Baren Digest             Wednesday, 6 December 2000     Volume 13 : Number 1236


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From: Ray Hudson <rhudson@together.net>
Date: Tue, 05 Dec 2000 07:15:02 -0500
Subject: [Baren 12334] chinese prints 

Jerelee--Arafat's site (thanks!) has some excellent text about Chinese
woodblocks.  You'll see that this art in China has a very complicated
past.    The technique went to Japan but then returned to China
(bringing along a good dose of Western expressionist techniques) and now
is perhaps again developing its own uniqueness.   I was a bit
disappointed by the images available on the site as they tended to be
either heavily infuenced by the Chinese New Year print style or the
German expressionist print makers.  But it's a grand site.  Wish I could
see more of it.

On chops and seals:   Seals might be a problem if we're looking at
embossing each print in an exchange.   I seem to recall a number of
prints whose images go all the way to the edge of the paper;  wouldn't
want to emboss the image (although I realize chops are found inside the
borders of a print).   And some of the prints come on very heavy paper,
almost cardboard.  Might be tough.    Also, I wouldn't like the idea
that a chop somehow "authenticates" a Baren exchange print.    I love
chops & have one (not with my name but with an image I designed that
doesn't mean anything.  I rarely use it except on Christmas cards where
I don't want to sign endlessly!   I had it carved in China.   The carver
thought I was berserk and it was a stylized fox design.   The fox for
the Chinese is an emblem of veniality--but at the time I was living on
one of  the Fox Islands of the Aleutians.




------------------------------

From: davebull@woodblock.com
Date: Tue, 5 Dec 2000 11:03:11 EST
Subject: [Baren 12335] Re: Baren Digest V13 #1235 

Dan  Do keep them apart Although I think my snake has just had a bad day.  
Ruth

http://www.ruthleaf.com




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From: "Maria Arango" <maria@mariarango.com>
Date: Tue, 5 Dec 2000 08:35:47 -0800
Subject: [Baren 12336] Re: Chop Chop charset="iso-8859-1" 

Lawrence wrote:

> The amount of effort would initially be a little intense but not
> overburdening, for instance (putting my money where my mouth is) I'm happy
> to take the chop design and ready it for digital distribution as eps, pdf,
> tif etc at high res, from artwork supplied to me after it has been voted
> for. Members could then download it and have rubber stamps made, hand
> engrave it themselves or whatever, solves the distrobution issue/problem
> etc. Only list members would have access to the page with the artwork but
> aside from that who would care to steal the chop and not be involved in
the
> projects. I'll even write you a forms retrieval page and host it for the
> votes if you like, as well as scan the thumbnails so that people can see
> the contenders and what they're voting for (remember this isn't Florida
> this is cyberspace). ;-P

I like Lawrence's approach to this!
I would love to have a Baren chop for my exchange prints and, really, the
addition of the chop could be voluntary. Stealing our chop? People people,
pleeeez! Let's get over ourselves, shall we? If we get to where [Baren] is
so famous that "chopped" exchange prints are a coveted prize in the
printmaking/art world, we will be in a position to hire a handful of
chop-hunters to track down and punish the pesky illegal chop makers.
I say, run with the idea, set up the pages, let's have the [Baren] talent in
a healthy competition for the [Baren] chop. Also, there is no reason to have
losers in this contest; if the artists agree, everyone could use any of the
chop designs submitted to make a chop. All the chops could then be displayed
forever in the Barenforum.org website so the world will know where they came
from and who made them.

On another less choppy note, Baren-Suji will have a wonderful article on
Chinese woodblock illustrated and mawrvelousssly written by Bea Gold and Ray
Hudson. This coming issue of Baren-Suji will either be very early or
slightly late, depends on how energetic I feel in the next couple of weeks.

Health to all,
Maria

<><><><><><><><><><><><>
Maria Arango, Printmaker
Las Vegas  Nevada  USA
http://www.1000woodcuts.com
maria@mariarango.com
<><><><><><><><><><><><>





------------------------------

From: Salsbury <salsbury@forbin.com>
Date: Tue, 05 Dec 2000 10:53:54 -0800
Subject: [Baren 12337] Exhibits 

Hello,

Just a quick question.  I had thought about asking the local art gallery if
they would like to display the snake post cards.  I was only planning on
placing the cards behind Plexiglass sheets with clips, and displaying them
as a group of pieces in a single frame.  I would not be asking for any
money to do this as I have several large pieces of Plexiglass available.  I
would include all that participated.

I volunteer on a project that does an annual display for children.  The
program is designed to teach the children about different cultures to help
them better understand the differences and learn the similarities.  

We select a different culture each year and build an interactive display of
things from that country.  We paint murals on the walls, build sculptures,
and provide hands on activities for the children to use such as
instruments, toys, and costumes.

Each year we have between 55,000 and 60,000 children and adults that
attend.  I thought the international snake exchange would be an added bonus.  
 
So the question is, does anyone have any objections?

Sue




------------------------------

From: "jerelee" <jerelee@main.nc.us>
Date: Tue, 5 Dec 2000 14:30:36 -0600
Subject: [Baren 12338] Re: chinese prints charset="iso-8859-1" 

Dear Ray, Thanks for the info. I'm waiting for some more down time when I
can read and relax while I devour the Chinese web site. I too, have a chop
made for me by an artist in China. I enjoy stamping away.. Jerelee

------------------------------

From: "arye saar" <saar1@degania-b.org.il>
Date: Tue, 5 Dec 2000 21:34:44 +0200
Subject: [Baren 12339] Israel Exhibition charset="windows-1255" 

Baren'ers, Participants -

Few words from the site:


>From a "Beit Gavriel" (Hebrew) formal brochure:



BET GABRIEL

>From its inauguration in May 1993, will be launching a sustained series
of events: music, drama, dance, cinema, the plastic arts. At the same time 
it is opening its doors to international and regional conventions in the 
spirit fostered by the Aspen Institute in America and around the globe.

Bet Gabriel offers the last word in provision for gatherings, large and 
small.

Bet Gabriel welcomes public and private organizations and individuals 
too of course. Its premises and facilities are open for the enjoyment of 
all.


Beit Gavriel is a cultural center open and operating every day & 
evening. Buses are bringing people to its daily activities several times 
a day from all around. At the same time it is being visited all the time 
by tourists and Israelis.

Every day i get phone calls from people who visited the exhibition.
Sometimes i'm called to give a "guided" tour... Many people are telling me how 
they liked it. I have taken my class (the Elders of the Valley) to visit. They 
liked the exhibition very much (didn't dare not to...), and asked many 
questions.

I like it, too...






------------------------------

From: Ron Stacy <rmstacy@islandnet.com>
Date: Tue, 5 Dec 2000 13:46:14 -0800
Subject: [Baren 12340] New Guy 

Hi
        I am a newcomer, sort of looking in for a short while and 
have enjoyed the post on this server.
I look forward to lots of stimulus and information .... not to speak 
of the help offered  on this forum.

        The recent discussion regarding chops should be considered, 
but carefully. I do know people who use chops on their artwork, 
whether woodblock or otherwise, as a mark of distinction or as a 
group connection.

Look forward to more.

Ron
- -- 
Check out this interesting site. Now!
http://ArtsandCulturalHighway.com/page.cfm/490




------------------------------

From: Studio Dalwood <severn@acay.com.au>
Date: Wed, 06 Dec 2000 21:31:02 +1100
Subject: [Baren 12341] Baren Exhibitions 

Hi All

Sorry to be so quiet on baren lately, I am still watching
and listening, and now that the dust is settling from moving
house hope to be back with you with bells on in due course.

The Print Australia website has also been on hold and I'm
now thinking its time to get back to work on it. I would
like to add a section about all the exhibitions my own work
has been in to the Studio Dalwood section. I am realising
that I will have to do quite a bit of searching through the
archives to find the info I need. So I would like to ask
some questions if I may.

Firstly, David, May I have your persmission to download and
use any relevent info from the baren site, ditto your site
Julio?

Secondly, Julio and Greg, I never received anything back
from either of you or copies of catalogues etc. Greg, you
have either prints or sales money to return I think? 

Thirdly, the exact name of the baren print archive
collection - where is it again?

Fourht, is there anymore info available about the Irael show
that isnt on David's page?

I'm not sure what else I need?  

I want to make a page presentation on each show for my own
site. I will be doing the same thing with the Print
Australia print exhibitions also. I am hoping Arafat will be
able to seend me some pictures for the Bulgarian show soon.

Jan Telfer is organising a show of the 'where I live'
exchange in PErth next year, Anthea Boesenberg (a
non-barener, she's an intaglio girl) is curating with my
assistance, the new sacred tree exchange in Sydney, and
there is some possibility that we may simply tour the
exchanges at the same time. BArbara Mason is flat out like a
lizard drinking with both baren stuff and organising the
letterforms exchange.  This is a public thankyou guys (and
gals) for all your invaluable help.  

A huge amount of work ahead in catching up with website
stuff now, thanks in advance for any help you can give me

regards
Jospehine



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From: Julio.Rodriguez@walgreens.com
Date: Tue, 5 Dec 2000 17:03:14 -0600
Subject: [Baren 12342] What do others think about using a Baren chop? 

Eli writes:
>What do others think about using a Baren chop? <

It is sometimes difficult for me to keep the prints straight as far
as to which exchange they come from....all the way thru exchange #4 I could
keep them
straight in my head..(#5 was easy - special size), but now with #6, #7 and
#8 around the corner...is becoming a real challenge....having participated
in all the exchanges so far and looking at a collection of over 220 prints
in less than two years...with many repeat artists....

It may be nice to be able to put some type of official Baren Exchange
stamp/chop/seal or whatever (perhaps on the backside where it does not
impose on "creativity") that would distinguish to which exchange the print
belongs....in case they ever get separated from the folios. This would only
apply to the prints collated, each artist could do what he/she wishes with
any additional prints leftover from their edition.


thanks...Julio
ps........
"How much wood would a wood chop take
if a wood chop could be made for Baren's woodblock exchange ?

Dave would cut a chop, he would, as much as he could,
and chop off as much wood as a wood chop would take
if a wood chop is to be made for Baren's woodblock exchange!"








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From: Julio.Rodriguez@walgreens.com
Date: Tue, 5 Dec 2000 17:23:38 -0600
Subject: [Baren 12343] What do others think about using a Baren chop? - Part 2 

If I may expand on that last thought.....and at the risk of creating more
work for our fearless exchange coordinators...{;-)

I was thinking in terms of some sort of generic seal that would identify
the print as belonging to a "Baren Woodblock Exchange" with an area left
open for the coordinator to fill in the exchange number, date of collation,
number of participants and the coordinator' signature....in a way a
certificate of authenticity (?)...  and a small way to recognize the work
of the volunteer coordinators. The seal/chop/whatever could be passed on
from coordinator to coordinator.

Obviously, however small in size,  this could only be used on the backside
of the print....and could present problems for people using very thin
paper........

Thanks...Julio













------------------------------

From: David Bull <davebull@woodblock.com>
Date: Wed, 06 Dec 2000 09:23:31 +0900
Subject: [Baren 12344] Re: Baren Exhibitions 

Josephine wrote:
> Firstly, David, May I have your persmission to download and
> use any relevent info from the baren site ...

Well, I don't think that I'm the one to ask about this. When I set up
the new 'barenforum.org' website a while back, I put this notice at the
bottom of the front page:

'All material Copyright © 1998~2000 [Baren] members'

Obviously, each of the images on the website 'belongs' to the person who
created it. But I would suspect that if you wanted to make a section on
your own website that described the [Baren] exchanges, that nobody would
take exception ...

***

> ... the exact name of the baren print archive
> collection - where is it again?

The archive collection is at the moment in transition. The prints were
at the museum in Portland, but it seems that with the passing of Dr.
Gilkey last month, our collection may not really have a stable home
there, so at the moment, Barbara Mason is holding on to them while we
find a more permanent home. Discussions on this are presently underway
with a major institution, and if these reach a satisfactory conclusion,
we will be letting everybody know.  If not, then the search will
continue ...

***

Sue Salsbury wrote:
> I had thought about asking the local art gallery if
> they would like to display the snake post cards

If you do go ahead with this Sue, please don't forget to send some
pictures, etc. for the 'Events & Activities' pages ...   TIA

Dave


------------------------------

From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Tue, 5 Dec 2000 12:10:40 -0800
Subject: [Baren 12345] chops charset="iso-8859-1" 

Perhaps the person who coordinates the exchange should be the one to place
the chop mark on the print, perhaps on the back of the print.  Then the chop
would be mailed to the next coordinator.  I think the page that Dave
prepares with all the names and titles is the actual certification of
authenticity.  Why worry about it?
Jean Eger-Womack
http://users.lanminds.com/~jeaneger

------------------------------

From: Ron Stacy <rmstacy@islandnet.com>
Date: Tue, 5 Dec 2000 16:25:53 -0800
Subject: [Baren 12346] Hanga 

Hello,

Could anyone tell me where I can buy tools for the Hanga medium.
I live Canada and going to the States is prohibitive because the 
value of our dollar, relative to US.

Ron
- -- 
Check out this interesting site. Now!
http://ArtsandCulturalHighway.com/page.cfm/490




------------------------------

From: "Daniel L. Dew" <ddew0001@tampabay.rr.com>
Date: Tue, 05 Dec 2000 19:45:59 -0500
Subject: [Baren 12347] A ine Slithering Mess, Ollie! 

Well, 31 done and 44 more to go!  These suckers (or is it biters) should be
slithering through everyone's mail slot soonish.  Have to push the little
monkey to get whipping on hers!

dan dew





------------------------------

From: Wanda <robertson@canby.com>
Date: Tue, 05 Dec 2000 17:01:15 -0700
Subject: [Baren 12348] Re: Exhibits 

Salsbury wrote:
<snip> 
> Each year we have between 55,000 and 60,000 children and adults that
> attend.  I thought the international snake exchange would be an added bonus.
> 
> So the question is, does anyone have any objections?

Objections? I think it is really great! I'd love to have my snake (who
is still in my head) included in this. When I tell people about Baren,
they just can't quite grasp what a great thing this is. 

All of you remember, don't you, that this is an add-on exchange - not a
dyed-in-the-wool Baren exchange? And I think someone asked if you could
just send a snake to the people you wanted to get prints back from.
Well, I guess you *could* do that - but who *wouldn't* you want prints
from? The dragon exchange was just so much fun. Unlike the regular
exchanges where you get all the prints at once - these come in
irregularly & are like a little gift from a friend in the mail. Just a
heart-warming experience. Well, with the dragons, anyway. Now getting
snakes in the mail could be an altogether different experience. :-)

Phillip's snake came yesterday - the post office put the bar code next
to the 2001  in a matching red. So it looks like it was planned.
Wonderful card, Phillip! Thanks.

Wanda



------------------------------

From: barebonesart <barebonesart@home.com>
Date: Tue, 05 Dec 2000 20:51:48 -0800
Subject: [Baren 12349] Re: Baren Digest V13 #1235 

Hi All,
Here's another term for the chop/seal fray. I've always heard the term chop
& seal used interchangeably, to mean a personal signature or sign. A
collector or studio embossed design termed a watermark. I know, I know -
technically its not a watermark in the papermaking terminology, nonetheless,
an embossed mark is commonly called a watermark. Just becuz it's colorless,
I guess. So - now we have 3 terms - how much fun can we stand??

I, too, have snakes, wonderful snakes, slithering in from every direction
and mine are still on the drawiag board. Patience folks, I hope you'll have
them by mid-January! Every one of them is wonderful - each with their own
personality - (I thought Ruth's snake was flirting! - didn't you see that
raised eyebrow?)

Sharri LaPierre






------------------------------

From: Mike Lyon <mikelyon@mlyon.com>
Date: Tue, 05 Dec 2000 23:50:00 -0600
Subject: [Baren 12350] Re: Baren Digest V13 #1235 

>From: "Daniel L. Dew" <ddew0001@tampabay.rr.com>
>Date: Mon, 04 Dec 2000 18:53:53 -0500
>Subject: [Baren 12322] Re: A Slithering Good Time
>
>44, who said 44?  I printed 75.  Meg printed over 70 also (actually,
>well.....).  I was very careful, only two colors, but would work as an
>individual if needed.  Meg's is easy.

Uh-Oh...  I think I may have gotten a little 'carried away' with this snake 
exchange thing...  14 cherry blocks, 20+ printing operations, 128 prints 
(55 so far for the exchange, plus the rest are my holiday cards) -- the 
image itself is only 2" by 5", but is accompanied by a short story printed 
on the same little 4" x 6" sheet -- my back and shoulders are killing me, 
I've skinned my poor wrist, and I'm half blind -- definitely not in shape 
for this stuff!  Dave -- how DO you do it?  But my 'Maiden of Dojoji' print 
(she turns into a snake in the story) is kinda cute...

hey, Maria, 20 x 128 = more than 2,560 printings, so does that qualify me 
for entry into the 1,000 club?   ...didn't think so.  Best wishes to all!

Mike Lyon

mikelyon@mlyon.com
http://www.mlyon.com




------------------------------

From: Gerald Soworka <chockings@dingoblue.net.au>
Date: Wed, 06 Dec 2000 17:47:45 +1100
Subject: [Baren 12351] Re: What do others think about using a Baren chop? - Part  2 

Julio.Rodriguez@walgreens.com wrote:

> I was thinking in terms of some sort of generic seal that would identify
> the print as belonging to a "Baren Woodblock Exchange" with an area left
> open for the coordinator to fill in the exchange number, date of collation,

I've got an idea for you Julio that would solve your problem and not make any
extra work for the co-ordinators -

when you recieve your exchange prints grab a pencil and in the bottom right
hand corner on the back of the print put the number of the exchange in a small
circle.

High tech administrative system I know but it might work.

Gerald


------------------------------

From: Julio.Rodriguez@walgreens.com
Date: Wed, 6 Dec 2000 03:07:56 -0600
Subject: [Baren 12352] Re: What do others think about using a Baren chop? - Part 3 

Gerald writes:
"I've got an idea for you Julio that would solve your problem and not make
any extra work for the co-ordinators -when you recieve your exchange prints
grab a pencil and in the bottom right hand corner on the back of the print
put the number of the exchange in a small circle. High tech administrative
system I know but it might work."

That's a great idea Gerald, thanks. No wonder the Sydney Olympics went off
so well, you guys down there really got your thinking caps on!

But are you sure the best place would be the right hand corner ? Do you see
a problem with me writing the number on the left side ? Also I am somewhat
partial to ovals, never cared much for circles.

I should warn you, if you come up one too many clever ideas like that, you
just may get drafted to the council...

Thanks......Julio  {;-)






------------------------------

From: David Bull <davebull@woodblock.com>
Date: Wed, 06 Dec 2000 18:29:35 +0900
Subject: [Baren 12353] Re: How DO you do it? 

Mike wrote:
> Uh-Oh...  I think I may have gotten a little 'carried away' with this snake
> exchange thing...  14 cherry blocks, 20+ printing operations, 128 prints
>... my back and shoulders are killing me,
> I've skinned my poor wrist, and I'm half blind -- definitely not in shape
> for this stuff!  Dave -- how DO you do it?  

The smarty-pants answer is ... 'practice'! ...

But something a bit more practical might be to point out the
similarities between what you are trying to do with your baren and the
stuff you do on another floor of that three-story studio of yours ... 
the martial arts space.

(Can I talk about this a bit without seeming to be patronizing towards
you Mike? Just putting down some things that come from my longer
experience ...)

I have no personal experience of martial arts at all, but as an outsider
I suspect that there are many similarities between your karate and your
printmaking. Wrist is skinned, arm is tired, shoulders ache ... If one 
of your young students of karate came to you with these 'complaints', 
what would they tell you about the way he was approaching things?

I of course can't answer in detail for the karate, but for the
printmaking, I would suspect that a person with these symptoms is
'forcing' things too much, instead of letting the tool work for him. I'm
not suggesting that there is no 'work' involved in making 2,000+
impressions, but it shouldn't be a matter of raw power. Going by the
snapshots on your website, I would guess that you've got biceps twice
the size of mine, and that you are much 'stronger' than me. (I'm
actually your typical '120-pound weakling' as far as body type goes.)

But what do I mean 'forcing' things too much? Surely it must be
something like in your karate work. If I stood there in front of the
board or brick or whatever that I was supposed to break with my bare
hand, and simply tried to use brute force to do it, I guess I know what
would happen. I would be on the way to the hospital in a few minutes ...
But the expert brings his arm down, and somehow his hand just 'passes
through' the board ...  It's the same with the baren. You can't just
'push' it down _onto_ the back of the paper ... the flow has to come
from right down in your guts, up through your body, and down your arm
right _through_ the baren, the paper, the block, and the bench, and down
into the earth ...

I'm not trying to 'pose' here and pretend that I can do this very well.
Sometimes I 'get it', and sometimes I 'lose it'. But I've watched people
here - even ancient guys who would fall over if you blew on them - and
it's incredible what they can do. And what they can do for hour after
hour after hour ...

Mystical?  I don't think so. I think it's just experience - one's body
learning how to do something 'naturally' after a zillion repetitions.
But maybe _thinking_ in the right direction might help us get there a 
bit sooner ...

Too much talk here I guess ... but hey, you _did_ ask!  :-)

Dave




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End of Baren Digest V13 #1236
*****************************