Baren Digest Wednesday, 17 January 2001 Volume 14 : Number 1290 ---------------------------------------------------------------------- From: John and Jan Telfer Date: Tue, 16 Jan 01 23:43:10 -0000 Subject: [Baren 13017] Re: Wood Engraving "Baren Digest" Before Christmas I went to visit a Calligraphy friend from our Guild who boldly announced that he didn't like Fabriano (paper) for Calligraphy...so after the meeting I offered to buy some he had...well, what a stock...$500 later. He had a very comprehensive stock of art materials (he used to teach in England many years ago), but his tools....you have never seen so many in a private collection...painting, drawing - technical and freehand, hand printing, but the most fantastic collection of carving tools many of them bigger than I use, but some exquisite wood engraving tools. Well, after putting my eyes back in their sockets, I asked if he ever wanted to sell them could I please have first offer .... to be continued... I don't think he had ever used them, but were a gift from fellow artisans from Colleges in the UK all in hand made wooden boxes! I am still drooling! He doesn't give things away, so eventually I will have to keep my fingers crossed, but a little "prod" now and them "in envy" may not "go astray". A big sigh from, Jan (Perth, Australia - 30-35o at present - swimming weather not printing weather) ------------------------------ From: Claude Villeneuve Date: Tue, 16 Jan 2001 10:37:32 -0500 Subject: [Baren 13018] Re: Subject Matter I agree with Dean. Subject matter is the artist's choice, so is the medium, the technique, the reason behind his urge/impulse to create. No art critic - or anybody else for that matter, should deter anyone from following his path, his vision, his passion, his need for self-expression. Art critics are for the most part frustrated artists, parasites, narrowminded people with very strong opinion about what's worthy or not, what is ÇHigh artÈ, folk art, na•ve, good or bad. Most of them go with what's trendy, what's in, etc. etc. Once when I was at university, a drawing teacher warned me that my work was too Çcute and decorativeÈ and that I'll encounter difficulty with many teachers who prefer students who use a lot of black and work on Çdark subjectsÈ... There are more than one reasons why artists (whether in visual arts, music, dance, etc) do what they do. The most important one is this urge to express themselves. Whether their art conveys any particular message is another thing and anyhow, whatever we create is seen, absorved and interpreted through the senses, passions, knowledge, likes and dislikes of the one who watches or listens. The moral of the story is: follow your heart, your passion and be honest with yourself. Your creations are part of you that you send out in the world. They are at their best when they truly speak of who you are... Claude AimŽe Villeneuve Montreal ------------------------------ From: B Mason Date: Tue, 16 Jan 2001 08:07:05 -0800 Subject: [Baren 13019] critics Claude, You are so right, following your heart is the only way to survivie intack. We are overly criticized by people who don't seem to mind ripping us apart. From a critic's point of view, I wonder how they do it. If they go to review work and they don't know the artist but come into a gallery of work do they go with their first emotional reaction? Do they read the tags, look at the quality of the technical ability or talk to the gallery owner? Do they read the resumes? What criteria does a critic use? Are they unkind as a group to make us work harder? Are they unkind because the paper wants harsh criticism to sell papers? In our city it is the large well know galleries that advertise in the papers that get the reviews and even these are not always good. Artists that do good work and have a long history are scorned for some arbitrary reason that has no validity that I can see. On the other hand work that seems to have little content is lauded because the artist is well known and shows in the best galleries. Do any of us know critics we can ask? Are critics different from reviewers???? If you pay someone to review your work, will it be kinder than if they do it for free? Does anyone have any experience with paid reviews of their work? We are having a show now at Waterstone and paying a local writer to write the brochure. It is an invitational curated show so is not a show of an individual artist. She is a well known writer who has written two books, one on NW Artists and one on NW Printmakers. I expect her to be kind, as she is a kind person, but honest. I am anxious to see what she writes. Best to all, follow your hearts! Barbara ------------------------------ From: Daniel Dew Date: Tue, 16 Jan 2001 12:13:09 -0500 Subject: [Baren 13020] Swap Shop Boy, are you folks missing the boat! So far I have sent in two groups of prints to the Swap Shop and I have recieved two fantastic groups back! I always print extras, and I wish I sold as many as I print (yeah right), but when that doesn't happen, I send them to the Swap Shop. I was even able to add one of our venerable leaders (Dave) prints to my growing collection, as well as prints from Maria, Tyrus, Bea and Lezle, and a few more. Don't let this ship pass you by! Cut, Print, send to Jim! see ya, dan dew ------------------------------ From: BBlitstein@netscape.net (Bonnie Blitstein) Date: Tue, 16 Jan 2001 12:47:57 -0500 Subject: [Baren 13021] Re: critics I've noticed a lot of email about cows and how some critic did not have a happy response to cows. People are worried about how critics review work and how does an artist who is really good get recognition, but does not while someone who is just a cliche gets the recognition. Well life is certainly unfair. It is only the opinion of the critic nothing more...its their job so to speak....certainly as an obvious example Van Gogh...who was maligned in his day and now is a million-billion dollar commodity....unfortunately he's dead....art can be shown in your own venues in your communities.... Libraries are good, the web is good church basements, local ecology centers, banks GALLERIES ARE BS RIPOFFS OUTDATED venues for art. Why go with a 19th-20th century boring concept. Some people waste their time with vanity galleries. Its the artist who is the best critic of their own work...be real with it. What's is it about to you. The thing that makes art good and you know when you see it "IS PASSION" it will come thru. Sometimes you may go to a gallery and you say how did that get hung up....ohhhhhh a critic in you, or you say my work is better.....Want to be known....an artist nowadays has to by pass the old-fashion stuff and basically be your own public and critic and do alot of hard work to get the stuff out on your own...I entered into a lot of shows and did well....but also thought this is ca-ca...that's why I have a website and if it takes me a year to revamp and publize the site so it gets more hits so what...Figure you are not dropping dead tomorrow...anything is possible...HEY AND COWS ARE REALLY COOL, THEY HAVE BEEN GIVING UP THEIR LIVEs FOR CENTURIES and are the most gentle creatures around...well watch out for the BULLS ...but that's another story.... Bonnie www.geocities.com/terrificartist ------------------------------ From: "Maria Arango" Date: Tue, 16 Jan 2001 10:05:29 -0800 Subject: [Baren 13022] RE: talk charset="iso-8859-1" Open up a mathematics journal and all you see are numbers, proofs, very little writing. Open up an art journal and all you see are words, very little art. Go figure. Open up your Baren forum for woodblock printmaking e-mail and ??? what the... What about the artists who do cows for the sake of doing cows or because they REALLY enjoy exploring all the exquisite nuances of cow-art? Are they automatically selling out due to their chosen subject? Are there subjects and methods that automatically validate an artist as such? Pornography? Religious desecration? Elephant dung and push pins? Talk talk talk. Nothing more satisfying to me than having weeks of isolation in the studio. No philosophy chats over coffee, no committments, no talk, all action. Nothing more satisfying than seeing those first lines appear in graphite on a virgin block...except maybe the first marks of the knives and chisels...or maybe the anticipation of not knowing exactly what will appear when the ink meets the wood and the paper...or perhaps a hundred near identical but not quite images hanging from a clothes line... Put down your cups of coffee and get in the studio. Health to all, Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: Studio Dalwood Date: Wed, 17 Jan 2001 20:36:50 +1100 Subject: [Baren 13024] Subject matter Lawrence said "In Australia we have a successful artist, produces work that please him, if you analyses the work though he just steals Gauguin's ideas and modernizes them in dayglo paint. His sense of design is 3rd rate in many respects but the work is very popular with tourists and t-shirt makers." Let me guess, initials KD and he has a gallery in the rocks? I heard through someone who claimed to know him that he started out in advertising and then got backers to put up a considerable amount of money to 'launch' him as a product via standard advertising practice. It worked. Its about reaching your audience - marketing - so if you are as talented as Leonardo - its no good to anyone if no-one has heard of you. His work is commodity design as far as I can see, but he has the magical touch (money) and he can pay to tell his audience he is a good artist. *sigh* Now all I need is several hundred thou to hire the same promoters. Mmmm, Newtown - Lawrence, can I have your phone number? We should arrange to meet. Josephine ------------------------------ From: "Tyrus Clutter" Date: Tue, 16 Jan 2001 15:52:38 -0700 Subject: [Baren 13025] Re: critics Ok, not that that I think we need to continue this non-woodcut discussion = any longer, but some of us actually are critics as well as artists. There = are many things that go into my determining what I think of a show or an = artist. Sometimes it may be based on subject matter, but all the aspects = of art have to relate well for me to really like the pieces. I get people = who hate my guts, but I generally say a little good and a little baaad in = each review. The artist should read those comments, see if they are valid = and then take it or leave it. It is hard to be a hated person, but people = need to think about the idea that the only bad press is none at all. = People at least know who you are if somebody writes about you. ><~><~><~><~><~><~><~><~><~>< Prof. Tyrus Clutter Director of Friesen Art Galleries Dept. of Art & Music Northwest Nazarene University 623 Holly St. Nampa, Idaho 83686 TRClutter@NNU.edu (208) 467-8398 ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Tue, 16 Jan 2001 16:47:25 -0600 Subject: [Baren 13026] Re: Critical Thinking - Subject matter 01/16/2001 05:10:29 PM >"...His sense of design is 3rd rate in many respects but the work is >very popular with tourists and t-shirt makers." Well, it sounds to me like he/she has a very large audience and it's work that the "masses" enjoy and will put out money to purchase. What's the problem with this ? Are the advertisers sending subliminal messsages and forcing the customers to purchase this "3rd rate" art ? or are we saying that the regular Joe has no artistic taste ? When people are willing to spend money on cheap reproductions or on "art t-shirts", I think that's a clear message that perhaps our original work is overpriced for the common people. If you make and price art to only satisfy the critics, the collectors and the art galleries..you will find a very small and critical audience indeed (or you will find no audience at all!). >"Its about reaching your audience - marketing - so if you are >as talented as Leonardo - its no good to anyone if no-one >has heard of you." I suspect that for every artist you meet you will find good & bad points. If we learn to see the good (wether is technical, creative or a marketing technique) instead of putting our emphasis on just the negative...perhaps we can grow from each encounter. Should I remind everyone that this list is over 225+ members strong (give or take a couple) and that you never know who is lurking around. Everyone's goal should be to promote and encourage printmaking, instruction and the sharing of ideas. Xanks...Julio ------------------------------ From: "Bea Gold" Date: Tue, 16 Jan 2001 15:19:51 -0800 Subject: [Baren 13027] Re: Baren Mall order charset="iso-8859-1" My Baren Mall order came! I bought a Korokoro ball bearing baren and powdered pigments. The instructions for the baren are in Japanese. Huh? It is heavy to the hand and makes a little tinkling sound. Can't wait to try it. The pigments are in small plastic bags and the colors are beautiful. Will need some instructions from you Bareners on how to use, since this is the first time I'm using powder. I used dispersed pigment before but never straight powder. What fun. Someone said that they were easier to use if they were diluted with alcohol first. Was that you Sarah? Are you there? Help, Bea ------------------------------ From: "Daniel L. Dew" Date: Tue, 16 Jan 2001 19:05:16 -0500 Subject: [Baren 13028] Oh what a joy! Well, this weekend had been quite full of good news for me. I got one of my prints accepted in the 11th Annual Black and White Show and one of my prints accepted in the Venice Show! None in two years and then two in a row! (is it coincidence that I left the titles off my entries? Who knows). I recieved my Swap Shop prints today and a present from one of my dealers. He sent me a japanese water stone, 3" x 7" mounted, 8,000 grit! Looks like porcelain! I can't wait to try it out. He said he found it in the warehouse and thought of my "woodcarving thingy stuff", so sent it to me, free!!!!!! Happy days. Oh well, off to honing tonight. dan dew ------------------------------ From: Artsmadis@aol.com Date: Tue, 16 Jan 2001 19:31:27 EST Subject: [Baren 13030] Re: Baren Mall order In a message dated 1/16/01 5:23:05 PM Central Standard Time, bnj50@earthlink.net writes: << Will need some instructions from you Bareners on how to use, since this is the first time I'm using powder. I used dispersed pigment before but never straight powder. What fun. Someone said that they were easier to use if they were diluted with alcohol first. Was that you Sarah? Are you there? Help, Bea >> Don't have any instructions but found in Baren digest #1016 some info in a letter from Dave Bull. A few months ago he also wrote in answer to a question by Gayle Wohlken, I think, with a lot of info on using the colors, but I can't find that one. Hope this helps a little. Darrell ------------------------------ From: "JD Roehrig" Date: Tue, 16 Jan 2001 21:53:46 -0700 Subject: [Baren 13031] Pigments boundary="----=_NextPart_000_001B_01C08006.CCE51C20" Bea, In Encyclopedia at = http://www.woodblock.com/encyclopedia/entries/013_04/013_04_frame.html and in One point lesson # 6 David show how to do pigments. JD Roehrig Capitan, NM ------------------------------ From: Sunnffunn@aol.com Date: Wed, 17 Jan 2001 01:20:40 EST Subject: [Baren 13032] Re: critics Barbara your reaction to this city is similiar to mine. Many years back, when I was new with an art degree in hand i visited some of our down town galleries. One in particluar had a great many prints, all from artists that did not reside in our state. I asked them why are you not showing any local artists? The response I got was that there are no good local artists to show. Of course I knew that was simply untrue and was shocked at such ignorance. Marilynn ------------------------------ From: Sunnffunn@aol.com Date: Wed, 17 Jan 2001 02:30:13 EST Subject: [Baren 13033] Re: critics lol art markets and critics. I have given up doing shows for the time being. I am tired of sending slides and I am tired of all of it. I have a full year selling a house, being a heavy volunteer and just finding time to create. I am lucky , I have found a personal solution. I have in my possesion a little house, in a coastal community, where many artists reside. When my house is done, which will be over a year, I will have a studio that will be accessible to the public. It is on a main back road, where I can put up a sign. In the community I can advertise in the local handouts and the tourists will be welcome to come visit and purchase if they wish. I am tired of being at the whims and disposal of the "gallery". I will do it on my own. And I am not alone in this, many in this community are dong the same thing. The galleries have trouble staying open, I can keep my prices more reasonable and meet my buyers. And my buyers can meet. me. I can't wait! And I have the most fabulous view of a bay just outside my studio window. some day I hope to run workshops here and I would adore inviting some of you who are so skilled to teach one. More on this when I am ready. Marilynn ------------------------------ From: "John and Michelle Morrell" Date: Tue, 16 Jan 2001 22:52:43 -0900 Subject: [Baren 13034] Those reproductions with the earthy French name charset="iso-8859-1" April, I am sorry to be so free with my opinion. I have been toiling on my web page in my leisure time the past few weeks and have been shooting off my mouth lately. The exhaustive analysis on iris prints that I was so impressed with appeared in Art Calendar sometime in the spring of 1996. (See, I do have lucid moments.) I don't know if the publication is still in print, and in any event, that was a long time ago and certainly the technology has improved. Time flys. the mad cow woman, <^><^><^><^><^><^> Michelle Morrell jmmorrell@gci.net <^><^><^><^><^><^> ------------------------------ End of Baren Digest v14 #1290 *****************************