[Baren} the mailing list / discussion forum for woodblock printmaking Baren Digest Wednesday, 7 June 2000 Volume 11 : Number 1037 ---------------------------------------------------------------------- From: "Lezle Williams" Date: Tue, 6 Jun 2000 08:15:21 -0600 Subject: [Baren 9956] Re: Baren Digest V11 #1035 > 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 Philip, As an artist and illustrator, I work with a variety of subject matters and media. As a socially conscience person, I always have a nagging feeling that I should be saying something with my art. Yet, the subjects that most appeal to me-and that I always return to- are architectural, not so much in their complete forms, but in the angles and shadows, and strong contrasts of lights and darks. When I look at my work those are the ones that satisfy ME. As Edward Hopper said (paraphrased) "I would be content to do nothing but paint sunlight on the side of a building." April wrote: > > I'm doing a print exchange for Frogman's. I am impressed again by how > efficient waterbase Japanese technique is for editioning. Lots of April, I (too) was a sub instructor (for wood engraving) last year at Frogman's. This year I am a student in your workshop. I have been looking for a Hanga class (within a reasonable distance) for a couple of years. I just finished my edition and mailed it yesterday. (Are you reading this, Karla? They are on their way!) Looking forward to the workshop... Lezle Williams Mission, SD www.laughingcrow.org ------------------------------ From: "Jean Eger" Date: Mon, 5 Jun 2000 06:50:29 -0700 Subject: [Baren 9957] Re: Baren Digest V11 #1036 I am happy that I can once again live vicariously, reading about the exploits of the experts at boot camp (Graham's workshop). We may make it to Vancouver one of these years. Jean Eger http://users.lanminds.com/~jeaneger ------------------------------ From: Wanda Date: Tue, 06 Jun 2000 08:22:31 -0700 Subject: [Baren 9958] Re: Hasui print Jack Reisland wrote: > look what his contemporary Hiroshi Yoshida could do > with water! Here: > http://www.hanga.com/landscape/yoshida/images/nakabusa.jpg I think that Hiroshi Yoshida is unsurpassed with water images. I especially like his harbour scenes. Barbara & I marveled over one in the Gilkey collection. The reflections in the water were so skillfully done. Such tiny lines & so much detail packed into an oban sized print. Wanda ------------------------------ From: Graham Scholes Date: Tue, 6 Jun 2000 09:10:55 -0700 Subject: [Baren 9959] Fwd: Sir Baren Sir Baren has arisen and feeling much better. We had a quick peek at some of the stuff for Boot Camp and Yum Yum. Today we are sight seeing..... imagine Dave taking a day off. Unbelieveable Graham & Marnie ------------------------------ From: inklinepress@inetnebr.com Date: Tue, 6 Jun 2000 16:48:58 -0500 (CDT) Subject: [Baren 9961] Vermont Studio Center Hello All, Have any Baren members been to the Vermont Studio Center? or any residencies for prints for that matter. I am currently at VSC but have only been here a couple of days. I have never done a residency before and just want to hear about other people's exepreinces with them. thanks. Jaime ------------------------------ From: "eli griggs" Date: Tue, 6 Jun 2000 19:06:36 -0400 Subject: [Baren 9962] Re: Subject Matter It seems that we have stumbled, by way of a side door, into what must be one of the oldest debates of all times. No, not who was hotter, Ginger or Maryann; rather, what is art; what is art worthy; how far should we go? What do you think? Did primitives embrace, with loving arms, the first artist who drew upon some dark cavern wall Bison and Deer, or did they pull the hapless fellow apart in their rage or fear, that somehow the creatures he had depicted would abandon them to starvation and death, because he had stolen spirits or defiled gods? And latter on, when art was used to communicate to the great unwashed (interchangeable parts here folks) 'The Glory of God' and/or 'The Magnifiances of The State', was the artist a sinner or simply a criminal, for drawing buxom milkmaids at rest, a commission from the old guy, down the way? Just what is the obligation of the artist to others? Reformation and Counterreformation; was there a point and what should be the role of the artist in spreading ideas? His own; someone else's? Are we, who try to create anew, from within our minds eye, upon foundations of what has come before, to be told that images that are revered by some culture, somewhere, are off limits because to use them would be offensive, and do we dare risk being called insensitive thieves, bigots or racists, because we see something in the culture of a people that resonates within, causing us to act upon inspiration? Does historical or social guilt or PC override the artist' right to create and do those same restrictions extend to depicting a minority or culture 'de jour' in an unflattering way? Does a minority artist have a likewise obligation not to offend the majority, even if they are his oppressors? Is Christ in a jar of piss less or more offensive than American Indian pictographs on a W.A.S.P. artist' canvas hanging on the wall of a chic N.Y. City gallery, and is it wrong to skeatch an Arab market, because of the deep beliefs of some of the subjects concerning the depiction of living beings? Just who was Picasso to co-opt African mask and can we give them back? Could much of this debate be attributed to left brain-right brain functions? Is the person who gets through life in the left brain mode more attached to his symbols file and more likely to rise to its' defence than the right brain artist, who is fighting to free his/herself (see I can be PC!) from a narrow vision of the world at large? For myself, I sometimes like nice sunshine on walls and if that's your thing, great. But if artist feel it within themselves to dare the fire of ridicule and outright hatred, for whatever reason, then they should go for it! The bottom line? It is always the prerogative of the artist to create, with whatever tool, or symbol or idea is at hand. Judgements of merit, of the finished work, remain the domain of the individual viewers, en mass or alone, it's their call. It's as simple as that. Eli Griggs Charlotte N.C. USA P.S. Maryann by a country mile! ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Tue, 6 Jun 2000 18:38:11 -0500 Subject: [Baren 9963] ebay Woodblock book If anyone is looking for a good book on the traditional japanese hanga technique...here is one I already have and recommend. Many fine photographs and old prints of printmakers in action. http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=348964866 Julio ------------------------------ From: "Maria Arango" Date: Tue, 6 Jun 2000 16:47:00 -0700 Subject: [Baren 9964] Baren-Suji Putting my editor's hat I see that time, once again, has gone by at the exact rate of 60 seconds per minute! And so the deadline for the July 1st issue of Baren-Suji is upon us. What would you like to see in this upcoming newsletter? Feature your buddy the printmaker? Heck, feature yourself! An insight into a certain Japanese print? A historical view of ??? What I printed on spring vacation? A new exciting technique? Printmakers in Precambrian Portugal? Don't just answer that question, write the stuff! The continued success of 'our' newsletter rests upon your capable shoulders, oh members, lurkers, scholars and newbies alike. (John, I'm in desperate need of another clever toon ;-) May the muses be with you... Deadline on or abouts Friday the 16th of--heavens!--this very month. As a nutritionist friend of mine used to say, if you don't send contributions it is going to be "apples are good for you" once again from yours truly; or in this case, an oily slimy kid's stuff article or two. Agh. The editor awaits. Maria <><><><><><><><><><><><> Maria Arango, Printmaker Las Vegas Nevada USA http://www.printmakingstudio.com maria@mariarango.com mariten@lvcm.com <><><><><><><><><><><><> ------------------------------ From: "Philip Smith" Date: Tue, 6 Jun 2000 17:38:12 -0700 Subject: [Baren 9965] Re: ebay Woodblock book Julio,...I have that book! It's rather excellent!! Step by step in full color. Philip ------------------------------ From: "Jandi Goshert" Date: Tue, 06 Jun 2000 18:32:25 PDT Subject: [Baren 9966] Re: A strategy to sell prints >>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!!!!). Horacio -I believe Phillip already asked if your book will be published in English - I'm dying to know what it's about - Egon Schiele is one of my favorites! Please share! jandi ------------------------------ From: "Frank Gall" Date: Tue, 06 Jun 2000 22:37:04 CDT Subject: [Baren 9967] Re: Baren #1036 Good day all I'm new to the group but I've been following your discussions for the past few days. I was really interested in Phillip's question concerning the origin of our ideas. It goes without saying that everyone draws from different sources. However, it has been my experience that inspiration is actually a response to your artistic objectives. In other words, why you make art often determines what type of art you make. Those who seek to perpetuate traditions of technique or style are more likely to draw from historical images and texts. To many of these individuals, I believe, art is a matter of history, tradition and cultured taste. I do not fall into this category but I have many friends who do. Generally, these artist friends have little interest in,or concern for, twentieth century art and its emphasis on conceptual elements. Their primary interest is form and process. As for me, I see art as visual problem solving. What excites me is the challenge of constructing and presenting an image in a way that effects, or critiques, one's environment. I'm fascinated by advertising and propaganda ( no real difference) and how they effect people. The more subtle and subversive, the better. It's not that I necessarily support these ideas, but I am curious about how they work. I've spent a good deal of time looking at political art (particularly ww II) and religious (especially christian) art.Why were these images so powerful and how were they so effective in directing the masses? I've been working for some time on a series of images designed to convey the ideas behind christian narratives but without the dogma or specific symbolism. My question was "would it be as effective?" It's all still in the embryonic stages so I can't pass judgement. However, I have had some good responses. So the short of it all is that inspiration hits me when I am observing some image that tries to manipulate or challenge me through visual references, ideas of beauty etc... Otherwise, I am currently assembling a web page for my work. I still have about half of my slides to scan in before I can finish. I predict it will be finished in about two weeks. When it is done I will post a link so you can see my work since I've seen a lot of yours. Barbara-I liked the tag about making your own realities. Isn't your reality almost always a better choice? Frank C. Gall Houston,TX ------------------------------ From: Cucamongie@aol.com Date: Wed, 7 Jun 2000 00:09:11 EDT Subject: [Baren 9968] congratulations Horacio, etc Congratulations on the book, Horacio, can't wait to see how it develops! Also wanted to relate a most inspiring story for those that are starting to feel a little "over the hill" - today I was sitting for a group show which I have a large print up in of the National Association of Women Artists, and I had the opportunity to speak with the president of the Association, who had a number of interesting stories to relate to me about the organization. Perhaps one of the most incredible was of a woman who's still a participating member who is 110 (yes that's one hundred and TEN) years old, still making art, still showing, etc. - AMAZING!! Of course in my overwhelmed state I forgot her name, but I'll have to find it out. Another inspiring but sad story I heard was of a woman who's a part of NAWA who's living in a shelter and making art (they call her "the art lady" in the shelter) with such a delightful and light feeling to it, she's creating a much more wonderful "reality" for her mind to travel to than the one she's surrounded by. I apologize for n! ! ! ot being as wonderfully articulate as Gregory and some of our other members, just thought this was too interesting to leave out. best wishes all & happy printing! Sarah from NYC Cucamongie@aol.com ------------------------------ End of Baren Digest V11 #1037 *****************************