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

Baren Digest             Wednesday, 13 October 1999     Volume 09 : Number 741

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From: "Philip Smith" <smithart@pacifier.com>
Date: Tue, 12 Oct 1999 22:36:14 -0700
Subject: [none]

I have a question for the members of our group! How sacrilegious do you 
think it is to use something other than wood to cut your blocks on??? 
i.e. masonite? or other composites? I just haven't seen anyone mention 
this before,.....    Thanks, Philip

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From: John Ryrie <j.ryrie@pgrad.unimelb.edu.au>
Date: Wed, 13 Oct 1999 21:23:16 +1000
Subject: [Baren 6242] Re: Book Report 

Josephine
        thank you for the report on Trees/Ladders.
the paper is Arches 200 gsm and the quote is:

you
can't
paint
the
bit
the
ladder
leans
on

The appendix is the instructions on the side of an aluminum ladder where Alex
has just changed the word ladder for metaphor.  I should have mentioned that
the library also have some of my other books.

Welcome Frank

over 40 e-mails in 24 hours this takes me way back to the days of the Japanese
print compaction.

Andria you are an inspiration, well done.

I opened that vires thing then downloaded the cleaning do-hicky so I should be
ok please let me know if I'm not.

I found some interesting woodcuts by laszo Tar
http://www.tiscop.com/prcwoodc.httm

I had a look at eBay good thing I don't have a credit card.

John Ryrie

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From: severn@acay.com.au
Date: Wed, 13 Oct 1999 21:43:50 +1000
Subject: [Baren 6245] Re: :not thinking 

> 
> P.S. Josephine, Bea Maddock, Ray Arnold isn't the only Tasmanian artists you
> Know.  I also recommend Bea's work to everyone.

I enjoy them both John. I have the Bea MAddock retrospective catalogue,
which I enjoy occasionally.

For the non-aussies, Bea's work in this exhibition is a collection of
prints of the coast of Tasmania (viewed from the sea). The prints are
embossed and the colour is Tasmanian ochres taken from the soil, ground,
and rubbed in to reveal the embossing. The typed text is the European
names for the mountains and geographical features, and the copperplate
ash text is the aboriginal place names for same.  The prints were
installed around the walls of a small room in the gallery. This meant
that you viewed the prints from the inside of the circle looking out,
but the view was turned around as the prints were from the outside
looking in. Does that make sense?

She did a similar work about antartica some years ago.

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End of Baren Digest V9 #741
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