[Baren} the mailing list / discussion forum for woodblock printmaking Baren Digest Tuesday, 6 June 2000 Volume 11 : Number1035 ---------------------------------------------------------------------- From: "Philip Smith" Date: Mon, 5 Jun 2000 07:24:20 -0700 Subject: [Baren 9931] Subject Matter I think we've run these last couple of subjects into the ground. Maybe a few of you can answer this! Were do your ideas come from? Do you approach a picture strictly from a = design point of view? Is your work narrative, as you see it? Is it the = same subject matter that you do over and over again? Do you have a = special point of view that you want to convey? Do you want to just = please your audience or do you want to move your audience emotionally in = some fashion? Or maybe you do just what comes easiest,...or maybe you = try and tackle something beyond your reach!! Any thoughts??? Philip ------------------------------ From: "Jean Eger" Date: Tue, 6 Jun 2000 01:10:17 +0900 Subject: [Baren 9932] Date: Sun, 4 Jun 2000 09:08:20 -0700 Barbara, Which was the print you donated to the Portland Art Museum that we are supposed to resend? Jean ------------------------------ From: "Bill H. Ritchie, Jr" Date: Mon, 5 Jun 2000 11:57:48 -0700 Subject: [Baren 9933] RE: Subject Matter I'll try Philip Smith's question, "Where do your ideas come from?" I practiced answering that question when I was a teacher because students--and some art patrons--used to ask me that when it wasn't obvious what my "idea" was! But it was only practice, I think, looking back now. I watche a sci-fi novelist on TV last night, and she was asked the same question in an interview. I liked her answer, and I'll borrow it. They come from outside, but they address an inner ear (or eye)--but ears and eyes have no equal inside me! It sounds very strange to someone who asks that question in a perfectly logical way. It sounds illogical. But that's how it is. ------------------------------ From: B Mason Date: Mon, 05 Jun 2000 12:26:45 -0700 Subject: [Baren 9934] Re: Date: Sun, 4 Jun 2000 09:08:20 -0700 Good question, I donated my copies of #2 and #4 so if you were in it and want to send me a print that is fine, but don't loose any sleep over it, I can always go and visit them.! Barbara M Jean Eger wrote: > Barbara, > Which was the print you donated to the Portland Art Museum that we are > supposed to resend? > Jean ------------------------------ From: "Maria Arango" Date: Mon, 5 Jun 2000 13:46:47 -0700 Subject: [Baren 9935] back boy oh boy, Baren is getting to be quite the philosophy forum... Very interesting conversations going on. Back from Santa Barbara, which has a museum, and by an astounding coincidence there was an exhibit entitled: "Mastering the Woodcut" which was not supposed to be on until the end of June but there it was! I was so delighted... Represented were woodblock and woodcut prints from their infancy to contemporary artists and from the Orient and Occident alike; Hokusai, Fletcher, Hasui, Frasconi, Kent, unknown Italian chiaroscuros and engravings, truly an incredible treat. My favorites were a woodcut by Leopoldo Mendez entitled "Tengo Sed (I am thirsty)" depicted a male figure in a barren desert with arms outstretched, very a-la-Horacio (yes, our Horacio); also an Italian chiaroscuro by someone whose name escapes me but I have heard of before, and an engraving depicting the California landscape that had astounding mastery of gray tones achieved exclusively by modelling. Also the Frasconis were impressive if in size alone (a 8' x 3' vertical), and Baskin with their expressive styles. There were also some hanga woodcuts, as I said, Hokusai, Hasui, and Fletcher were represented in very distinct stylistic differences, easy to spot because they were side by side. A second floor exhibit had exclusively Japanese woodcuts and books and I finally got to see up close and personal a "real" Japanese baren, which will help me in construction of my next Southwest bastard-baren. There was also a mystery which I would like the experienced in the group to comment on if possible. There were two blocks, beautiful dark cherry, carved on both sides, but the kento marks were not what I understand are typical and maybe someone can shed some light on this practice. There was a straight notch, parallel to the long side of the block, but with the notched side toward the outside of the block. Then a single square notch close to the bottom left corner of the block. These notches were deep, but clearly they did not serve to butt against the paper; could there have been a piece of wood that was placed in the notch and portruded up so that the paper was butted against them? In any case, I enjoyed the exhibit immensely to say the least, had to be removed forcefully by my husband that, although shares my love for art, was a bit tired of talking to me without response. He claims that he carried on a conversation and I actually answered while looking at the woodcuts, although I had no memory of such a thing I was so mesmerized. Health to all, Maria <><><><><><><><><><><><> Maria Arango, Printmaker Las Vegas Nevada USA http://www.printmakingstudio.com maria@mariarango.com mariten@lvcm.com <><><><><><><><><><><><> ------------------------------ From: "Maria Arango" Date: Mon, 5 Jun 2000 15:10:50 -0700 Subject: [Baren 9936] text please While I was gone I switched to the digest version of Baren posts, and all I can say is: "blleaghhhh!!!" Please set your beautiful posts to text, as the digest is unreadable and disgusting to follow when someone posts in HTML. Primitive, I know, but hey, let's be considerate to those who receive the digests and more importantly, to those who archive the digests for everyone's future reference and have to remove all the junk. TIA Maria <><><><><><><><><><><><> Maria Arango, Printmaker Las Vegas Nevada USA http://www.printmakingstudio.com maria@mariarango.com mariten@lvcm.com <><><><><><><><><><><><> ------------------------------ From: "Philip Smith" Date: Mon, 5 Jun 2000 15:23:20 -0700 Subject: [Baren 9937] Re: back Maria,....sounds like a really interesting exhibit,....!!! Your mystery registration,....??? I think I've come across this one. Your sheet is laid along the edge of the line,...where the notch is, there is a mark on the reverse side of your sheet so you know exactly where the sheet is to be positioned. Does that sound right?? Philip ------------------------------ From: Vollmer/Yamaguchi Date: Mon, 5 Jun 2000 20:41:31 -0400 Subject: [Baren 9938] Catching up! Dear all, It is a struggle to catch up with all the interesting Baren postings after having been away for almost three weeks! Barbara mentioned $350 for Michner's "Hokusai's Manga" (Tuttle published, right?) Very interesting! I bought a copy back twenty years ago at what seemed like a lot of money to me then, maybe $30 or 40. It is a WONDERFUL book, and one of the reasons I got so interested in hanga woodcut. I was in Berlin, Prague and Dresden. Not much to report on the print front, though I saw wonderful Greek and Roman art at the Berlin Museums. Albrecht Durer, that great printmaker, was much in evidence. Also saw some nice prints by the German Expressionists, Kirchner, Peckstein, Schmitt-Rutloff, Nolde, etc. Max Klinger was a printmaker from that part of the world whose work I liked, too. Eastern Germany and the Czech Republic were very interesting, so many changes since 89! The vestiges of WWII and the cold war are evident everywhere. Now I must get ready for my classes. I am happy to report I'm teaching four hanga woodcut workshops this summer, so there must be an increased interest in this stuff. When I wanted to learn it, there weren't any classes! I'm doing a print exchange for Frogman's. I am impressed again by how efficient waterbase Japanese technique is for editioning. Lots of preparation, but once you get going, they go fast! And no solvents! What a great technique! (hint, hint) April Vollmer 174 Eldridge St, NYC 10002, 212-677-5691 http://www.aprilvollmer.com ------------------------------ From: "Lezle Williams" Date: Mon, 5 Jun 2000 20:39:53 -0600 Subject: [Baren 9939] Baren # 1033/appropriation I know this is coming a bit late in the conversation (I was finishing an edition this weekend), but I wanted to add a bit on the subject of cultural appropriations. I think that a lot of the equation comes down to common sense and how the borrowed imagery is being used in the art. I believe that there should be a knowledge of the culture (and hopefully) respect of the culture that it is being borrowed from and there should be a moral obligation from the artist not to use in a way that would offend the culture. I live and teach art at a university on a Lakota-Sioux Indian Reservation. One of the reasons I ended up here was an affinity for the culture. And after living here a number of years- I would never consider using Lakota or Native American imagery in my art. One reason that has already been described well by John, Jack and others- is the aspect of borrowing images that have a deeply personal or religious meaning. As an outsider to a culture- how can that be relevant to my work? There is no word in the Lakota language for "art". Art is so entwined with their religion and everyday living. Here, most white people are viewed with skepticism. Historically, there has been so much taken from these cultures that they have come to expect more taking until one proves oneself differently. Outsiders who show up to partake in ceremonies such as pow-wows, sweat-lodges, and Sundances are known as "wannabes"- they want to be an Indian when it comes to the "fun stuff" and not when it comes to the reality of living on a reservation with 85% unemployment and the second poorest county in the nation, (the first being our neighboring reservation of Pine Ridge), and with the shortest life expectancy for males in the US (age 58). We have the romanticized vision of "Dances With Wolves" and people like Kevin Costner showing up to Sundance- then quickly heading home again. Anyway, the quickest way not to get any respect here- would be for a white person such as myself to start using Native imagery in my work. Unfortunately, a huge amount of "Native Art" is made by non-natives, or those with the most distant of Indian blood, or those that have never lived on a reservation or among their people. Alot of the reservation Indians who make art- make it for themselves and give it away. They have no desire to market it and make money from it. As I said, I am not against using "appropriated" imagery- depending how it is used. Afterall, the Plains Indian's famous beadwork quickly transformed from traditional porcupine quillwork into glass beadwork when the European traders brought beads from Venice. And for a final response to the the following which I find condescending and all too typical of the view of a lot of outsiders: >Those indigenous peoples are hurting themselves by saying that using their cultural images is >appropriation, because the copying spreads the culture and makes it more valued by the people >of the general public. >The general public does not buy Native American art because it is so good. Lots of art is good. >They buy it because they have been taught that this culture is important and valuable and the art >works are also important and valuable. The public has been taught this since kindergarten in >the US public schools. To silence these teachers and the people who want to copy, use, >incorporate or appropriate that art, is to bite the hand that feeds them. Generally these cultures don't care about spreading their culture- they would be just as happy if the greater world left them alone. And if that is biting the hand that feeds them- who has put them in the position of being hand fed?? >People worked over a long period of time to prevent Native Americans from being ripped off >by people who would buy their art at extremely low prices and sell high in the New York >market. Now if you go to the reservation, you find that the price is almost as high there. This may be true in a few cases, but there are dozens and dozens of reservations across the US and hundreds of tribes. Most are very poor and struggling. One hears the success stories of a very few and the great majority also think that reservations are making money hand-over-fist with the casinos, but it just isn't like that in reality... Lezle Williams Rosebud Reservation Mission, SD ------------------------------ From: Studio Dalwood Date: Tue, 06 Jun 2000 11:42:20 +1000 Subject: [Baren 9940] Sacred Tree Admin Stuff My apologies for posting this here but as you know I lost my mail files and I am trying to recover data. This is a cry for help. I need email addresses for the following participants Liz Horton Curtis LeMay Bobbie Mandel Philip Smith Could those people mail me offlist please? or could one person forward all the addresses if someone has them? Oh, and while I'm here can I ask all of you with websites to check out this page http://www.acay.com.au/~severn/NonAus.htm and check that you are listed. Aussies need to go the Aussie page which links from there. thanks in advance Josephine ------------------------------ From: "Horacio" Date: Tue, 6 Jun 2000 00:06:19 -0300 Subject: [Baren 9941] A strategy to sell prints Since Greg sold my first print in Kampala, I am not an amateur printmaker anymore, so I established a strategy to sell my prints that I want to share with you. As I've mentioned before, I am also an amateur novels writer. In fact, I've been writing fiction since 6 years ago, when I had a problem on my retinas and thought I wouldn't be able to make prints anymore (fortunately the eyes problem is now under control). In October 1999, I signed a contract to edit my first novel: "O Espelho de Egon" (Egon Schiele's Mirror).with ROCCO, one of the four biggest Brazilian publishers ("Harry Potters", Marion Zimmer Bradley, John Grishan, Tom Wolfe, Paulo Coelho "The Alchimist"etc ...) After a long period of anxiety, they finally call me to discuss the production of the book that is scheduled to be on the bookstores next October (I hope!!!!). I suggested to the editor to illustrate the chapters with my prints and she agreed. The book has about 150 pages and is organized in 14 chapters. My idea is to make 14 small simple prints to illustrate the chapters, edit for example 50 copies of each block and try to sell them at a low price in the vacuum of the book. The book autographs nights could coincide (local and time) with the prints exhibition openings. I think the book could enforce the prints sales and vice versa. I also could sell the set of 14 prints as a package. I don't believe I will have time (14 small prints in less than 2 months) and talent (I am not Jonh Ryrie, the great book illustrator) to make the illustrations, but I would like to try. Please, give me your opinions and suggestions. Maria wrote: > . >My favorites were a woodcut by > Leopoldo Mendez entitled "Tengo Sed (I am thirsty)" depicted a male figure > in a barren desert with arms outstretched, very a-la-Horacio (yes, our > Horacio); > I like this "our Horacio". Hor‡cio Rio / Brazil. ------------------------------ From: barbara patera Date: Mon, 05 Jun 100 20:50:38 Pacific Daylight Time Subject: [Baren 9942] re: subject matter Phillip asked where our ideas come from... are we story telling, etc. Well, when I was younger my aim was to have others see what I saw.However, after sitting through a couple of critiques of my more controversial works, I realized that people have only themselves to bring to a viewing.... that everyone sees a picture and it's meaning differently. Just as many people( including some of my friends) find Horacio's self-portrait frightening, I see someone I would like to meet. As to the where my ideas are from....61 years of visual and emotional input. Of course all that information gets churned around some before it reappears as a drawing .. sculpture... whatever. I use art to clarify my world ,to record daily happenings, what I read, to try to capture ideas/ dreams that pop into my head. I do hope that others like my work but in essence it is a kind of dialog with myself, something I would do even if there was no one but me to see it. Barbara P. ------------------------------ From: "Philip Smith" Date: Mon, 5 Jun 2000 21:02:23 -0700 Subject: [Baren 9944] Re: A strategy to sell prints Horacio.....You could do a single complex woodcut and let the publisher pull various sections off for the individual chapters. Maybe run the whole print on the inside front and back covers,....sense you're pressed for time!!!!! And is your book to be published in English as well???? Josephine,.....It's SmithArt@Pacifier.com Philip ------------------------------ From: Mary Krieger Date: Mon, 05 Jun 2000 22:55:07 -0500 Subject: [Baren 9945] Re: A strategy to sell prints Go for it Horacio. This sounds like an excellent plan. Sometimes marketing reminds me of those Venn diagrams of overlapping circles from high school math class. Some things exist only in Circle A or in Circle B but in the portion that overlaps things exist in both circles. So people who are interested in the book can find out about the prints and people interested in the prints can find out about the book. Mary Krieger ------------------------------ From: Wanda Date: Mon, 05 Jun 2000 21:55:19 -0700 Subject: [Baren 9949] Hasui print If anyone would like to take a look at a digital image of the Hasui print I was wondering about -- here is the URL: http://www.hanga.com/landscape/hasui/travels/yuhi.jpg "Yuhi Waterfall, Shiobara, oban size 1920" In real life it is simply gorgeous! You can view it in the Gilkey Center, downstairs in the Portland Art Museum - stored in the same vault as the Baren exchange portfolios! Wanda ------------------------------ End of Baren Digest V11 #1035 *****************************