This week Miranda coming to you from El Barrio Artsspace in New York City, where we recently screened Impresiones de Resistencia: Printmaking in Puerto Rico at the Rafael Tufiño Printmaking Workshop.

This conversation was recorded on-site, and Miranda was joined by artist Oliver Rios, a printmaker and filmmaker who documents the stories of the Puerto Rican diaspora in the city. He helped guide this interview, so a big thank you to Oliver for being part of this moment.

Our guest is Nitza Tufiño, an artist, educator, and one of the key figures behind the workshop itself. As the daughter of legendary printmaker Rafael Tufiño, her life and work are deeply rooted in the history of Puerto Rican printmaking and the cultural movement of El Barrio.

In this conversation, Nitza shares what it means to build and sustain a collective space for artists: one grounded in community, education, and cultural memory. We talk about the role of printmaking as a tool for connection and resistance, the importance of creating spaces where people can see themselves reflected, and the responsibility artists have to carry history forward.

This episode is about more than printmaking. It’s about community, resilience, and the power of art to bring people together.

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This week Miranda speaks with Shivangi Ladha and Asha Vaidyanath to talk about Moments of Being, an upcoming exhibition presented by India Printmaker House at the London Original Print Fair.

Together, they share the story behind this year-long curatorial process, one rooted in studio visits, artist-to-artist dialogue, and a deep commitment to supporting emerging voices in contemporary printmaking. We talk about what it means to curate as artists rather than gatekeepers, how intuition and vulnerability shaped the exhibition, and why they chose to move beyond identity as the primary framework for bringing artists together.

This conversation offers a thoughtful look at collaboration, materiality, and the evolving role of printmaking in a global context. It is also a reminder that some of the most compelling exhibitions don’t start with a fixed idea, but with curiosity, trust, and a willingness to listen.

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This week Miranda speaks with Heather Muise—a Canadian printmaker living and working in Greenville, North Carolina, where she’s a teaching professor at East Carolina University. Heather has taught printmaking across continents, including seven years in Dubai, and their conversation moves through all of those layers: place, language, culture, and how those experiences shape what we make.

They talk about Heather’s evolution from being a diehard lithographer—fast, loose, printing full editions in a single day—to falling deeply in love with the slower, more patient demands of etching. We get into her approach to color etching using a CMYK process on a single plate, and how that method connects back to her lithography brain in a way that just clicks.

But the heart of this episode is symbols—how they travel, how they hide meaning in plain sight, and how they can guide a viewer without spelling everything out. Heather shares how growing up bilingual, living abroad, and even experiencing functional illiteracy in a new writing system pushed her deeper into thinking about coded visual language—everything from carpets and borders-within-borders, to tattoo iconography, to dream logic.

Heather received first place in the SGCI Juried Members Exhibition, which is on view February 6 through March 28, 2026, at the Louise Hopkins Underwood Center for the Arts in Lubbock, Texas. If you’re anywhere near there, go see the show.

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This week Miranda speaks with Christie Tirado, a first-generation Mexican American artist, educator, and third-year MFA candidate at UW–Madison.

They talk about leaving a stable teaching career to go back to grad school, building community wherever you land, and how labor, in the field, in the kitchen, and in the studio, becomes an archive. Plus: the print gods, when to walk away after two messed-up prints, and why you should absolutely pair printmaking with salsa dancing whenever possible.

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We are delighted to kick off our eighth season of the Hello, Print Friend podcast!

This week Miranda speaks with Shanna Strauss, a Tanzanian American mixed media artist and printmaker based in Oakland, California, and a faculty member at California College of the Arts. They talk about the winding road that led her back to art and how printmaking became not just a medium, but a community, a lineage, and a way of carrying history forward.

They get into Strauss' early inspiration from Charlotte O’Neal’s studio in Tanzania, what she learned from organizing and social justice work in Quebec, and how mentorship connects her to a larger printmaking family tree, all the way back through traditions of resistance print. As well as Beekeeping. Ancestors. And a new body of work Shauna’s beginning around Tanzanian kanga cloth.

Shanna Strauss's website

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This week’s episode is one I’ve been looking forward to for a long time, and if you are someone trying to make a life in the arts right now this is going to be required listening.

My guest is Justin Anthony, co-founder of Artwork Archive – the platform so many of you already use to track your work, your collectors, your exhibitions, and the business side of your practice.

And we’re having this conversation now because, let’s be honest, the art market feels… chilly. A little frigid, even. Many artists who were used to regular sales are seeing things slow down. Institutions with “arts” in their name are watching their budgets get slashed. Long-standing galleries are closing their doors. It can start to feel like the walls are closing in.

But this is not an hour of doom and gloom. This conversation is about what you can do right now – this week, this month, over the next year – to support your career so when the market does bounce back you’re going to be even better off than before.

Justin shares what he’s hearing from art consultants around the world – the people who quietly place art in some of the largest public and private collection. We get into how they actually find artists, what makes them choose to work with someone again and again, and why professionalism, clear communication, and a cohesive story around your work are just as important as the work itself.

We also talk about relationships in the broadest sense: not just customer-relationship management, but relationship management. Your peers, your local art organizations, the artist who recommended you for that show, the collector who bought that small print five years ago and still thinks about it every morning when they walk past it on the way to make coffee.

There’s so much in here and I know you’re going to get a lot of out of it. So give it a listen and share it with a print friend.

Artwork Archive

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This week Miranda speaks with Tom Murphy the founder of Make-Ready, the largest fine-art screenprinting operation in the world.

Tom grew up in Suffolk with pound-shop sketchbooks, bootleg band tees, and a fascination with how things are made. From a garage start nine years ago to collaborating with artists like Alex Katz, Ai Wei Wei, and Anish Kapoor, his path runs through open-access studios, industrial screen tech, and a deep respect for legendary shops like Brand X and Two Palms. It’s a conversation about craft, problem-solving, and that human impulse to leave a mark.

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This week Miranda speaks with Mary Farrell, a printmaker based in Spokane, Washington. They talk about how Mary’s upbringing (with her father’s work in tuberculosis research and her mother’s near-miss with a life in a convent) created a childhood that shaped her perspective as an artist. We explore her long love affair with the human figure, her fascination with the parallels between the body and the natural world, and how she uses printmaking processes like mezzotint to pull light from darkness—literally and metaphorically.

It’s a conversation about labor, love, and the lifelong unfolding of artistic voice, a reminder that, as Mary says, our best work is always still ahead of us.

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