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Today on the site, Frank Santoro continues his journey into risograph printing with an interview with Panayiotis Terzis.

What is your risograph origin story? I assume you were interested in printmaking before you discovered risograph printing. You’ve been making interesting color work for as long as I’ve known you. How has the risograph changed your process?

When I was in undergrad I had discovered and cycled through all of the traditional forms of printmaking – etching, lithography, screenprinting etc. I was making paintings, drawings, installations and comics, and printmaking was where everything came together. David Sandlin‘s class was monumental for me in terms of challenging myself technically and aesthetically. His work was so ambitious and beautiful that I think it made everyone in his class work their asses off to even be worthy of being there. It was inspiring to be around an artist who made comics but who also had carved out a place for himself in the art world without any contradiction between the two. He was also a living connection to various legendary creative worlds I’d been reading about: the East Village scene in the 1980s, all the people who had been involved in Spiegelman’s RAW. Around this time I had also discovered Fort Thunder, Space 1026, and Paper Rad, and all of the other little versions of those phenomena that were unfolding in small cities all over the country and in Europe too. Using print media, making cheap multiples, making posters for events — all of this felt very fresh and democratic, and part of a creative outlook that demolished the barriers between contemporary art, music, performance art, zines, books, comics, painting, and commercial art.

Elsewhere:

The longtime Marvel and DC cartoonist Rich Buckler, now best known for co-creating Deathlok, has passed away at the age of 68.  Here is a fond remembrance from a longtime fan.

Here's a good piece on Samuel R. Delany's recently published diaries. 


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