The Great Warmadillo

The Great Warmadillo: Dürer’s Rhino, Tribute Prints, and “Magic” Hits

Darcy and Huck dig into Albrecht Dürer’s legendary 1515 Rhinoceros—made from a written description—and how it sparked Huck’s 2017 tribute, The Great Warmadillo. They trace the Warmadillo’s origins, from a roadside armadillo sighting to a surreal, art-history-packed print that nods to politics, migration and more. Along the way, Huck introduces the idea of “magic prints”—and explains why you can’t predict when one will suddenly take on a life of its own.

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Transcript

Darcy 0:55

Welcome back to the Evil Prints podcast. Hi, a Huck. Cute.

Huck 1:03

I needed to take my coffee. Hello. How are you doing?

Darcy 1:06

Good. Good. Today I want to talk about

Huck 1:12

Bubba. What?

Darcy 1:13

What? Talk about Bubba.

Huck 1:14

Bubba, what do you want, man? What's wrong, Bubba? What's up? You hear the bird, you hear Bubba.

Darcy 1:23

Huck lives in a. Animal Kingdom. It's got like 10 cats.

Huck 1:28

Jen.

Darcy 1:29

Jen, yes. Jen is actually the animal saver.

Huck 1:31

It's like living with fucking snow white.

Darcy 1:34

She is like snow white.

Huck 1:35

She is, isn't she? She'd wear that outfit.

Darcy 1:38

Okay. Huck she'd slap you silly.

Huck 1:42

Have her slap me silly in that outfit.

Darcy 1:45

Okay, see what you did there. It was supposed to be bad and you made it dirty.

Huck 1:50

All right, all right,

Darcy 1:52

all right. In 1515, Albrecht Durer made a print of a rhinoceros, which he never saw.

Huck 1:58

He never saw the rhinoceros.

Darcy 1:59

He never saw a rhinoceros, right? In real life. It was largely believed. That's based off of a anonymous written description.

Huck 2:06

Yes. Written description of it. It was

Darcy 2:08

1515

Huck 2:09

and it was a gift from. The King of Spain, I think, or Portugal or some to the Emperor Maximilian and mm-hmm. There was all this hysteria about it coming to Germany. They've never seen a rhinoceros before. And the boat sank. And the, rhinoceros perished and never made it to Nuremberg, Germany. And Durer only got a written description of it. And so what he did was he. He ended up drawing from the written description.

Darcy 2:41

And if you, when you first see it, it looks,

Huck 2:43

it's a rhinoceros.

Darcy 2:44

You look at the face, it it, but when you look closer, you see that there are some inaccuracies there, right? Like the breastplates, it looks more like metal than what might, you know, how mimics that. The, the skin flaps do mimic that. However,

Huck 2:55

however, it's remarkable how he got it close. He got it.

Darcy 3:00

Skin, texture, face,

Huck 3:01

but also it's so famous of an image,

Darcy 3:05

right?

Huck 3:07

When we think about a rhinoceros, that's what we picture in our head. Basically that print because it's fantastical and still, it's

Darcy 3:22

funny, if you look at it closely, you're like the, the feet are like. Of three

Huck 3:25

elephant feet, they're like elephant feet.

Darcy 3:27

I thought they looked more like pig hooves.

Huck 3:29

They kind of do. They

Darcy 3:30

got like toes.

Huck 3:31

They kind of do. But anyway, I, it's, to me, the rhinoceros is like, okay, I go back and forth, but it's my favorite print of all time. It's, it's my favorite print of all time and I can't name it as such. Unless it's in hushed circles because it's, it's everybody.

Darcy 3:53

Why is that?

Huck 3:53

Everybody? Because you know, like

Darcy 3:56

everybody's favorite.

Huck 3:57

It's everybody's favorite. So you wanna be a hipster?

Darcy 4:00

Well, what makes it your favorite? It?

Huck 4:02

Well, we're gonna talk about it.

Darcy 4:03

Okay.

Huck 4:04

Oh, it's,

Darcy 4:04

so let's then, I guess we're gonna jump forward because 500 years later, 502 years later, Huck made The Great Warmadillo

Huck 4:12

Yes. Okay.

Darcy 4:14

Tell me how that came about.

Huck 4:16

So,

Darcy 4:17

and the reference to Durer's Rhino,

Huck 4:18

it's a tribute print to the rhinoceros, but The Great Warmadillo came about from my, my dear, dear friend who I went to graduate school with. Howard Payne, who's the head of printmaking at the University of Nebraska, Omaha. Had just started in that job as the head of that department, and I don't remember what the name of the press was, but way back in the day, I think in the seventies and eighties, university of Nebraska, Omaha had a, print shop that published editions by visiting artists, really great ones, and it had been defunct for a long time, and Howard decided he was gonna bring it back and the first person. That he asked to come out and do a print. There was me and it's Howard. I'm going, you know, Howard could call me in the middle of the night now and

Darcy 4:58

mm-hmm.

Huck 4:59

I'll, I'll be there for him.'cause he's an amazing person. He's one of my favorite people. I don't get to talk to him as much as I would like to, but you know, we're in touch. But he called me, he was like, come out and do a print. And I was like, okay. And at this point it was probably a year away before I was set to go out there. So I had time to come up with something. Mm-hmm. Knew we were gonna do an edition and. When I do those things, I typically wait until I'm on the clock to come up with the design. So like a month or two out, I need to start focusing on what I'm gonna do when I go out to do collaborative prints. So I was just around that time. It was the first, like what year was the Warmadillo made?

Darcy 5:44

2017.

Huck 5:45

Okay. The Trump. Regime. First term was only was under a year old, I think. And the first thing that he had done was. I remember he shut down the airports basically. He wouldn't let there was a, the Muslim ban. Yeah. And then there was his talk about how Mexicans are rapists and all that racist shit that, that turd spews, I mean he was talking about blaming everything on brown people and how Mexicans are, are rapists and murderers and they're sending them from, they're insane asylums and all that fucking bullshit. So that was going on and I thought, well, I need, I'm gonna do something about this, but not be so literal. So I, I think I was driving to the city, St. Louis one day and I saw a dead Warmadillo. On the side of the road, armadillo. See, I call'em Warmadillos now. Saw a dead armadillo on the, on the road. And remember all this stuff is in my mind and in the background, and it's on the radio and it's on TV about how Trump is a racist asshole, and he's

Darcy 6:55

mm-hmm.

Huck 6:57

Starting shit with Mexico and immigrants and all that. And so we're in Missouri. We until the last 15 years did not have armadillos. They have not been, they, Texas has armadillos. Yes. Okay. They have started migrating up because of climate change.

Jen 7:18

Hmm.

Huck 7:19

Okay. So it was cra crazy for a short period of time when you first saw an armadillo in your backyard in Missouri.

Darcy 7:27

Mm.

Huck 7:27

It's like an unusual thing. It's like a kangaroo showing up at your house. It's the same exotic thing. Mm-hmm. but the only time that we up here really see armadillos is they're dead on the side of the road. You don't really see them running around that much.

Darcy 7:42

Mm-hmm.

Huck 7:43

And right there, I saw the metaphor for the immigration. Situation in the States. Mm-hmm. The armadillos are just coming north for a better life, man, and we kill'em on the side of the road.

Darcy 7:59

Mm-hmm.

Huck 8:01

So that's how The Great Warmadillo came about. And I was like, okay, I'm gonna do that. And then I thought about the Rhinoceros, which is a static portrait profile. Portrait of an animal. I thought, well, I'm gonna do that style as a tribute to the rhinoceros by Durer. But also too, I drew the armadillo outta my, out of my imagination.

Darcy 8:24

Wow. So you weren't like looking at

Huck 8:25

no

Darcy 8:26

armadillos?

Huck 8:26

No, I drew it out on my imagination in effect. Doing it the same way that Durer did the rhinoceros.

Darcy 8:32

I remember when you made us do that in a workshop and I did not like it. You gave me a platypus.

Huck 8:37

A platypus. That's a hard one. What was I thinking? But so

Darcy 8:42

No, it's hard. That's really cool.

Huck 8:45

There's this thing with. Animal prints throughout history. I love them. I love Audubon prints. I love,

Darcy 8:53

yeah, that's

Huck 8:53

equestrian prints. I love animal prints. Mm-hmm. And Durer did a lot of animals. Okay. So I decided I'm gonna do an armadillo and in my, in my working it out of how I was gonna approach a portrait of that animal, like a portrait of the rhinoceros. Mm-hmm. Um. In the image, I'm remembering this outta my head right now. In the image, there's a guy riding it, um, on top with a flag that has a Texas star, I think, the Warmadillo is being surrounded by people trying to kill it and do damage to it. And they're, two of them are Boy Scouts.

Darcy 9:30

That's what they were. Okay.

Huck 9:32

They're Boy Scout one. They're Boy Scouts.

Darcy 9:33

They got shorts on.

Huck 9:34

I was, yeah, yeah, yeah. They're Boy Scouts. So there's the American Okay. Americana angle of it. And across the top there's text. Mm-hmm. Which I hadn't done a lot of them until up until that time. Uh, and it says. I what? Long lived the great Warmadillo, or

Darcy 9:55

it says so the banner in Spanish across the armadillo is. El Gran Armadillo de Guerra, RIP 2017.

Huck 10:03

The great war madillo. That's

Darcy 10:05

yeah. The great armadillo of war.

Huck 10:06

Right. There you go. That's what that is. So

Darcy 10:08

rest in peace 2017.

Huck 10:09

So it's one of those images of mine that is starting to lean into the surreal.

Darcy 10:15

Mm-hmm.

Huck 10:16

Allegory a metaphor about a political issue. That's on my mind.

Darcy 10:20

Kind of looks a little rodeo adjacent. It's

Huck 10:22

a little road roady, and

Darcy 10:25

so it looks a bit lighter than, you know.

Huck 10:26

It's a little bit lighter at first, and it's kind of sweet looking. Oh, isn't he? It's a cute little

Darcy 10:31

armadillo,

Huck 10:31

but he's peeing.

Darcy 10:32

I did notice that

Huck 10:34

because he in stress, little flaws. He's in stress and he's peeing because he's gonna die and there is an image. It's a very sad print. There's an image that I also was inspired by Israel Van Meum called the Besieged Elephant, and there's another one called the Great War Elephant, and it's all about this elephant that's being attacked. Look those up, great medieval engravings. And some one of them is based on a painting by Braul that's since been lost. It's an engraving base. Oh, it's the besieged elephant and the war elephant. They're two different ones. Mm-hmm. Israel Van Meum is one of the artists, I think. And so I was thinking about that. So there's a history of a besieged animal in prints and all of my stuff, especially the fact that it's a. A note to the Durer print referencing it. I do that a lot in my work. Mm-hmm. There are most people that know my stuff, they know that I'm, I'm. I reference

Darcy 11:33

art history.

Huck 11:34

Art history, prints before me all the time, and I'm always looking like that. I mean, I'm getting ready. I'm working on something right now for the Bonnie and Clyde project, where I'm referencing a print by Louise Jimenez, so I do that all the time.

Darcy 11:46

Mm-hmm.

Huck 11:46

I always will till the end, draw inspiration from my mm-hmm. Artistic. Foremothers and forefathers, you know, that's

Darcy 11:54

not un her, I mean Sue

Huck 11:54

Co. Is that No, they all ripped each other off. Do ripped people off. A lot of people ripped, Durer off. I mean, it was kind, it was a common thing and it is a common thing.

Darcy 12:02

It was part of the visual language back then as well

Huck 12:05

that, yeah. Yeah. So the great armadillo, um, sketched it out and then somewhere along the lines of. Getting almost time to be there. I think I, drew it here in the studio here. And in St. Louis at that time. Mm-hmm. And then carved it when I got out there. So it took me like four or five days and it's like long days of carving. And then we printed, but I also did a color block for that too. So it has a, it's a blue color. There was a really small black and white version. And then did

Darcy 12:36

they print both the color and black and white at?

Huck 12:38

Yeah, we did it all there. We did the transfer there. I did all the carving there. And so. Uh, the reason for the color that I chose the blue is because Durer, a second edition of the Rhinoceros came out with that same blue. Ah, so that's a reference and I signed it, The Great Warmadillo in the title part four ad.

Darcy 13:00

Oh, cool.

Huck 13:00

It is a tribute print. And when I went out there, Howard. That poor guy, man. He, he was doing long days of getting this project done. Like he was, I'm not gonna say he was outta shape, but he's teaching man. He's like not doing a additioning like proper editioning like Howard and I had to do in graduate school.

Darcy 13:19

Right. Uh,

Huck 13:20

we were, Howard and I were press assistants. Uh, at Island Press to the master printer there. At the time at Washington University was Kevin Garber and we were his sponge bitches. All we did, I think for all summer was Howard and I, sponged plates and stones.

Darcy 13:35

Oh, wow.

Huck 13:36

And so. But Howard was a little outta shape, but I brought it back out of him. And his wife was, he wasn't home for five days, you know, and we were working all night. And his students then came in towards the end and it was a student printed edition, which was fantastic.

Jen 13:50

Yeah.

Huck 13:51

And everybody was really excited about it. And, uh. We published it, we printed it. I think the addition for that was like 40. Mm-hmm. We split the edition. I got 20. He got 20, and I sold all of mine out.

Darcy 14:03

I, I was, that was gonna be one of my questions. It seems like a very popular print.

Huck 14:06

It's one of my most popular prints that I've ever done.

Darcy 14:08

Follow up question. Should we make merch with the Warmadillo? Well,

Huck 14:12

well, yeah, but it

Darcy 14:12

drop,

Huck 14:13

yeah. We totally should make merch. Maybe we will.

Darcy 14:16

And we'll release it along with this, uh, podcast at the same time.

Huck 14:18

Maybe. Maybe. That'd be great.

Darcy 14:21

Yeah.

Huck 14:22

A Warmadillo coffee mug.

Darcy 14:24

Oh, yeah.

Huck 14:25

Yeah.

Darcy 14:25

Shirts. So I wanted to ask, I have heard you talk about magic prints. What, and what do you mean by that?

Huck 14:32

What did you, what did you say?

Darcy 14:34

I've heard you talk about magic prints.

Huck 14:36

Magic prints. That's what I call them. Okay.

Darcy 14:38

Tell us about that.

Huck 14:39

Magic prints are. And it's the kind of thing I think that you have to make prints to realize what they are.

Darcy 14:46

Mm-hmm.

Huck 14:49

It's the general public that tends to designate them.

Darcy 14:53

Oh.

Huck 14:54

And what that is, is if you are fortunate enough, if you do this for a living. Where you're making, making prints as you're living in your life, you're gonna make a lot of prints. Okay. And some of them end up in the flat files.

Jen 15:09

Mm-hmm.

Huck 15:09

Some of them sell. Okay. But you have a chunk of them left forever. And then there are some that come along that for whatever reason, the public. It goes ape shit over and there's no answer for it. There's, I've I, if you're lucky you get one of those maybe in your career,

Darcy 15:32

oh,

Huck 15:32

I've had like three, three of them. Three or four. The first one was bed of bones, going way back to the two weeks in August set. That's the first print of mine that I ever sold out. And people love that print. It was always reproduced in catalogs. Yeah. Or, and, and shown in like a museum for a show or something. That was the one that everybody always put up.

Darcy 15:55

What else?

Huck 15:56

Um. Joe's meat grinder from the bloody bucket. That was a very, very popular one of the Klan Rally slash Veterans Day parade. Mm-hmm. Very political. I use imagery in there that's like really hard imagery to like Klansmen and Sambos and, and Right. And, and picture, there's a, a inflatable balloon of Hitler. It's hard imagery. Mm-hmm. But there's something about that image that people really responded to. Um, probably. I think like the Monkey Mountain Chronicles a magic print.

Darcy 16:27

Mm-hmm.

Huck 16:28

There's something that people just, and it's still relatively new now, they don't become designated as magic. For a while. Usually it takes a bit, sometimes it's fast, sometimes it's a slow build. But like with my favorite artists, they all had magic prints and they're the most famous prints by those people Durer.

Darcy 16:44

It's like their greatest hits.

Huck 16:45

It's the greatest hits. That's right. Very good. Alright, so like Durer has its greatest hits and probably, you know. The Rhinoceros is a magic print. Sure,

Darcy 16:55

sure.

Huck 16:55

You see it. The Great Wave by Hokusai. That's a magic print. Everybody knows it, whether they know what a print is or not. Um, the Four Horsemen of the Apocalypse. Oh yeah. Durer's, Los Capriccio, some of them, the images from that Rembrandt, the three crosses. Mm-hmm. Uh, Durer's Night Death in the Devil Durer has like 10 of them. Posada the, the Oaxacan Calvera. Or, what's her face? Katrina, the skeleton with the roses hat.

Darcy 17:23

Oh yeah.

Huck 17:24

Everybody. I mean, come on, come on. The, mm-hmm. And, you know, Daumier is the body politic of the Senate, the French Senate, There's just on and on Hogarth. Marriage A La Mode Okay. Or, south Walk Fair. These prints that, um, Katie Kitz, the funeral memorial print for Carl Lebanon Uhhuh. It's where they're at, the funeral and all. They're looking over the, the single body.

Darcy 17:50

Oh yeah, yeah.

Huck 17:50

Yes. The body being at the funeral.

Darcy 17:52

What's the name of that one?

Huck 17:53

The Funeral of Carl. That's what it was called. The Memorial Print for Carl Liebernecht, I think is what it's called. On and on and on. They all have their hits. Uh, Eric Heckle. Um. Uh, Eric Heckle, uh, the, the sail sailboat. The black with the black, uh oh. Yeah.

Darcy 18:08

Yeah. And the white wave.

Huck 18:10

Max Beckman, Adam and Eve. Pablo Picasso. Oh. What's the one with the bull fights. And it goes on and on. I mean, up until, you know. Kara Walker,, the silhouette image, Tony Fitzpatrick has it, like my Snakebit heart and,, the nine 11 print that he did, you know,, all my friends have some magic prints, you know, so if you're lucky you get'em and you can't plan'em, you don't know you're planning'em. But with The Great Warmadillo

Darcy 18:38

mm-hmm.

Huck 18:39

It was right away. We put, while we were out there, we put the video up of us printing it on Facebook.

Darcy 18:49

Mm-hmm.

Huck 18:49

And. I got a, an email the next day from the Library of Congress.

Darcy 18:53

Wow.

Huck 18:53

They wanted it right away. Right. And I told Howard this. I go, Howard, we've already sold one. Where who? I go to the Library of Congress. He was like, what?

Darcy 19:01

Well, and that's pretty significant because also housed at the Library of Congress is Durer's Rhinoceros,

Huck 19:07

they have the Rhinoceros and Catherine Blood, who's the print curator there? Sent me a picture like a year or two later They had the rhinocerous up with the Warmadillo.

Darcy 19:18

Yeah. Next to each other.

Huck 19:19

I got a picture. We can put that up in the,

Darcy 19:21

that's badass.

Huck 19:22

It's insane. I mean, when you think about

Darcy 19:25

Yeah,

Huck 19:25

the span of time between those two works and what it, over 500 years I did it for the fact that it's being shown. Alongside its inspiration from 500 years before. Mm-hmm. That's heavy duty shit, man.

Darcy 19:39

It's pretty incredible.

Huck 19:40

I mean, it,

Darcy 19:42

it's pretty magic.

Huck 19:42

It's magic. Those are magic prints. That's what I mean by that. And they're, they're prints that take on a life of their own. Yes. And I sold that edition out. I don't have any more of that. I don't, um, I, I have a couple that are on consignment to galleries, so I do technically have a couple left that are in galleries. You have one?

Darcy 20:03

I think I have one.

Huck 20:04

You have one.

Darcy 20:04

Ed bought one.

Huck 20:05

It did get one

Darcy 20:06

long time ago.

Huck 20:07

Uh, right when they came out. I sold a lot of them and then the price goes up as, as you go through the edition.'cause you're diminishing returns. Mm-hmm. Or a deal. I mean, I sold one of those to the National Gallery of Art in DC We sold one to the Princeton University Art Museum. Wow. We sold one to the St. Louis Art Museum. All my collectors got it right away.

Darcy 20:30

Mm-hmm.

Huck 20:31

Um,

Darcy 20:31

how many collectors?

Huck 20:33

Seven of'em. I'm pretty sure all seven of my major collectors got'em. And I think there's a couple more museums out there in, in there that I can't. Oh, Philadelphia Art Museum. Got it.

Darcy 20:41

Oh wow.

Huck 20:42

When we had it up at the print fair in New York and it right away, it really, like, there were people coming up and asking about it.

Darcy 20:50

That's awesome.

Huck 20:50

Which is, that feels really good.

Darcy 20:53

Yeah.

Huck 20:53

But you don't really know why. I'm sure it's like having a hit song or something like, oh, well we just, you know, put Africa on the last track of the album thinking it wasn't gonna be that big of a deal and then here you go. Um, but it's a favorite for sure. Or the band. I mean, when we, there was a show at the St. Louis, the most recent show at the St. Louis Art Museum that was on the t-shirt.

Darcy 21:16

Oh, that's cool. I didn't realize that

Huck 21:18

that was on the t-shirt for the,

Darcy 21:20

do you have any say in what gets produced for those, or does that go through the museum?

Huck 21:24

You know what's funny, it's people don't, I guess you don't realize this, but like it's all done through a company, a third party that mm-hmm. Have to make the deal with me.

Darcy 21:34

Okay.

Huck 21:35

Museum Museum shop, it's called A thousand Museums, is the company. And they handle all making all the merch for museum shops from the Louvre to the Met to St. Louis Art Museum and the small museums. Okay. Oh, so that's how that works. They, they go And so you're, you're dealing with them and, but the. The Great Warmadillo is one of those prints that hit what I wanted to hit without spelling it out for people. they're just coming to North for a better life, the armadillos man.

Darcy 22:09

Do you think most people understand that context about the prints?

Huck 22:12

Some or not? That's the other funny thing about Magic Prints. You may not know what the hell they're about, but there's something there that you love about'em. Mm-hmm. Like I can't tell you exactly what all of those Hogarth prints are about. Yeah. Because some of it is so of the time and so lo maybe a little bit lost. I'm sure there's some art historian somewhere that's an expert in Hogarth that could totally contextualize those things for you. And if you really. dove deep. You could fig figure it out. But there's still, there's something about that initial reaction to certain prints that you see certain paintings, it's it's that way with all all of it.

Darcy 22:49

Yeah.'cause it's so subjective. Are there any peculiar or interesting interpretations you've heard of the Warmadillo?

Huck 22:55

No, I have not heard. No.

Darcy 22:58

Do people often tell you their interpretations of your work, or do they tend to ask you.

Huck 23:01

Sometimes, I can't remember real, any offhand. Nothing sticks out. None that sticks out.

Darcy 23:07

Mm-hmm.

Huck 23:07

Because I think with my stuff, the Warmadillo included, people are overwhelmed by all this stuff going on. Right? First. And then they'll have a title. And I, I would hope that sometimes between the title and the image and somewhere in between there, they can start to fill in the blank. And if they, if they really try

Darcy 23:32

mm-hmm.

Huck 23:32

You could probably figure out what the armadillo is about. I'm pretty sure you could it, I mean, uh, with the text at the top.

Darcy 23:39

Yeah.

Huck 23:39

I mean, armadillos are identified for one thing. You have all the baggage that comes along with an armadillo, right? They're from southern to southern states?

Darcy 23:47

Yes.

Huck 23:48

They're south of the border. It's a Mexican, Mexican animal, I guess. They're of, yeah, I dunno, Mexico, you know, so you've got that already built into the mythology around the animals, and they're cute, they're adorable. But armored, you got that. I saw a parallel early on between the rhinoceros and an armadillo. So it, they look a little bit alike.

Darcy 24:13

They, you know, they both do have sort of that armored look.

Huck 24:15

They have an armored look to them in different

Darcy 24:17

ways.

Huck 24:17

Mm-hmm. So, see, one thing I didn't know, like when I'm, I lied, I did look at one photograph of a a, of an armadillo.

Darcy 24:27

Mm-hmm.

Huck 24:28

I said I did it completely on my imagination. I looked at one photograph and it's, I, I did not know UN until I looked at that photograph that they have fur.

Darcy 24:36

That's okay. I was wondering about

Huck 24:37

that. They're furry under that armor.

Darcy 24:39

Under the armor.

Huck 24:40

Yeah. They have

Darcy 24:40

fur And you do show that little

Huck 24:42

sticking out. Yeah, there's a little bit of belly fur sticking out, which added to the look of the thing. You know, whenever I'm getting into imagery like that and you're coming up with all kinds of scenarios, pictorially of what you want to depict and. Part to the viewer. Little things of like being able to have like scraggly hair on the belly. Mm-hmm. Which can be solid black. Against the background, it can really push the background into, into the background. Mm-hmm. And make things have size separation and spatial separation. I use that kind of, those details. Those are bonuses because on, if you look at the chin of the Warmadillo mm-hmm. He has like, um, he has chin hair.

Darcy 25:24

Okay.

Huck 25:25

That, and he has whiskers and. I made that, I made it all up. All that up except for the belly fur. Mm-hmm. I mean, war armadillos. I keep calling'em now. I do. I call'em armadillos. Armadillos have weird, have little feet. They have little bitty toes that are more like a, like a rat toe. Like a rat foot. I wouldn't, but I guess that, but I put like Godzilla C clause on him.

Darcy 25:52

I noticed that the, the very long.

Huck 25:55

Yeah. He's also attached. He has a, a ball and chain on.

Darcy 25:59

I noticed that

Huck 26:00

as well was, which means he can't go anywhere really.

Darcy 26:03

Mm-hmm.

Huck 26:03

But they're gonna kill him anyway.

Darcy 26:04

Mm-hmm.

Huck 26:06

Because they want him to be perceived as a threat.

Darcy 26:09

I'm looking at armadillos now. They're weird.

Huck 26:12

They're weird, but they're cute.

Darcy 26:13

Kind of cute though.

Huck 26:14

They ball up up when they're scared. They go into like a volleyball. They're adorable. We had one show up at Bootcampers, A baby. There was a baby armadillo that showed up at boot camp. Mm-hmm. Jen. Jen was so pissed.

Darcy 26:28

Why?

Huck 26:29

Because she didn't see it.

Darcy 26:30

Oh yeah, that would piss her off.

Huck 26:33

Okay, so there's the Warmadillo. Now that print was, it was, uh, a two color with a black and white tint block. Chiaroscuro wood cut. Referencing the blue edition of the, uh, rhinoceros by Durer on kitikata paper, which I love. The paper was another major thing of that because it's a kitikata is a silvery paper and it looks antique. I am always trying to get my stuff to look old. Look like an old print that's 500 years old. Uh, kitikata was perfect for that. Uh, it's a durable paper too, it's hard to tear. Um, and we used Outlaw Black My Ink, by Gamblin. And, we did an edition, I think of 40 And, Just a side about the rhinoceros. I went to the print fair in New York one year there was some gallery print dealership from Germany or Holland or someplace, and. They had a rhino, they had a rhinoceros up at the fair. And I like went in there and I'm like looking at it. And the lady, the lady could tell I'm not buying anything. Okay. There's no, no way. So, they, they were all old master prints in this dealer. There was no mix or anything. Mm-hmm. It was all master and, uh. I was like, it was a blue one. Oh, it was one of the blue ones. And I, I had seen a few, but I hadn't seen a color one before. And I, I, the lady was really snotty with me. Mm-hmm. And I asked her, I go, so the blue ones, she's like, yes, yes. It's the blue one, you know? Mm-hmm. Go away little man, I know you look poor. You're not going to buy this. And I, a, they didn't have a price on it, and I just. I asked her, I go, how much is it? And this is the rhinoceros. She was like, that is, uh, and she act, she like fumbled around and had to look for the price. Like you wouldn't remember that this is the price of something. But she was like, that what? That's$500,000. And I was like. Mmm. Cool. Because I'm glad that that print is worth that much money. Mm-hmm. That's badass Durer. That's a print, it's a small print that is bad.$500,000 for that. Mm-hmm. And I like, yeah, that makes me feel good, man, because prints are always cheaper because there's multiples and

Darcy 28:56

Right.

Huck 28:56

You know, so there there's a little side rhino story

Darcy 29:00

that is pretty badass.

Huck 29:01

What else?

Darcy 29:02

Do you have any other, I. Tribute print plans.

Huck 29:04

I've done tribute prints. Um, I don't know. I did one for Warrington Cole Scott, but it doesn't have anything to do with his image. Mm-hmm. Imagery, uh, that was a called Ms. Wright, which was done for, uh, at Landfall Press. That says for wc. That's for Warrington. Kohl Scott, because it's his kind of image. Uhhuh. But the, the whole thing with the, with the armadillo is that you, these prints, they go out there and they live their life. Sometimes they're bought by a museum and they're put away and they're not shown for seven years, or sometimes they're bought. Buy a place like a museum, and they put it right up. Mm-hmm. Um, what I have found is it's always a surprise. like the Warmadillo. somebody sent me, an image on Instagram, messages of the armadillo that's up somewhere right now at a museum somewhere. Oh, cool. Yeah.

Darcy 29:56

So you don't always know when it's going up.

Huck 29:57

No, no, no. You don't know. But the fact that it gets, it, it gets put up. I'm pretty sure at some point the National Gallery in DC is gonna put it up somewhere. Mm-hmm. But one of the things about it, and this is cool, but it's also like. Okay. I, that's cool. But they really like the Warmadillo for a teaching print because they can talk about Durer and how doer influences artists. Mm-hmm. A lot of museums I've noticed have done that. Mm-hmm. I know that the,, library of Congress has done that. Mm-hmm. They use it to talk about. Have used it to talk about Durer's influence. Yeah. Okay. Pretty. Which is fine by me, man. Which is fine by me. Mm-hmm. If you can get to Albrecht Durer through anybody, contemporary art, make it Me, I'm fine with it. He needs to be,

Darcy 30:45

hell yeah.

Huck 30:45

The most famous of all artist of all time, which he's already up there, but like, there's that element and I know somebody, one print curator did tell me, he's like, you know, it's just a great teaching print. So that's really cool. That is cool. And you never know when you're gonna make'em. You can't try and make'em

Darcy 31:02

right. And Well, and the thing is, like artists are not the same as movie stars.

Huck 31:08

Mm-hmm.

Darcy 31:08

You know, profiles and, and the people who know about your work tend to be smaller than people who know about a, you know, the stars of a hit TV show.

Huck 31:17

Right.

Darcy 31:17

So having your work.

Huck 31:20

The fact that you can reach people is an amazing

Darcy 31:22

thing. Well, and, and reaching them in conjunction with their learning of your hero,

Huck 31:26

right?

Darcy 31:27

That's a pretty neat direct line there. And that's extending that print lineage in a very cool way.

Huck 31:32

That's a very good way of putting it.

Darcy 31:35

Pretty neat. Pretty neat. For somebody who's so big on print, lineage and ghosts,

Huck 31:39

pretty it is, it's about ghosts. There are a lot of ghosts in that, you know, you, you feel like. There's a sense of accomplishment when, when you, when something like that. I mean, like beyond what you could possibly when you're a kid.

Darcy 31:54

Mm-hmm.

Huck 31:54

And you're, you make an ima you don't, you can only dream

Darcy 32:00

mm-hmm.

Huck 32:01

Of, of having an effect on

Darcy 32:04

Yes.

Huck 32:05

At any level on people like that. Mm-hmm. At or to be like. Shown with

Darcy 32:18

Right.

Huck 32:18

Your heroes.

Darcy 32:19

Yes.

Huck 32:19

That

Darcy 32:20

had been a few times now.

Huck 32:20

Yeah. That have been dead for like 500 years. Mm-hmm. That is a feeling that it, it sort of, uh, it makes you believe in ghosts. Yeah. Yeah.

Darcy 32:35

That's pretty cool.

Huck 32:35

Yeah,

Darcy 32:36

it's a pretty unique experience. I'm sure.

Huck 32:38

I wish I looked like Durer though. That dude was a stud. Looked. He looked like Jesus, man.

Darcy 32:44

You just have no hair up there.

Huck 32:46

No hair. None. No hair. No hair up there. None. No. No hair really anywhere.

Darcy 32:53

Just on the face.

Huck 32:54

Just on the face.

Darcy 32:57

Oh my God. We don't need to know rest. Nope. Stop it there

Huck 33:01

in my butt. I love grossing you out.

Darcy 33:07

Boys and butts.

Huck 33:09

Boys and butts.

Darcy 33:10

That's exactly right. Boys son tried to feed me popcorn from his,

Huck 33:15

from his butt

Darcy 33:16

butt groove. That's what he called it.

Huck 33:18

His butt groove.

Darcy 33:19

I was asleep. He tried to feed it to me.

Huck 33:21

Oh God.

Darcy 33:21

And I was like, get outta here. I'm sleep. Just eat this promise. You'll eat it when you wake up.

Huck 33:25

Oh my God. Get outta here. You little

Darcy 33:27

freak. Course I'm. And then he comes back and he's like, you awake, eat it. So I pretend to eat it and I hear Milan going,"did she eat it?!" In the other room? I was like, you motherfuckers,

Huck 33:36

this is your life. And you go from that to here. No different.

Darcy 33:40

No,

Huck 33:40

it's just more boys None. Just more boys

Darcy 33:41

talking about butts and farts.

Huck 33:43

All right. So is that all you, can we stop now?

Darcy 33:46

I think we can stop now.

Huck 33:47

Okay.

Darcy 33:47

We've learned about the Warmadillo.

Huck 33:49

That's great. I'm glad we got to talk about the armadillo.

Darcy 33:51

I am too. And again, last chance, if you want your question answered by Huck in our very special episode of the podcast titled Ask Huck Anything. Go ahead. Go to our website, www.evilprints.com, click on the podcast header and scroll to the bottom where you can submit your question and Huck will answer it.

Huck 34:11

I'll answer the damn thing.

Darcy 34:13

He'll answer the damn thing.

Huck 34:14

Yeah, I think that's it. Good night. Good luck. God bless. Go fuck yourself.

Darcy 34:20

Bye.