419
In the early 1970s,

1556
00:53:57.420 --> 00:53:59.399
Luis established Taller de Grafica

1557
00:53:59.400 --> 00:54:01.379
Mexicana in Mexico City,

1558
00:54:01.380 --> 00:54:03.199
a fine art lithography studio

1559
00:54:03.200 --> 00:54:05.259
that invited artists to experiment

1560
00:54:05.260 --> 00:54:06.859
and collaborate.

1561
00:54:06.860 --> 00:54:09.099
A pivotal 1973 partnership

1562
00:54:09.100 --> 00:54:10.919
with Rufino Tamayo led to the

1563
00:54:10.920 --> 00:54:12.619
invention of the mixografia

1564
00:54:12.620 --> 00:54:13.499
technique.

1565
00:54:13.500 --> 00:54:15.559
A unique process that adds texture

1566
00:54:15.560 --> 00:54:17.859
and dimensionality to prints.

1567
00:54:17.860 --> 00:54:19.819
To support this innovation,

1568
00:54:19.820 --> 00:54:22.539
Shia, a trained mechanical engineer,

1569
00:54:22.540 --> 00:54:24.099
designed custom paper-making

1570
00:54:24.100 --> 00:54:25.819
equipment and later developed a

1571
00:54:25.820 --> 00:54:26.900
large format press.

1572
00:54:27.960 --> 00:54:29.619
Following a successful UCLA

1573
00:54:29.620 --> 00:54:31.679
exhibition and the encouragement of

1574
00:54:31.680 --> 00:54:33.959
then fine arts dean, Robert Gray,

1575
00:54:33.960 --> 00:54:36.219
the Rembas opened a mixografia

1576
00:54:36.220 --> 00:54:38.079
studio here in Los Angeles in

1577
00:54:38.080 --> 00:54:39.619
1983.

1578
00:54:39.620 --> 00:54:41.539
Shaya joined in 1986,

1579
00:54:41.540 --> 00:54:43.359
bringing with him a degree in

1580
00:54:43.360 --> 00:54:45.399
mechanical engineering from the

1581
00:54:45.400 --> 00:54:47.679
Universidad Autónoma Metropolitana

1582
00:54:47.680 --> 00:54:49.639
and training in photography

1583
00:54:49.640 --> 00:54:51.619
from La Casa del Lago, both

1584
00:54:51.620 --> 00:54:53.679
in Mexico City.

1585
00:54:53.680 --> 00:54:55.219
Blending technical skill with

1586
00:54:55.220 --> 00:54:56.879
creative insight, Shaya has

1587
00:54:56.880 --> 00:54:58.539
collaborated closely with artists

1588
00:54:58.540 --> 00:55:00.399
such as John Baldassari, Helen

1589
00:55:00.400 --> 00:55:02.919
Frankenthaler, Jacob Hashimoto,

1590
00:55:02.920 --> 00:55:04.819
Alex Israel, Jason Martin,

1591
00:55:04.820 --> 00:55:06.859
Ed Ruscha, Alison Saar,

1592
00:55:06.860 --> 00:55:08.859
Rufino Tamayo, Jonas Wood,

1593
00:55:08.860 --> 00:55:10.079
among others.

1594
00:55:10.080 --> 00:55:11.479
Building lasting partnerships

1595
00:55:11.480 --> 00:55:13.079
through the studio's innovative

1596
00:55:13.080 --> 00:55:14.319
approach.

1597
00:55:14.320 --> 00:55:16.139
Under his leadership, Mixographia

1598
00:55:16.140 --> 00:55:18.279
technique has continued to evolve,

1599
00:55:18.280 --> 00:55:20.359
producing increasingly complex works

1600
00:55:20.360 --> 00:55:22.219
that have redefined the boundaries

1601
00:55:22.220 --> 00:55:23.959
of printmaking.

1602
00:55:23.960 --> 00:55:25.719
To date, Mixographyia has published

1603
00:55:25.720 --> 00:55:27.779
over 600 unique editions by

1604
00:55:27.780 --> 00:55:28.879
89 artists.

1605
00:55:29.940 --> 00:55:31.539
Thanks for being here, Shaya.

1606
00:55:31.540 --> 00:55:32.699
Thank you.

1607
00:55:32.700 --> 00:55:34.579
So I will start again with the

1608
00:55:34.580 --> 00:55:35.779
same question.

1609
00:55:35.780 --> 00:55:37.659
How do you describe the

1610
00:55:37.660 --> 00:55:38.660
role of the printer?

1611
00:55:39.810 --> 00:55:41.789
Well, I will add a

1612
00:55:41.790 --> 00:55:43.989
few more things.

1613
00:55:43.990 --> 00:55:47.229
But basically, printmaking consists

1614
00:55:47.230 --> 00:55:50.009
of making multiple

1615
00:55:50.010 --> 00:55:52.229
impression of

1616
00:55:52.230 --> 00:55:54.449
the same concept.

1617
00:55:54.450 --> 00:55:55.450
Now,

1618
00:55:56.330 --> 00:55:58.909
what we do is

1619
00:55:58.910 --> 00:56:00.609
a little bit more complicated

1620
00:56:00.610 --> 00:56:04.829
because it involves

1621
00:56:04.830 --> 00:56:06.649
texture relief, the use

1622
00:56:06.650 --> 00:56:08.479
of materials.

1623
00:56:08.480 --> 00:56:11.099
Which this is what

1624
00:56:11.100 --> 00:56:14.699
I think is the

1625
00:56:14.700 --> 00:56:17.299
quality that distinguishes

1626
00:56:17.300 --> 00:56:19.479
mixography from

1627
00:56:19.480 --> 00:56:21.819
the traditional

1628
00:56:21.820 --> 00:56:23.679
printmaking techniques.

1629
00:56:25.180 --> 00:56:28.119
Because of this,

1630
00:56:28.120 --> 00:56:31.039
our process is

1631
00:56:31.040 --> 00:56:33.219
not a very

1632
00:56:33.220 --> 00:56:34.499
agile process.

1633
00:56:34.500 --> 00:56:36.779
So it becomes very

1634
00:56:36.780 --> 00:56:38.739
difficult to.

1635
00:56:38.740 --> 00:56:40.999
Really work with the artists,

1636
00:56:41.000 --> 00:56:44.099
so mainly our

1637
00:56:44.100 --> 00:56:46.799
collaborations and the

1638
00:56:46.800 --> 00:56:48.719
close engagement we have with

1639
00:56:48.720 --> 00:56:51.139
the artist really

1640
00:56:51.140 --> 00:56:53.219
exists at a very

1641
00:56:53.220 --> 00:56:56.339
conceptual level and

1642
00:56:56.340 --> 00:56:58.319
then based

1643
00:56:58.320 --> 00:57:00.239
on those ideas and

1644
00:57:00.240 --> 00:57:02.339
of course the

1645
00:57:02.340 --> 00:57:04.179
work of the artist providing

1646
00:57:04.180 --> 00:57:06.599
us some matrixes

1647
00:57:06.600 --> 00:57:08.019
and materials.

1648
00:57:08.020 --> 00:57:09.939
We create our

1649
00:57:09.940 --> 00:57:11.759
special three-dimensional

1650
00:57:11.760 --> 00:57:12.760
prints.

1651
00:57:13.819 --> 00:57:15.899
So because of

1652
00:57:15.900 --> 00:57:17.979
that, it would

1653
00:57:17.980 --> 00:57:19.919
be very difficult to do like

1654
00:57:19.920 --> 00:57:21.279
the mono prints.

1655
00:57:21.280 --> 00:57:23.699
We need to make our own

1656
00:57:23.700 --> 00:57:26.139
paper, and it's

1657
00:57:26.140 --> 00:57:27.760
a very slow process.

1658
00:57:28.880 --> 00:57:30.739
But on the other

1659
00:57:30.740 --> 00:57:33.839
hand, we can create

1660
00:57:33.840 --> 00:57:36.239
relief on a

1661
00:57:36.240 --> 00:57:38.239
surface of handmade paper.

1662
00:57:38.240 --> 00:57:41.339
And that's what has

1663
00:57:41.340 --> 00:57:43.259
enabled us to have

1664
00:57:43.260 --> 00:57:45.719
these close collaborations with

1665
00:57:45.720 --> 00:57:47.699
many artists.

1666
00:57:47.700 --> 00:57:49.859
And it has been a pleasure to

1667
00:57:49.860 --> 00:57:51.479
collaborate with Anali.

1668
00:57:51.480 --> 00:57:53.639
And I think we have

1669
00:57:53.640 --> 00:57:56.059
produced really

1670
00:57:56.060 --> 00:57:58.839
interesting prints.

1671
00:57:58.840 --> 00:58:00.719
And this was our first.

1672
00:58:02.149 --> 00:58:04.209
Collaboration, and yeah, it

1673
00:58:04.210 --> 00:58:06.269
came about from

1674
00:58:06.270 --> 00:58:08.089
your acrylic

1675
00:58:08.090 --> 00:58:09.489
towel.

1676
00:58:09.490 --> 00:58:11.669
But here,

1677
00:58:11.670 --> 00:58:13.509
the idea, she wanted to

1678
00:58:13.510 --> 00:58:15.889
add a little stain,

1679
00:58:15.890 --> 00:58:18.249
you know, to bring it

1680
00:58:18.250 --> 00:58:20.829
closer to

1681
00:58:20.830 --> 00:58:22.849
your body,

1682
00:58:22.850 --> 00:58:23.869
you mentioned.

1683
00:58:25.950 --> 00:58:29.209
You know, even originally,

1684
00:58:29.210 --> 00:58:30.329
what shall we use?

1685
00:58:30.330 --> 00:58:32.789
The original idea was tea,

1686
00:58:32.790 --> 00:58:35.029
but tea fades.

1687
00:58:35.030 --> 00:58:37.189
So we,

1688
00:58:37.190 --> 00:58:39.149
because as

1689
00:58:39.150 --> 00:58:41.209
printmakers, we are

1690
00:58:41.210 --> 00:58:43.269
evolving our techniques

1691
00:58:43.270 --> 00:58:44.729
all the time.

1692
00:58:44.730 --> 00:58:46.949
So we came about with,

1693
00:58:46.950 --> 00:58:50.309
ended up being a simple acrylic,

1694
00:58:50.310 --> 00:58:51.969
diluted acrylic paint.

1695
00:58:51.970 --> 00:58:53.939
An-an-analy-a.

1696
00:58:53.940 --> 00:58:55.879
In each artwork,

1697
00:58:55.880 --> 00:58:57.879
you know, stained the

1698
00:58:57.880 --> 00:58:59.999
white piece of

1699
00:59:00.000 --> 00:59:01.059
handmade paper.

1700
00:59:02.160 --> 00:59:04.019
And after that

1701
00:59:04.020 --> 00:59:06.099
print, she

1702
00:59:06.100 --> 00:59:08.099
found this

1703
00:59:08.100 --> 00:59:09.560
towel.

1704
00:59:10.620 --> 00:59:13.059
And the really interesting

1705
00:59:13.060 --> 00:59:14.979
aspect of the towel

1706
00:59:14.980 --> 00:59:16.599
was the label, you now,

1707
00:59:17.600 --> 00:59:18.920
the global.

1708
00:59:20.120 --> 00:59:22.299
Now not so,

1709
00:59:22.300 --> 00:59:24.519
they want to kill that, you know,

1710
00:59:24.520 --> 00:59:26.359
global trade,

1711
00:59:26.360 --> 00:59:28.399
you know, Egyptian cotton made

1712
00:59:28.400 --> 00:59:30.379
in Pakistan,

1713
00:59:30.380 --> 00:59:32.619
sold in target, you know.

1714
00:59:32.620 --> 00:59:34.899
So, but in

1715
00:59:34.900 --> 00:59:35.959
this case,

1716
00:59:37.520 --> 00:59:38.739
technically for us,

1717
00:59:39.860 --> 00:59:41.719
and we had

1718
00:59:41.720 --> 00:59:44.199
to work directly with a towel.

1719
00:59:44.200 --> 00:59:46.059
And this became a step

1720
00:59:46.060 --> 00:59:48.119
stone to do the new next

1721
00:59:48.120 --> 00:59:49.019
project.

1722
00:59:49.020 --> 00:59:51.799
And not the next project,

1723
00:59:51.800 --> 00:59:54.239
but this third project,

1724
00:59:54.240 --> 00:59:56.729
which was the labels.

1725
00:59:56.730 --> 00:59:58.549
But also, during

1726
00:59:58.550 --> 01:00:00.529
this time, we

1727
01:00:00.530 --> 01:00:02.769
tackled the bag,

1728
01:00:02.770 --> 01:00:04.349
paper or plastic.

1729
01:00:05.350 --> 01:00:07.329
So this

1730
01:00:07.330 --> 01:00:09.309
was happening when

1731
01:00:09.310 --> 01:00:11.549
they were banning the bags in

1732
01:00:11.550 --> 01:00:12.550
LA.

1733
01:00:13.990 --> 01:00:16.249
So part of what

1734
01:00:16.250 --> 01:00:18.129
we

1735
01:00:18.130 --> 01:00:21.029
were commenting about,

1736
01:00:21.030 --> 01:00:23.489
how we needed to make

1737
01:00:23.490 --> 01:00:25.829
the plastic bag immortal.

1738
01:00:25.830 --> 01:00:27.659
I'm place them

1739
01:00:27.660 --> 01:00:28.660
in a museum.

1740
01:00:30.060 --> 01:00:31.959
So that was

1741
01:00:31.960 --> 01:00:34.059
kind of part of the

1742
01:00:34.060 --> 01:00:36.319
dialog we

1743
01:00:36.320 --> 01:00:38.279
had during the

1744
01:00:38.280 --> 01:00:39.499
project, you know.

1745
01:00:39.500 --> 01:00:42.379
I think the

1746
01:00:42.380 --> 01:00:44.399
language of what the

1747
01:00:44.400 --> 01:00:47.119
box or what they signify,

1748
01:00:47.120 --> 01:00:49.039
I think, the deeper thoughts

1749
01:00:49.040 --> 01:00:52.279
probably came afterwards.

1750
01:00:52.280 --> 01:00:53.869
But, you now, we.

1751
01:00:53.870 --> 01:00:56.089
We were working trying

1752
01:00:56.090 --> 01:00:58.649
to replicate this very

1753
01:00:58.650 --> 01:01:00.729
fragile material in

1754
01:01:00.730 --> 01:01:02.569
a way. It cannot preserve

1755
01:01:02.570 --> 01:01:04.069
its shapes.

1756
01:01:04.070 --> 01:01:06.129
It just does what the winds,

1757
01:01:06.130 --> 01:01:08.090
what the plastic to do.

1758
01:01:09.430 --> 01:01:11.529
And technically, what

1759
01:01:11.530 --> 01:01:13.609
became very

1760
01:01:13.610 --> 01:01:15.489
difficult was

1761
01:01:15.490 --> 01:01:17.329
how to,

1762
01:01:19.490 --> 01:01:22.389
the images, how to apply.

1763
01:01:22.390 --> 01:01:24.329
Create the images on these

1764
01:01:24.330 --> 01:01:26.789
very complicated

1765
01:01:26.790 --> 01:01:29.069
wrinkled

1766
01:01:29.070 --> 01:01:30.969
surfaces, you know,

1767
01:01:30.970 --> 01:01:33.569
because that logo is

1768
01:01:33.570 --> 01:01:35.709
really the

1769
01:01:35.710 --> 01:01:37.649
message of the

1770
01:01:37.650 --> 01:01:39.709
back, sometimes

1771
01:01:39.710 --> 01:01:42.109
optimistic commerce,

1772
01:01:42.110 --> 01:01:44.009
but everything at the end is one

1773
01:01:44.010 --> 01:01:45.010
use.

1774
01:01:45.410 --> 01:01:47.269
Now, the

1775
01:01:47.270 --> 01:01:49.329
prints we make

1776
01:01:49.330 --> 01:01:51.109
are three-dimensional.

1777
01:01:51.110 --> 01:01:52.999
This is the back of.

1778
01:01:53.000 --> 01:01:55.219
One of the bags,

1779
01:01:55.220 --> 01:01:57.039
so you can see how deep

1780
01:01:57.040 --> 01:01:59.939
and how also the,

1781
01:01:59.940 --> 01:02:02.999
all these wrinkles are

1782
01:02:03.000 --> 01:02:04.879
existing the back of the

1783
01:02:04.880 --> 01:02:07.559
bag because we are deforming

1784
01:02:07.560 --> 01:02:09.399
the paper to create these

1785
01:02:09.400 --> 01:02:11.999
volumes that represent materials

1786
01:02:12.000 --> 01:02:13.959
that I think in the case of

1787
01:02:13.960 --> 01:02:15.779
Analía, your work is

1788
01:02:15.780 --> 01:02:17.899
about materials, how

1789
01:02:17.900 --> 01:02:19.819
to repurpose them, transform

1790
01:02:19.820 --> 01:02:22.259
them or find another use.

1791
01:02:22.260 --> 01:02:24.099
So this is the

1792
01:02:24.100 --> 01:02:26.019
front of one of the bags,

1793
01:02:26.020 --> 01:02:29.139
of course, multi-language,

1794
01:02:29.140 --> 01:02:31.119
very global,

1795
01:02:31.120 --> 01:02:33.279
and this is a part of

1796
01:02:33.280 --> 01:02:35.099
the, we

1797
01:02:35.100 --> 01:02:37.039
are missing two bags, but this is

1798
01:02:37.040 --> 01:02:39.119
the way the whole concept

1799
01:02:39.120 --> 01:02:41.199
looks on

1800
01:02:41.200 --> 01:02:42.200
a wall.

1801
01:02:44.260 --> 01:02:46.239
Now the way we

1802
01:02:46.240 --> 01:02:48.579
work, we talk about how we

1803
01:02:48.580 --> 01:02:50.619
need to conceptualize things,

1804
01:02:50.620 --> 01:02:51.620
Let's have the dialog.

1805
01:02:52.680 --> 01:02:53.680
Starts,

1806
01:02:54.620 --> 01:02:57.199
this project started with

1807
01:02:57.200 --> 01:02:59.319
clothing label, something

1808
01:02:59.320 --> 01:03:01.239
as ephemeral as that.

1809
01:03:01.240 --> 01:03:03.419
How many times do we observe

1810
01:03:03.420 --> 01:03:05.559
them, one or two times during

1811
01:03:05.560 --> 01:03:07.799
the life of the garment?

1812
01:03:07.800 --> 01:03:09.979
So Analia wanted to really

1813
01:03:09.980 --> 01:03:12.199
make an emphasis of

1814
01:03:12.200 --> 01:03:14.059
that and how

1815
01:03:14.060 --> 01:03:16.259
there is a language that

1816
01:03:16.260 --> 01:03:18.099
transcends what it really is

1817
01:03:18.100 --> 01:03:20.199
as an object. So the

1818
01:03:20.200 --> 01:03:22.199
first thing was to select.

1819
01:03:23.260 --> 01:03:25.159
The labels, and you see the

1820
01:03:25.160 --> 01:03:27.139
sizes, you know, there is a ruler

1821
01:03:27.140 --> 01:03:29.179
just to give a sense of

1822
01:03:29.180 --> 01:03:30.180
scale.

1823
01:03:30.860 --> 01:03:32.959
And this is a close-up

1824
01:03:32.960 --> 01:03:34.919
of one of the labels

1825
01:03:34.920 --> 01:03:36.639
that we select to make the

1826
01:03:36.640 --> 01:03:39.279
chronology of this project.

1827
01:03:39.280 --> 01:03:41.279
Of course, and then we

1828
01:03:41.280 --> 01:03:44.259
made a model that

1829
01:03:44.260 --> 01:03:46.259
is an enlarged

1830
01:03:46.260 --> 01:03:48.199
model that represents the label,

1831
01:03:48.200 --> 01:03:50.489
and this is what and

1832
01:03:50.490 --> 01:03:52.409
Aliyah manipulated in the

1833
01:03:52.410 --> 01:03:53.239
shop.

1834
01:03:53.240 --> 01:03:55.139
To give it its

1835
01:03:55.140 --> 01:03:58.099
final shape.

1836
01:03:58.100 --> 01:04:00.279
This is an aliyah working on

1837
01:04:00.280 --> 01:04:02.579
another label,

1838
01:04:02.580 --> 01:04:04.639
but we had to develop this whole

1839
01:04:04.640 --> 01:04:07.459
system of how to

1840
01:04:07.460 --> 01:04:09.299
create wrinkles shapes

1841
01:04:09.300 --> 01:04:11.119
and freeze them in time so

1842
01:04:11.120 --> 01:04:13.919
we could produce

1843
01:04:13.920 --> 01:04:15.739
a

1844
01:04:15.740 --> 01:04:18.139
printing plate, which is

1845
01:04:18.140 --> 01:04:18.939
this.

1846
01:04:18.940 --> 01:04:21.019
And this is the inverse of what you

1847
01:04:21.020 --> 01:04:23.409
just saw. And these.

1848
01:04:23.410 --> 01:04:25.449
On display the

1849
01:04:25.450 --> 01:04:28.449
master printers work

1850
01:04:28.450 --> 01:04:31.349
to create the magic and

1851
01:04:31.350 --> 01:04:33.389
make this piece of

1852
01:04:33.390 --> 01:04:35.569
paper believable and transmit

1853
01:04:35.570 --> 01:04:38.289
the concept that Analia

1854
01:04:38.290 --> 01:04:40.469
wanted to transmit

1855
01:04:40.470 --> 01:04:42.289
to the public.

1856
01:04:42.290 --> 01:04:44.149
So this is a video

1857
01:04:44.150 --> 01:04:45.769
of how it happened.

1858
01:04:45.770 --> 01:04:48.989
This is our facility in

1859
01:04:48.990 --> 01:04:49.969
downtown LA.

1860
01:04:49.970 --> 01:04:51.849
And it's

1861
01:04:51.850 --> 01:04:52.769
one minute.

1862
01:04:52.770 --> 01:04:55.149
Than a half video of how

1863
01:04:55.150 --> 01:04:56.989
the, what happens with

1864
01:04:56.990 --> 01:04:58.829
the plate during

1865
01:04:58.830 --> 01:05:01.269
the day of work basically

1866
01:05:01.270 --> 01:05:03.309
to see all the

1867
01:05:03.310 --> 01:05:05.370
colors, different techniques,

1868
01:05:07.690 --> 01:05:09.709
the ink, the handmade paper

1869
01:05:09.710 --> 01:05:11.649
that we use,

1870
01:05:11.650 --> 01:05:13.669
how it's formed

1871
01:05:13.670 --> 01:05:15.829
on the plate, you know, that's

1872
01:05:15.830 --> 01:05:18.249
because of that we can shape it,

1873
01:05:18.250 --> 01:05:19.610
supports the image,

1874
01:05:20.670 --> 01:05:21.670
the details.

1875
01:05:23.230 --> 01:05:25.389
You know, different ways of

1876
01:05:25.390 --> 01:05:27.190
extracting water.

1877
01:05:28.210 --> 01:05:30.309
That's paper making.

1878
01:05:30.310 --> 01:05:31.310
The press,

1879
01:05:32.510 --> 01:05:33.850
like an etching press.

1880
01:05:35.630 --> 01:05:36.949
And voila.

1881
01:05:41.190 --> 01:05:43.149
So that's the print,

1882
01:05:43.150 --> 01:05:45.309
and it takes one

1883
01:05:45.310 --> 01:05:46.770
day to do that.

1884
01:05:48.130 --> 01:05:50.109
But you see, you can appreciate

1885
01:05:50.110 --> 01:05:52.009
the qualities of the

1886
01:05:52.010 --> 01:05:53.010
surface.

1887
01:05:53.470 --> 01:05:55.289
You can see the counted

1888
01:05:55.290 --> 01:05:57.329
threads, if you

1889
01:05:57.330 --> 01:05:58.330
wish.

1890
01:06:00.420 --> 01:06:02.579
And that's the print and then

1891
01:06:02.580 --> 01:06:04.479
the

1892
01:06:04.480 --> 01:06:05.480
concept.

1893
01:06:08.830 --> 01:06:09.759
Well...

1894
01:06:09.760 --> 01:06:11.169
Should I keep going?

1895
01:06:11.170 --> 01:06:13.809
Yeah, the last one is the,

1896
01:06:13.810 --> 01:06:15.429
well, that's the print and that's

1897
01:06:15.430 --> 01:06:18.089
the next one is that last one.

1898
01:06:18.090 --> 01:06:19.489
Well, signature, of course.

1899
01:06:22.070 --> 01:06:24.349
And that's the whole project.

1900
01:06:27.890 --> 01:06:29.610
So of course,

1901
01:06:30.970 --> 01:06:34.609
the most important thing is to

1902
01:06:34.610 --> 01:06:36.869
make

1903
01:06:36.870 --> 01:06:39.929
possible what the artist conceives.

1904
01:06:39.930 --> 01:06:41.149
That's what we do.

1905
01:06:43.120 --> 01:06:44.019
Thank you, Shaya.

1906
01:06:44.020 --> 01:06:45.900
I'm going to give this to Analia.

1907
01:06:51.170 --> 01:06:53.069
So Annali is going to take us

1908
01:06:53.070 --> 01:06:54.929
on a tour of

1909
01:06:54.930 --> 01:06:57.449
all of her editions

1910
01:06:58.950 --> 01:07:00.749
made here in Los Angeles.

1911
01:07:00.750 --> 01:07:02.149
We're just going to run this in the

1912
01:07:02.150 --> 01:07:04.109
background, because there is

1913
01:07:04.110 --> 01:07:05.329
a large number of them.

1914
01:07:05.330 --> 01:07:06.849
But I think it will give you a great

1915
01:07:06.850 --> 01:07:08.949
sense of the variety.

1916
01:07:08.950 --> 01:07:10.769
And while she does this,

1917
01:07:10.770 --> 01:07:12.669
we'll continue the conversation.

1918
01:07:12.670 --> 01:07:14.569
And what I want to just start

1919
01:07:14.570 --> 01:07:16.489
as she does this, because these

1920
01:07:16.490 --> 01:07:18.809
are all of our Los Angeles

1921
01:07:18.810 --> 01:07:20.649
Printmaking collaborations is

1922
01:07:20.650 --> 01:07:22.929
just to acknowledge the

1923
01:07:22.930 --> 01:07:24.829
print culture that we have here in

1924
01:07:24.830 --> 01:07:25.830
Los Angeles.

1925
01:07:26.770 --> 01:07:28.729
It is an incredibly

1926
01:07:28.730 --> 01:07:30.569
creative and

1927
01:07:30.570 --> 01:07:32.549
innovative and

1928
01:07:32.550 --> 01:07:34.429
welcoming community with

1929
01:07:34.430 --> 01:07:35.809
a really rich history.

1930
01:07:36.850 --> 01:07:38.689
What I think has come

1931
01:07:38.690 --> 01:07:40.329
through in the conversation is the

1932
01:07:40.330 --> 01:07:42.389
way in which each shop develops

1933
01:07:42.390 --> 01:07:43.969
its own techniques, its own

1934
01:07:43.970 --> 01:07:44.999
processes.

1935
01:07:45.000 --> 01:07:46.939
And as Kay said, to create a space

1936
01:07:46.940 --> 01:07:48.919
where an artist can come in and

1937
01:07:48.920 --> 01:07:50.899
create something new and different,

1938
01:07:50.900 --> 01:07:52.139
maybe something that they might not

1939
01:07:52.140 --> 01:07:54.599
be able to do in their own studios.

1940
01:07:54.600 --> 01:07:56.079
I think what's really remarkable

1941
01:07:56.080 --> 01:07:58.159
about Analia's work is

1942
01:07:58.160 --> 01:08:00.999
that she really engages

1943
01:08:01.000 --> 01:08:02.879
with the specificity of

1944
01:08:02.880 --> 01:08:04.919
what is possible within that

1945
01:08:04.920 --> 01:08:06.739
shop. So not just trying

1946
01:08:06.740 --> 01:08:08.079
to make prints for the sake of

1947
01:08:08.080 --> 01:08:09.999
making prints, but thinking really

1948
01:08:10.000 --> 01:08:12.399
thoughtfully and inventively

1949
01:08:12.400 --> 01:08:14.299
about how she can take

1950
01:08:14.300 --> 01:08:15.899
what is already being done in that

1951
01:08:15.900 --> 01:08:17.460
shop and move that forward.

1952
01:08:18.500 --> 01:08:20.539
So with that, I would love

1953
01:08:20.540 --> 01:08:22.318
to hear your thoughts, including

1954
01:08:22.319 --> 01:08:25.339
yours, Analia, about Los Angeles.

1955
01:08:25.340 --> 01:08:27.739
I know that in the room we have

1956
01:08:27.740 --> 01:08:29.579
a variety of representatives of the

1957
01:08:29.580 --> 01:08:31.999
print community from other printers,

1958
01:08:32.000 --> 01:08:33.999
and I'm sorry, I can't see everyone

1959
01:08:34.000 --> 01:08:35.799
from where I'm sitting right now,

1960
01:08:35.800 --> 01:08:37.320
but printers, we have.

1961
01:08:39.580 --> 01:08:41.539
Paper experts here,

1962
01:08:41.540 --> 01:08:43.858
Hiromi and Yuki from Hiromi Paper,

1963
01:08:43.859 --> 01:08:45.879
so suppliers of materials who

1964
01:08:45.880 --> 01:08:47.459
printers and artists work closely

1965
01:08:47.460 --> 01:08:50.019
with. We have a number of curators

1966
01:08:50.020 --> 01:08:52.219
and others from

1967
01:08:52.220 --> 01:08:53.499
the art trade.

1968
01:08:53.500 --> 01:08:55.858
So it's really wonderful

1969
01:08:55.859 --> 01:08:58.299
that we're all here to

1970
01:08:58.300 --> 01:09:00.239
advance the graphic cause and to

1971
01:09:00.240 --> 01:09:02.259
celebrate the work of Analia.

1972
01:09:02.260 --> 01:09:04.199
So I'd love to hear from you if

1973
01:09:04.200 --> 01:09:06.169
you have thoughts The

1974
01:09:06.170 --> 01:09:07.270
place of Los Angeles,

1975
01:09:08.410 --> 01:09:10.269
what Los Angeles has offered you

1976
01:09:10.270 --> 01:09:11.270
in particular.

1977
01:09:14.590 --> 01:09:16.889
Well, for one thing, I'd like to

1978
01:09:16.890 --> 01:09:18.929
acknowledge the,

1979
01:09:18.930 --> 01:09:20.409
I'm sorry, who are you?

1980
01:09:20.410 --> 01:09:22.189
No, I wanted to remind you of the

1981
01:09:22.190 --> 01:09:23.190
microphone.

1982
01:09:25.010 --> 01:09:27.028
Well, I wanted to acknowledge

1983
01:09:27.029 --> 01:09:29.329
some of the,

1984
01:09:29.330 --> 01:09:31.489
recognize the culture of printmaking

1985
01:09:31.490 --> 01:09:33.568
in Los Angeles and

1986
01:09:33.569 --> 01:09:36.049
the departure of some of

1987
01:09:36.050 --> 01:09:38.028
the great contributors to

1988
01:09:38.029 --> 01:09:40.148
this recently the

1989
01:09:40.149 --> 01:09:42.989
passing of Jean Milan and.

1990
01:09:42.990 --> 01:09:45.108
Of Cirrus Editions.

1991
01:09:45.109 --> 01:09:47.068
And from Gemini,

1992
01:09:47.069 --> 01:09:49.028
Sydney Redner,

1993
01:09:49.029 --> 01:09:50.909
Sydney Felsen and

1994
01:09:50.910 --> 01:09:52.129
Stanley Greenstein.

1995
01:09:52.130 --> 01:09:53.130
And

1996
01:09:55.610 --> 01:09:58.909
And really congratulate

1997
01:09:58.910 --> 01:10:01.069
all of the printers of Los Angeles

1998
01:10:01.070 --> 01:10:04.229
that are keeping Los

1999
01:10:04.230 --> 01:10:06.229
Angeles a very viable place

2000
01:10:06.230 --> 01:10:07.230
for printmaking.

2001
01:10:09.720 --> 01:10:12.399
Thank you, that was wonderful.

2002
01:10:12.400 --> 01:10:14.419
And do you have further thoughts

2003
01:10:14.420 --> 01:10:15.169
to add to that?

2004
01:10:15.170 --> 01:10:16.989
You mentioned Hiromi paper,

2005
01:10:16.990 --> 01:10:19.129
which I started in San Francisco

2006
01:10:19.130 --> 01:10:20.789
at Crown Point Press where I would

2007
01:10:20.790 --> 01:10:23.009
be just on the phone with Hiromi and

2008
01:10:23.010 --> 01:10:25.309
ordering paper from her

2009
01:10:25.310 --> 01:10:27.269
and to then be at Gemini

2010
01:10:27.270 --> 01:10:29.109
and continuing that and now

2011
01:10:29.110 --> 01:10:30.369
being able to go there.

2012
01:10:31.530 --> 01:10:33.209
I don't know, it's all over the

2013
01:10:33.210 --> 01:10:34.210
country.

2014
01:10:37.060 --> 01:10:39.959
Import of Japanese papers,

2015
01:10:39.960 --> 01:10:41.859
it seems to start

2016
01:10:41.860 --> 01:10:44.619
at Hiromi paper and go out.

2017
01:10:44.620 --> 01:10:46.279
Sometimes you'll even see an edition

2018
01:10:46.280 --> 01:10:48.279
that'll say on

2019
01:10:48.280 --> 01:10:50.479
Hiromi paper, and it'll just

2020
01:10:50.480 --> 01:10:52.579
sort of be the term for

2021
01:10:52.580 --> 01:10:54.639
the Japanese paper because of that.

2022
01:10:54.640 --> 01:10:56.040
But I really appreciate.

2023
01:10:58.540 --> 01:11:00.459
In Romy Paper being in Los Angeles

2024
01:11:00.460 --> 01:11:02.499
as one thing, but of course

2025
01:11:02.500 --> 01:11:04.419
the artist scene that goes

2026
01:11:04.420 --> 01:11:06.319
way, way back and

2027
01:11:06.320 --> 01:11:09.219
the

2028
01:11:09.220 --> 01:11:12.999
patron of

2029
01:11:13.000 --> 01:11:15.299
artists, Stanley Grinstein,

2030
01:11:15.300 --> 01:11:17.259
having his both

2031
01:11:17.260 --> 01:11:19.079
support

2032
01:11:19.080 --> 01:11:21.019
but also space

2033
01:11:21.020 --> 01:11:23.559
and access for artists to

2034
01:11:23.560 --> 01:11:26.199
both make work and play.

2035
01:11:26.200 --> 01:11:28.119
When I started at Gemini, my dad is

2036
01:11:28.120 --> 01:11:30.039
an artist, and he said, oh,

2037
01:11:30.040 --> 01:11:31.979
I know, Gemini went to a

2038
01:11:31.980 --> 01:11:33.819
great party at one of the owner's

2039
01:11:33.820 --> 01:11:35.859
houses, Stanley Green's

2040
01:11:35.860 --> 01:11:37.799
house. I'm like, okay, yes, and so

2041
01:11:37.800 --> 01:11:39.539
over the years, I hear of these

2042
01:11:39.540 --> 01:11:41.179
parties more and more, and they

2043
01:11:41.180 --> 01:11:43.119
sounded amazing, but it

2044
01:11:43.120 --> 01:11:44.939
really feels like part of the

2045
01:11:44.940 --> 01:11:46.759
culture of Los Angeles and

2046
01:11:46.760 --> 01:11:48.300
the art scene in general.

2047
01:11:49.380 --> 01:11:50.899
And I think, I just want to add to

2048
01:11:50.900 --> 01:11:52.959
that, the way in which these

2049
01:11:52.960 --> 01:11:55.439
print shops have historically from

2050
01:11:55.440 --> 01:11:57.479
the founding of these shops with

2051
01:11:57.480 --> 01:11:59.399
the, you know, 60, almost six

2052
01:11:59.400 --> 01:12:01.319
years ago with Gemini, over 50

2053
01:12:01.320 --> 01:12:03.119
years with Cirrus, and you've heard

2054
01:12:03.120 --> 01:12:04.559
about the histories also of El

2055
01:12:04.560 --> 01:12:05.999
Nopal, Mixography and there are

2056
01:12:06.000 --> 01:12:08.139
others, that these are really, as

2057
01:12:08.140 --> 01:12:09.779
I said, they're sites of

2058
01:12:09.780 --> 01:12:11.579
collaborations and they have been so

2059
01:12:11.580 --> 01:12:13.039
important to bringing artists from

2060
01:12:13.040 --> 01:12:14.999
outside of Los Angeles to come and

2061
01:12:15.000 --> 01:12:17.219
work in our city and

2062
01:12:17.220 --> 01:12:18.220
to really

2063
01:12:19.330 --> 01:12:21.029
You know, these shops have been

2064
01:12:21.030 --> 01:12:22.729
really instrumental in terms of

2065
01:12:22.730 --> 01:12:24.689
establishing Los Angeles as

2066
01:12:24.690 --> 01:12:27.049
an art-making

2067
01:12:27.050 --> 01:12:28.889
city on a national and

2068
01:12:28.890 --> 01:12:31.309
international stage and

2069
01:12:31.310 --> 01:12:33.209
pushing forward the esthetics

2070
01:12:33.210 --> 01:12:35.769
of the Los Angeles art scene,

2071
01:12:35.770 --> 01:12:38.369
so just wanted to add to that.

2072
01:12:38.370 --> 01:12:40.609
Well, I want to add, you know,

2073
01:12:40.610 --> 01:12:43.329
these of course are, we are the

2074
01:12:43.330 --> 01:12:46.409
long established shops.

2075
01:12:46.410 --> 01:12:48.489
But I think the fact of the

2076
01:12:48.490 --> 01:12:50.909
schools and younger artists,

2077
01:12:50.910 --> 01:12:53.029
younger generations of printers are

2078
01:12:53.030 --> 01:12:54.629
all over the place.

2079
01:12:54.630 --> 01:12:56.409
Probably, yeah, they don't have the

2080
01:12:56.410 --> 01:12:57.649
big shops.

2081
01:12:57.650 --> 01:13:00.309
But I thing it's a very

2082
01:13:00.310 --> 01:13:02.369
active community of

2083
01:13:02.370 --> 01:13:04.550
younger printers that eventually.

2084
01:13:05.930 --> 01:13:07.809
They will be the ones

2085
01:13:07.810 --> 01:13:09.869
carrying the flag for

2086
01:13:09.870 --> 01:13:10.769
Los Angeles.

2087
01:13:10.770 --> 01:13:12.129
Well, here we're, of course, we're

2088
01:13:12.130 --> 01:13:13.989
part of UCLA, and Camilla Taylor,

2089
01:13:13.990 --> 01:13:16.389
who teaches printmaking at UCLA,

2090
01:13:16.390 --> 01:13:18.289
is here with us, and she brings her

2091
01:13:18.290 --> 01:13:20.109
students to study

2092
01:13:20.110 --> 01:13:21.689
prints in the collection that we

2093
01:13:21.690 --> 01:13:23.149
have at the Grunwald Center.

2094
01:13:23.150 --> 01:13:24.489
I think maybe some of your students

2095
01:13:24.490 --> 01:13:25.749
are here as well.

2096
01:13:25.750 --> 01:13:28.269
So it is that intergenerational

2097
01:13:28.270 --> 01:13:29.289
quality to it.

2098
01:13:29.290 --> 01:13:31.269
Of course, you know,

2099
01:13:31.270 --> 01:13:33.029
I think that's so important to think

2100
01:13:33.030 --> 01:13:35.409
about the way in which printmaking

2101
01:13:35.410 --> 01:13:37.289
creates access also for

2102
01:13:37.290 --> 01:13:38.659
artists to make work.

2103
01:13:38.660 --> 01:13:40.079
And also, you mentioned the

2104
01:13:40.080 --> 01:13:41.999
intergenerational, or Gemini has

2105
01:13:42.000 --> 01:13:44.859
been around since 1966.

2106
01:13:44.860 --> 01:13:46.779
And yes, the sad

2107
01:13:46.780 --> 01:13:49.579
passing of Sidney and Stanley,

2108
01:13:49.580 --> 01:13:51.419
but the family continues, and the

2109
01:13:51.420 --> 01:13:53.239
Grinstein and Felsen family

2110
01:13:53.240 --> 01:13:55.259
still running Gemini.

2111
01:13:55.260 --> 01:13:57.579
So it's ongoing,

2112
01:13:57.580 --> 01:14:00.919
too, in terms of intergenerations.

2113
01:14:00.920 --> 01:14:01.899
And there's also an

2114
01:14:01.900 --> 01:14:03.739
intergenerational aspect to the

2115
01:14:03.740 --> 01:14:05.179
artists who work at these different

2116
01:14:05.180 --> 01:14:07.679
shops of artists introducing new

2117
01:14:07.680 --> 01:14:09.519
artists to your shops.

2118
01:14:09.520 --> 01:14:11.419
I know for you,

2119
01:14:11.420 --> 01:14:13.619
Francesco, that John Baldessari

2120
01:14:13.620 --> 01:14:16.239
was one of your artists.

2121
01:14:16.240 --> 01:14:18.219
And of course, Analia was a student

2122
01:14:18.220 --> 01:14:19.819
of John's.

2123
01:14:19.820 --> 01:14:21.959
He was Analia's mentor.

2124
01:14:21.960 --> 01:14:24.739
And also,

2125
01:14:24.740 --> 01:14:26.719
that transmission of knowledge

2126
01:14:26.720 --> 01:14:28.639
and relationships, I think, is also

2127
01:14:28.640 --> 01:14:29.599
important. And that was the case

2128
01:14:29.600 --> 01:14:30.600
also for Gemini.

2129
01:14:32.400 --> 01:14:34.859
Yeah, and the,

2130
01:14:34.860 --> 01:14:37.019
as I said,

2131
01:14:37.020 --> 01:14:39.759
you know, the

2132
01:14:39.760 --> 01:14:42.319
building of collaboration

2133
01:14:42.320 --> 01:14:44.739
with the artist and then,

2134
01:14:44.740 --> 01:14:46.879
you now, John Baldassari was

2135
01:14:46.880 --> 01:14:48.859
a very

2136
01:14:48.860 --> 01:14:53.099
important collaboration

2137
01:14:53.100 --> 01:14:54.719
at the time, sort of start opening

2138
01:14:54.720 --> 01:14:56.699
up the doors closer

2139
01:14:56.700 --> 01:14:59.179
to a

2140
01:14:59.180 --> 01:15:00.180
more.

2141
01:15:01.080 --> 01:15:03.639
To a profile that was

2142
01:15:03.640 --> 01:15:05.839
more

2143
01:15:05.840 --> 01:15:08.619
advancing,

2144
01:15:08.620 --> 01:15:10.659
advancing on the pile press.

2145
01:15:10.660 --> 01:15:11.999
You know, and I also wanted to

2146
01:15:12.000 --> 01:15:14.799
mention the self-help graphist,

2147
01:15:14.800 --> 01:15:16.999
Karen Boccalero,

2148
01:15:17.000 --> 01:15:19.419
who also passed away some time ago.

2149
01:15:19.420 --> 01:15:21.499
A great print shop that really

2150
01:15:21.500 --> 01:15:24.599
elaborated many

2151
01:15:24.600 --> 01:15:26.439
possibilities

2152
01:15:26.440 --> 01:15:27.780
for Chicano artists.

2153
01:15:28.930 --> 01:15:30.689
And also creating a space that is

2154
01:15:30.690 --> 01:15:32.549
more than just about art making,

2155
01:15:32.550 --> 01:15:33.770
but about community building.

2156
01:15:35.980 --> 01:15:37.839
I just want to say I got

2157
01:15:37.840 --> 01:15:40.499
a bit emotional in between because,

2158
01:15:40.500 --> 01:15:42.639
I mean, it's

2159
01:15:42.640 --> 01:15:44.919
a real community effort and

2160
01:15:44.920 --> 01:15:47.019
we're so lucky,

2161
01:15:47.020 --> 01:15:48.819
you know, to experience this.

2162
01:15:48.820 --> 01:15:50.639
I'm so lucky to work

2163
01:15:50.640 --> 01:15:52.799
with you and to share

2164
01:15:52.800 --> 01:15:55.119
these techniques and

2165
01:15:55.120 --> 01:15:57.319
these are like

2166
01:15:57.320 --> 01:15:59.159
really old techniques and we

2167
01:15:59.160 --> 01:16:01.079
are using them now in the

2168
01:16:01.080 --> 01:16:03.219
age of technology and AI

2169
01:16:03.220 --> 01:16:04.949
and the challenges.

2170
01:16:04.950 --> 01:16:06.749
What are we going to do with these

2171
01:16:06.750 --> 01:16:08.669
techniques in this time?

2172
01:16:08.670 --> 01:16:10.629
And I think we are all

2173
01:16:10.630 --> 01:16:12.589
evolving together, and we're all

2174
01:16:12.590 --> 01:16:14.649
thinking about what

2175
01:16:14.650 --> 01:16:16.249
are the next steps.

2176
01:16:16.250 --> 01:16:18.289
And the interesting thing is that

2177
01:16:18.290 --> 01:16:19.709
somehow they are becoming more

2178
01:16:19.710 --> 01:16:20.710
valuable.

2179
01:16:22.350 --> 01:16:24.329
Now, when I went on the

2180
01:16:24.330 --> 01:16:26.829
Hiromi paper tour, which was

2181
01:16:26.830 --> 01:16:28.009
amazing.

2182
01:16:28.010 --> 01:16:28.969
Thank you, Hiromi.

2183
01:16:28.970 --> 01:16:30.969
We were on Yuki

2184
01:16:30.970 --> 01:16:34.699
to lead the...

2185
01:16:34.700 --> 01:16:36.819
The tour, we were in Japan for

2186
01:16:36.820 --> 01:16:39.579
a week looking at all these

2187
01:16:39.580 --> 01:16:41.499
paper making

2188
01:16:41.500 --> 01:16:42.500
workshops.

2189
01:16:44.680 --> 01:16:46.919
And just to think about the

2190
01:16:46.920 --> 01:16:48.799
fibers that are inside

2191
01:16:48.800 --> 01:16:51.599
the paper, where do they grow?

2192
01:16:51.600 --> 01:16:53.559
How do they get translated into

2193
01:16:53.560 --> 01:16:55.699
these sheets of paper

2194
01:16:55.700 --> 01:16:57.380
that one person makes?

2195
01:16:58.780 --> 01:17:00.759
And it was like

2196
01:17:00.760 --> 01:17:02.739
a real lesson to appreciate the

2197
01:17:02.740 --> 01:17:04.629
work. It looks easy until

2198
01:17:04.630 --> 01:17:05.630
we tried it.

2199
01:17:07.190 --> 01:17:08.749
And then it's the same with

2200
01:17:08.750 --> 01:17:10.849
printing. So we're here with a

2201
01:17:10.850 --> 01:17:12.808
seminar that is part of this paper

2202
01:17:12.809 --> 01:17:14.169
project initiative.

2203
01:17:14.170 --> 01:17:15.289
And again, I just want to

2204
01:17:15.290 --> 01:17:17.589
acknowledge the Getty for funding

2205
01:17:17.590 --> 01:17:19.689
this seminar and for

2206
01:17:19.690 --> 01:17:20.789
supporting this program this

2207
01:17:20.790 --> 01:17:21.790
evening.

2208
01:17:22.270 --> 01:17:24.689
The 12 participants who are

2209
01:17:24.690 --> 01:17:26.829
early career, mid-career curators

2210
01:17:26.830 --> 01:17:28.289
who have responsibility over print

2211
01:17:28.290 --> 01:17:30.069
collections have convened here for a

2212
01:17:30.070 --> 01:17:31.489
week in Los Angeles.

2213
01:17:31.490 --> 01:17:33.429
And we spent the day at

2214
01:17:33.430 --> 01:17:35.649
Gemini Printing

2215
01:17:35.650 --> 01:17:37.179
making intaglio.

2216
01:17:37.180 --> 01:17:39.319
Working on intaglio

2217
01:17:39.320 --> 01:17:42.099
plates and printing them,

2218
01:17:42.100 --> 01:17:45.019
and until you do it,

2219
01:17:45.020 --> 01:17:46.979
you know, they make it look so easy.

2220
01:17:46.980 --> 01:17:48.579
Those people who just walk up the

2221
01:17:48.580 --> 01:17:50.199
stairs, as Case was saying, and kind

2222
01:17:50.200 --> 01:17:52.119
of like look, and then they move

2223
01:17:52.120 --> 01:17:54.539
on, until you have done it,

2224
01:17:54.540 --> 01:17:56.159
and you've really got your hands

2225
01:17:56.160 --> 01:17:58.039
dirty, and you really got frustrated

2226
01:17:58.040 --> 01:17:59.839
with yourself.

2227
01:17:59.840 --> 01:18:02.239
I think, you don't,

2228
01:18:02.240 --> 01:18:04.100
it's hard to fully appreciate

2229
01:18:05.340 --> 01:18:06.759
the time.

2230
01:18:06.760 --> 01:18:08.599
The expertise, the

2231
01:18:08.600 --> 01:18:10.439
labor, the care that

2232
01:18:10.440 --> 01:18:12.299
goes into sustaining all

2233
01:18:12.300 --> 01:18:13.899
of these projects.

2234
01:18:13.900 --> 01:18:15.799
And in Japan,

2235
01:18:15.800 --> 01:18:17.879
you have the national,

2236
01:18:17.880 --> 01:18:20.319
royal national treasures.

2237
01:18:20.320 --> 01:18:21.439
You have the living, living national

2238
01:18:21.440 --> 01:18:23.509
treasures, not chest of gold.

2239
01:18:23.510 --> 01:18:25.469
Exactly, so not just materials that

2240
01:18:25.470 --> 01:18:27.209
are designated as national

2241
01:18:27.210 --> 01:18:28.469
treasures, but you have living

2242
01:18:28.470 --> 01:18:30.209
national treasures who are

2243
01:18:30.210 --> 01:18:32.369
individuals who have skills

2244
01:18:32.370 --> 01:18:33.370
and expertise.

2245
01:18:36.680 --> 01:18:38.979
Just to appreciate that, because

2246
01:18:38.980 --> 01:18:41.039
even the way the

2247
01:18:41.040 --> 01:18:42.939
ink is made and where it comes from,

2248
01:18:42.940 --> 01:18:45.320
these are all natural resources.

2249
01:18:47.580 --> 01:18:49.779
And this is cotton paper,

2250
01:18:49.780 --> 01:18:51.679
so it's different than the

2251
01:18:51.680 --> 01:18:53.099
Japanese paper.

2252
01:18:53.100 --> 01:18:55.259
But just to take a moment to

2253
01:18:55.260 --> 01:18:57.299
really appreciate, when you're, like

2254
01:18:57.300 --> 01:18:58.219
you said, Naoko, when you were

2255
01:18:58.220 --> 01:18:59.219
working with Case.

2256
01:18:59.220 --> 01:19:01.079
And I remember the first time,

2257
01:19:01.080 --> 01:19:02.479
I was like.

2258
01:19:02.480 --> 01:19:04.139
I was like, sure, let's try that.

2259
01:19:04.140 --> 01:19:05.119
And he's like, OK, sure.

2260
01:19:05.120 --> 01:19:05.939
Let's try it.

2261
01:19:05.940 --> 01:19:07.779
So he goes, you're in

2262
01:19:07.780 --> 01:19:09.299
the artist's studio, and he goes to

2263
01:19:09.300 --> 01:19:10.379
the etching studio.

2264
01:19:10.380 --> 01:19:12.359
And he etches it on

2265
01:19:12.360 --> 01:19:13.379
a copper plate.

2266
01:19:13.380 --> 01:19:15.759
And then you're like, oh, wait.

2267
01:19:15.760 --> 01:19:17.979
This is not like Photoshop, which

2268
01:19:17.980 --> 01:19:20.679
is kind of edit.

2269
01:19:20.680 --> 01:19:21.999
And I was, OK.

2270
01:19:22.000 --> 01:19:23.459
Better be careful with some of these

2271
01:19:23.460 --> 01:19:25.539
decisions, because it's

2272
01:19:25.540 --> 01:19:26.939
etched on a proper plate.

2273
01:19:26.940 --> 01:19:27.940
And.

2274
01:19:28.250 --> 01:19:30.229
You know, that took like a lot of

2275
01:19:30.230 --> 01:19:33.049
effort and a lot materials and

2276
01:19:33.050 --> 01:19:35.249
so anyway,

2277
01:19:35.250 --> 01:19:37.149
to really like, you know take a

2278
01:19:37.150 --> 01:19:39.109
moment to, I

2279
01:19:39.110 --> 01:19:40.949
think to like appreciate these

2280
01:19:40.950 --> 01:19:42.629
techniques and I'm so happy for

2281
01:19:42.630 --> 01:19:44.709
these shops to keep that spirit

2282
01:19:44.710 --> 01:19:46.649
alive because, you know as

2283
01:19:46.650 --> 01:19:48.789
we move into like,

2284
01:19:48.790 --> 01:19:50.689
the age of AI and technology,

2285
01:19:50.690 --> 01:19:52.229
I mean this, well we still have a

2286
01:19:52.230 --> 01:19:53.789
body, I mean that's why I think

2287
01:19:53.790 --> 01:19:55.449
about this a lot, we still a body.

2288
01:19:57.590 --> 01:19:59.549
We still, like, our bodies, I think,

2289
01:19:59.550 --> 01:20:01.808
connect with these materials in

2290
01:20:01.809 --> 01:20:04.689
a very ancestral way.

2291
01:20:04.690 --> 01:20:06.729
Like, you know, we

2292
01:20:06.730 --> 01:20:07.829
have a relationship.

2293
01:20:07.830 --> 01:20:09.269
When you look at the piece of paper

2294
01:20:09.270 --> 01:20:10.808
and you're looking about this fossil

2295
01:20:10.809 --> 01:20:12.629
material, like ink, or you're

2296
01:20:12.630 --> 01:20:14.669
look at synthetic ink,

2297
01:20:14.670 --> 01:20:16.589
when you're at the fibers,

2298
01:20:16.590 --> 01:20:18.629
we're looking at the gesture of

2299
01:20:18.630 --> 01:20:20.409
the artist, when you are looking at,

2300
01:20:20.410 --> 01:20:22.609
you know, how deep

2301
01:20:22.610 --> 01:20:23.529
the line is.

2302
01:20:23.530 --> 01:20:25.429
And that was caused by an

2303
01:20:25.430 --> 01:20:27.709
acid that etched the plate.

2304
01:20:27.710 --> 01:20:30.149
I mean, all these things make

2305
01:20:30.150 --> 01:20:32.009
a print different than,

2306
01:20:32.010 --> 01:20:33.969
let's say, a poster or an image

2307
01:20:33.970 --> 01:20:34.970
on your phone.

2308
01:20:36.390 --> 01:20:38.229
And I just, like, I got kind of

2309
01:20:38.230 --> 01:20:39.929
emotional because it takes such an

2310
01:20:39.930 --> 01:20:41.749
effort to

2311
01:20:41.750 --> 01:20:43.709
make what you guys make.

2312
01:20:43.710 --> 01:20:44.909
And then the artist complained

2313
01:20:44.910 --> 01:20:46.429
because then we have to sign, like

2314
01:20:46.430 --> 01:20:47.909
you know, 20 prints.

2315
01:20:47.910 --> 01:20:49.669
Like, and you're like, oh man, I

2316
01:20:49.670 --> 01:20:51.189
have to signed 20 prints, and we

2317
01:20:51.190 --> 01:20:53.629
forgot that, like those,

2318
01:20:53.630 --> 01:20:54.909
like this little print.

2319
01:20:54.910 --> 01:20:56.308
I mean it's only one color.

2320
01:20:56.309 --> 01:20:58.469
But- It took like,

2321
01:20:58.470 --> 01:21:00.589
you know, the cutting of the,

2322
01:21:00.590 --> 01:21:02.249
I mean, all those steps, good

2323
01:21:02.250 --> 01:21:04.589
timing. That's what it took to

2324
01:21:04.590 --> 01:21:06.589
make that one single color

2325
01:21:06.590 --> 01:21:07.729
print.

2326
01:21:07.730 --> 01:21:09.549
That's like, I mean I choose

2327
01:21:09.550 --> 01:21:11.829
sometimes like only one color

2328
01:21:11.830 --> 01:21:13.649
etchings because I know

2329
01:21:13.650 --> 01:21:15.669
what it takes and I feel kind

2330
01:21:15.670 --> 01:21:18.129
of responsible for their time.

2331
01:21:18.130 --> 01:21:19.949
When you look at a full color

2332
01:21:19.950 --> 01:21:21.689
print or some of the projects, what

2333
01:21:21.690 --> 01:21:23.829
are the other projects you make?

2334
01:21:23.830 --> 01:21:25.369
Okay, sorry to put you on the spot,

2335
01:21:25.370 --> 01:21:26.249
like Julie's work.

2336
01:21:26.250 --> 01:21:27.789
Can you tell me how many layers?

2337
01:21:28.840 --> 01:21:30.779
Well, five layers,

2338
01:21:30.780 --> 01:21:33.159
but up to 60 colors on

2339
01:21:33.160 --> 01:21:34.160
those mixed.

2340
01:21:35.530 --> 01:21:36.769
So 60 colors.

2341
01:21:38.170 --> 01:21:39.690
So this is two colors.

2342
01:21:43.150 --> 01:21:45.789
I'm just looking at the time.

2343
01:21:45.790 --> 01:21:47.749
And I know that

2344
01:21:47.750 --> 01:21:49.589
you've been

2345
01:21:49.590 --> 01:21:51.149
such a wonderful audience.

2346
01:21:51.150 --> 01:21:52.989
And I can feel the energy that

2347
01:21:52.990 --> 01:21:54.889
you brought into this room

2348
01:21:54.890 --> 01:21:55.669
with you.

2349
01:21:55.670 --> 01:21:58.069
And I hope this has

2350
01:21:58.070 --> 01:21:59.969
been an opportunity, even for

2351
01:21:59.970 --> 01:22:01.489
those who are very knowledgeable

2352
01:22:01.490 --> 01:22:03.409
about printmaking, to

2353
01:22:03.410 --> 01:22:05.909
deepen your appreciation of

2354
01:22:05.910 --> 01:22:07.729
the art of printmaking of

2355
01:22:07.730 --> 01:22:09.179
the graphic cause.

2356
01:22:09.180 --> 01:22:11.319
To learn more about Analia's

2357
01:22:11.320 --> 01:22:13.440
really remarkable creative practice,

2358
01:22:14.480 --> 01:22:16.499
and just an opportunity

2359
01:22:16.500 --> 01:22:18.058
for us to be together, which I'm

2360
01:22:18.059 --> 01:22:19.260
really grateful for.

2361
01:22:20.280 --> 01:22:22.159
So. I wanna finish this

2362
01:22:22.160 --> 01:22:24.058
slide because I'm almost there.

2363
01:22:24.059 --> 01:22:25.699
So Analia is gonna keep going with

2364
01:22:25.700 --> 01:22:27.339
that, but I just really wanna take

2365
01:22:27.340 --> 01:22:29.259
this moment to thank you for being

2366
01:22:29.260 --> 01:22:31.599
here with us and for all that you,

2367
01:22:31.600 --> 01:22:33.239
for all those who are related to the

2368
01:22:33.240 --> 01:22:34.599
print world, for all of that you

2369
01:22:34.600 --> 01:22:36.339
have done to keep this alive.

2370
01:22:38.960 --> 01:22:39.960
Thank you very much.

2371
01:22:47.440 --> 01:22:49.279
I want to go all the way to the

2372
01:22:49.280 --> 01:22:51.299
end because we're

2373
01:22:51.300 --> 01:22:53.659
so lucky to have Mixografia, Gemini,

2374
01:22:53.660 --> 01:22:55.659
and El Nopal Press, but I

2375
01:22:55.660 --> 01:22:57.899
also work with Lapis Press and

2376
01:22:57.900 --> 01:22:59.939
Adler Studios, which is

2377
01:22:59.940 --> 01:23:02.079
the first augmented reality

2378
01:23:02.080 --> 01:23:04.058
print. And I just want to like

2379
01:23:04.059 --> 01:23:05.839
quickly get there.

2380
01:23:05.840 --> 01:23:06.880
It's almost done.

2381
01:23:09.650 --> 01:23:11.769
So this is ink shed, actually,

2382
01:23:11.770 --> 01:23:13.549
on a layer of paint.

2383
01:23:13.550 --> 01:23:16.369
I wanted to see if I could add

2384
01:23:16.370 --> 01:23:18.329
color to paint in a different way.

2385
01:23:18.330 --> 01:23:20.889
So I added an ink shed layer.

2386
01:23:20.890 --> 01:23:22.209
And then on canvas.

2387
01:23:22.210 --> 01:23:23.829
And

2388
01:23:31.350 --> 01:23:33.249
This is the last project.

2389
01:23:33.250 --> 01:23:35.709
So it's an image of

2390
01:23:35.710 --> 01:23:37.589
a print that we

2391
01:23:37.590 --> 01:23:40.109
made for this project.

2392
01:23:40.110 --> 01:23:41.969
And then if you

2393
01:23:41.970 --> 01:23:43.569
look at it through a phone or an

2394
01:23:43.570 --> 01:23:45.509
iPad, you see kind

2395
01:23:45.510 --> 01:23:47.049
of how the print was made.

2396
01:23:47.050 --> 01:23:48.850
So it adds another layer.

2397
01:23:50.810 --> 01:23:52.889
And we're going back to Woodcat,

2398
01:23:52.890 --> 01:23:55.249
so hopefully you see what's

2399
01:23:55.250 --> 01:23:56.189
next.

2400
01:23:56.190 --> 01:23:57.689
This is a Gemini project, but I

2401
01:23:57.690 --> 01:23:59.529
think we have upcoming projects with

2402
01:23:59.530 --> 01:24:01.229
everyone. Thank you so much.