[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Sunday, 22 February 1998 Volume 02 : Number 076 ---------------------------------------------------------------------- From: Patrick Robinson Date: Sat, 21 Feb 1998 12:25:53 -0500 Subject: [Baren 423] Welcome Mary Aloha Mary: I am delighted to see a fellow "galleriest" aboard the good ship Baren, especially one who is involved with the proper framing and display of woodblock prints. This is a part of the equation that really hasn't been touch on yet. I, for one, would be interested in knowing your thoughts on the subject of folio versus framing for antique prints. Patrick Robinson ------------------------------ From: Jean Eger Date: Sat, 21 Feb 1998 11:13:24 -0800 Subject: [Baren 424] Re: exhibitions Dear Baren people, It was really good to read Mary's introduction and learn that I am not the only woman participating on Baren. Mary has far more training and experience than I have in both painting and woodcutting. I wish I had started my formal art training at a young age, but I was discouraged from taking it seriously and pursuing it as a career. I was looked at as a "diletante" and, always anxious to please in my younger years, easily discouraged by the Bay Area biggies. The art scene definitely was a men's club in those days. So it is great to have you here, Mary! If you are looking for a topic of discussion to add to Baren, perhaps you would like to consider exhibitions. The '97 International Print Triennial in Cracow is described in Mark Millmore's PRINTWORKS MAGAZINE (U.K.) http://eyelid.ukonline.co.uk/print/works.htm. It was fascinating to read about the involvement of many cities in the reception of huge piles of prints from all over the world. It is my opinion that, if organizers and curators were encouraged to submit prints to juried exhibitions, that we would have many more shows in the U.S. I think it is an issue of freedom of speech. Why should the organizer and the curator be silenced? This is the same kind of warped ethical system that leads women to work for free and say thank you for it. It also implies that the judges or the jurors can be influenced or swayed, which could be interpreted as an insult to them. These are only my opinions, and they are the opinions of someone who is not a professional in the art world and has only organized three exhibitions so far, on a volunteer basis. How are exhibitions and competitions organized in Japan? Do women volunteers do all the work? Sincerely, Jean Eger P.S. I still have not had the time to read back issues of Baren. ------------------------------ From: julio.rodriguez@walgreens.com Date: Sat, 21 Feb 1998 13:51:27 -0600 Subject: [Baren 425] Welcome, Yoshida Hi Mary.....Welcome to Baren. As you can tell by previous postings most members are anxious to hear about your dealings in Japan and your training with Yoshida Hodaka. I have come to know a little about his work from one of my books. In it he describes in great detail (& photos) a print called "Landscape with a house-A". The subject is a distant house with pictures of nude women & other objects dispersed thru the print. It is a combination of his photoengraving & wood blocks technique. Perhaps you are familiar with the series titled "Landscapes" he did during this period in the mid-70's ??? I believe Mr. Yoshida is also a superb oil painter. Waiting to hear more about your experiences......... JULIO ------------------------------ End of Baren Digest V2 #76 **************************