[Baren]: The mailing list / discussion forum for woodblock printmaking.

Baren Digest               Friday, 26 March 1999       Volume 06 : Number 503

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From: David Bull <davebull@woodblock.com>
Date: Fri, 26 Mar 1999 15:27:24 +0900
Subject: [Baren 3724] Exhibition announcement ... 

This from my newspaper this morning ...

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U.S. Woodblock Prints Exhibition

The '20th Century American Woodblock Prints' Exhibition will be held in
the Machida City Museum of Graphic Arts in Machida City, Tokyo, from
April 17 to June 20.

This exhibition divides American woodblock prints of the 20th century
into three periods and traces the changes in American woodblock prints.

In "Woodblock Prints of the First Half of the 20th Century," the works
of John Sloan, one of The Eight who insisted on democracy in art and who
portrayed city scenes and the life of the common people, and the works
of their disciples, Reginald Marsh, Ben Shawn and others will be
displayed.

The works of Stanley William Hayter, who fled to the United States
dining World War II, of European artists, of Jackson Pollock, who was
influenced by these European artists, and of others will be displayed in
"European Influence and Quickening to Modem Times."

In "Development of Modem Woodblock Prints," works by Jasper Johns, who
was active after the 1960s, and pop artists Andy Warhol and Roy
Lichtenstein, as well as works using new techniques such as printing on
plastics and acrylics will be on display.

Closed: Mondays (open on May 3, closed on May 6). Admission: General,
600 yen; senior high and college students, 400 yen; primary and junior
high students, 100 yen; over 65,300 yen. For details, call:
042-726-2771.

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Joe wrote:
> he wrote that the best craftsmen and artists were gone and that there
> was nothing worth while after Hiroshige. We know he was wrong. 

Well he was wrong ... and he was right; it all depends on your point of
view.

I wouldn't agree with the word 'nothing worthwhile' of course, but there
is no question that the craft technically peaked during the Meiji time. 
These two gentlemen who recently passed away were far far better carvers
than I, and they forgot more than I'll ever know (that's not false
modesty, either), but even as good as they were, they simply could not
carve as well as the top Meiji-era carvers.

I'm sure that each time there is a change of 'generation' like the one
we have gone through these past few months, there is a general shaking
of heads ... "Well, now the real masters are gone ..."  But as the
remaining carvers become older, they gradually take on the same 'aura',
and people start to regard _them_ as the 'masters'. 

It's a never-ending process ...

But just how good _were_ those Meiji carvers?  Well, I've got some
prints here that would blow your boots off.  I've tried scanning them,
but my scanner only goes to 300 dpi ... but that's not fine enough to
catch these lines ...

Dave

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From: Brenda Romans <bromans@greyseal.demon.co.uk>
Date: Fri, 26 Mar 1999 07:53:41 +0000
Subject: [Baren 3725] Engravers required for book 

Hi

The Society of Wood Engravers is putting together a new book - Engravers
Three - and they are looking for contributers from around the world.
Engravers 2 is a wonderful book and I'm keen to submit stuff for
inclusion in the next one.  

I have nothing to do with the organisation of this, I'm just forwarding
the information in case anyone is interested.  Ask me questions and I'll
try to answer.  You're probably better off emailing me direct at the
moment as I'm rather buried and am having trouble keeping track of
Baren.

Cheers,  Brenda

The information I have is:

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The Society of Wood Engravers
Hon Treasurer, Simon Brett, 12 Blowhorn Street, Marlborough, Wiltshire, 
SN8 1BT, UK    Tel (0)1672 512905

Engravers Three - To all practising wood engravers

This letter is the first step in planning a new book about wood
engravers - engravers Three - of which I am to be editor.  I would like
to hear from you if you practice the art of wood engraving, whether in
traditional form or in continuing the spirit of wood engraving with new
materials (synthetics etc.), new methods or new visions: making prints
of whatever kind by FINE RELIEF ENGRAVING.

Two earlier books Engravers (1987) and Engravers Two (1992), now out of
print were based on members of the Society of wood engravers here in
Britain: in the second book, some American artists were included.
Engraver Three will be international, including fine wood engravers from
any country, thought the Society of wood engravers will still be
associated with it as the guarantor of standards.  Since the scope will
be worldwide, we cannot tell until the work comes in what form the book
will take.  We will almost certainly need to be selective.

This is not a commercial project.  No money is being asked for entry or
participation.  No money will be paid for inclusion.  Engravers three
will be a DIRECTORY OF WORKING WOOD ENGRAVERS.  The historical and
connoisseurship aspect of this is more important than it's effectiveness
as a trade directory.  I am interested in considering the work of anyone
who is a committed wood engraver or is committed to using wood engraving
in some form in their work - anyone, that is, who would not class
themselves wholly an amateur or a beginner.

We who make wood engravings often feel isolated and know no other
artists who work in he same way.  This book will continue the Society's
work of sustaining wood engraving by estabishing a sense of community
among those who do it and who support it.  Please help us to make ia
complete survey, by writing to me as soon as possible with:

1.  A selection of work suitable for a two page spread.
Individual engravings should not be larger than will fit a page sized
28x21cm (11x 8.25) or a double page spread of 28 x 42 cm.  We will
probably reproduce work same size in all but exceptional cases.  If you
are an exceptional case, say so and include your work anyway.  If you
have unfinished projects current through 199 which you might like
included say so.  Original prints will be looked after with great care
and returned, if you wish it, in due course: or you may prefer to send
photocopies in the first instance.

2. A brief CV (resume) (in English) including
- - Date of birth
- - education or training
- - significant commissions, purchases etc
- - an account of how you usually work e.g. illustrator, fine art printer,
commercial artist
- - how this combines with an other aspects of your life e.g "combines
engraving with full time job as taxi driver"
- - a statement of comment (optional) on your attitudes and intentions.

I should like to hear your views about the condition of wood engraving
in your country - is it widely used? is it taught? - especially from
artists in countries other than Britain.

Lastly and very important, if you know other artists who make wood
engravings who may not be reached by this letter through the obvious
wood engraving and relief printing channels, please give me their names
and addresses or pass on a copy of this letter and invite them to write
to me too.

***

Brenda Romans
Email: bromans@greyseal.demon.co.uk

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End of Baren Digest V6 #503
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