Baren Digest             Saturday, 17 February 2001     Volume 14 : Number 1321


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From: Cucamongie@aol.com
Date: Fri, 16 Feb 2001 09:04:57 EST
Subject: [Baren 13421] Re: Baren Digest v14 #1320 

Carol said:
<<  Maye you can get to see their video of Minakata at work. He is hacking 
away, 
 yes hacking!  "It's not the way that you do it ", but the way it comes out.
 I admired your Dachshund when I viewed it a while ago.  Way to go!
  >>
I would like to see this video, I've seen still photos of him working up, he 
put his head down very close to the wood.... love the idea of him hacking 
away too, when April & I went to the Japan Society the other day they had one 
of his very big works up, it was a bunch of prints put together to make a 
very large picture, looked great!
As for the Dachshund, the one in the show is a different one than you saw, I 
think.  You can view it online if you go to http://www.risingartist.com and 
search for my name, I have a bunch of prints up there and the one going to 
the dog show is called "Going Long in Washington Square."  You have to click 
on it a couple of times to get it to enlarge big enough to really see.
Thanks for all the different info & feedback regarding inks, pigments, 
watercolors, chemicals, etc.  I believe the warning label I saw on these 
particular paints was the type that looks like it's put there by the ASTM, 
but it looked scary as it did have "WARNING" in big letters, then went on to 
say the paint contains water soluble barium, and to not eat or smoke while 
using, etc - I forget what else it said.  I tend to be more sensitive to 
toxic substances than most people, getting respiratory and skin reactions 
quite easily, so this is stuff I have to be aware of, not to mention that I 
have a cat running around who occasionally sneaks into my studio!
Julio, as for my solo show at Womanmade, I believe the openings for "Cats & 
Dogs" and for my solo show "Listening to the Animals" are the same day, June 
22.  I'm not sure when we'll ("we" meaning Jeffrey & me and perhaps a couple 
of friends) be getting there but I'm sure we'll be there for the opening.
best wishes all
Sarah

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From: GraphChem@aol.com
Date: Fri, 16 Feb 2001 09:16:17 EST
Subject: [Baren 13422] Re: Donations 


Gail -
I agree in principle with your comments on donations. Everyone, everywhere is 
beseiged with requests for donations of cash, artwork or materials. I guess 
I'm struck by the comments. Put yourself in my shoes (as a manufacturer), and 
see if your answer is the same. I believe that all off us have or should have 
a sense of duty to the community to the degree that we are able to support it.

Graphic Chemical donates thousands of dollars to a large number of 
printmaking activities in this country and abroad. It is very difficult to 
choose which forum to support, but we do what we can. We also donate huge 
amounts of time to art and educational activities, all of which costs us 
something. (Although, there are many who would argue that my time isn't worth 
much - especially my family!).

I look at donations of artwork as an advertising expense necessary and 
appropriate to the cost of doing business, the same as a manufacturer 
donating materials. I know that most of you give of your time and talents for 
many worthy causes, and I applaud you for that, and encourage to continue.

Dean Clark


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From: "Maria Arango" <maria@mariarango.com>
Date: Fri, 16 Feb 2001 08:14:33 -0800
Subject: [Baren 13423] Re: Donations

Dean wrote:
I look at donations of artwork as an advertising expense necessary and
appropriate to the cost of doing business, the same as a manufacturer
donating materials. I know that most of you give of your time and talents
for
many worthy causes, and I applaud you for that, and encourage to continue.

That is an excellent point. As artists in business, some of us have to "get
out there," and it is more difficult and expensive than it appears.
Obviously if an artist does not primarily get their income from art, the
matter is totally different.
A recent donation put two pieces in a catalog that went to approximately
25,000 art lovers across Nevada and sold two works at auction. One of the
works also brought me a reserve price, the same that I would have received
at an art fair, the other was a straight donation. The society benefits
public art instruction and cultural programs for children, I can think of
nothing better.
To purchase space in such a publication would have cost me twice the amount.
I also received a commendation from the US Senate thanking me for the
donation. It made that awful "I-just-gave-my-art-away" feeling go away. And
I won't lie to you, there is that feeling, always that feeling of having
given time and artist-soul away for nothing.
Take each donation separately and evaluate the cause, first, and (again, if
you are in business) the benefit to you as an artist second. Another check
is to allow yourself to donate a certain amount of art in a year, once you
are done, you are done and you can just say: I gave at the office.

Here is an excellent quote related to this matter from a newsletter that I
get from Robert Genn, special attention to the part that starts with "Then
ship it off....":
- ------------------------------
Live in your paint, attend to quality, and work like itās your last day
in the studio. You'll get more joy and satisfaction when you manage your
muse. At the same time, keep one eye cocked for opportunity. Early-career
artists can be especially inventive. For example, rent or lease your work
to offices or other venues that will indulge your experimentation. Seek
out business friends who are curious about your progress rather than those
who may want to see more of the same. When a batch of new work is
produced--sit
back and make a small commercial decision. Decide who is truly deserving
of your generosity. Decide where it would best be seen. Then ship it off,
forget about it, and get on with the next project. Iāve always found itās
a good idea not to relate cash flow to specific works. Itās the total artist
that counts. Look after her first. The money will follow.

From:
Robert Genn's Twice Weekly Letter
Insight and inspiration for your artistic career.
http://www.painterskeys.com
- ---------------------------
Health to all,
Maria
<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria@mariarango.com
<><><><><><><><><><><><><><>


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From: "Charles and Gail Sheffield" <gsheffield@i-55.com>
Date: Fri, 16 Feb 2001 11:14:27 -0800
Subject: [Baren 13424] Re: Donations

Dean and Others:

Sounds to me like we're all singing out of the same songbook.  There is =
a difference between business outgo, monetary and otherwise, which must =
include advertising and community relations, all of which is =
tax-deductible, and the non-professional artist, like myself, with =
limited artistic output.  Don't forget that donating art is not =
necessarily all one does; we still give cash, blood, volunteer time, =
etc. (well, I'm pretty deficient on the latter, and do feel guilt about =
that).  I think what bugs artists, as individuals, is that the "value," =
of their work, in time, cost, emotion, etc., is not properly valued by =
the community.  If you give cash to a cause, the value of it stands on =
its own.  (Preachy, preachy, I know).  At least printmakers, which I =
hope to become, could take the approach of running off one extra print =
just for that purpose.  With most media, except for photography, you =
can't keep the original.

Since I (we) may get chastised for being too-off topic here, let me add =
a related, super pet-peeve of mine.  How often do local businesses buy =
original art from local artists instead of those bland reproductions =
that commercial designers get from somewhere?  Local businesses need to =
be educated that supporting local artists is GOOD for the community, =
financially and otherwise.  Have you ever seen any studies as to the =
economic benefit of art to your (or other) communities?  Whether the =
community is large or small, it's quite impressive. =20

Gail Sheffield
Covington, LA


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From: GWohlken <blueman@pantek.com>
Date: Fri, 16 Feb 2001 13:28:15 +0000
Subject: [Baren 13425] Re: Baren Digest v14 #1320 

I have a report on inks.  This morning I tried a couple prints with
Daniel Smith's new water soluble black relief ink, and I also received
my free sample of Graphic Chemical water soluble black relief ink right
after I was finished with the D.S. ink, so I tried it too.  

Daniel Smith's water soluble ink was softer.  It required taking the
board from the registration plate and  re inking it several times before
the image was completely transferred.  The paper I used was dry kitakata
and it kept sticking to the board in the same way that Speedball's water
soluble ink causes sticking.  The image transferred slowly, but that
made it easier to play with light and dark pressure.    Also I had to
keep putting more ink on the roll up glass because it seemed to require
more.  Clean up was a little more work than the Graphic Chemical ink.  

The Graphic Chemical water soluble ink was stiffer, rolled up with a bit
of extra work but not bad.  It took the ink perfectly the first time and
I got a print that did not stick too much while I worked (lifting
corners from time to time to check progress).  the image transferred
more quickly than with Daniel Smith's ink and became black pretty fast. 
  Clean up was very easy.

Each had its own positive.  I liked the slower revealing of the image
with D.S. ink, so I had time to play; however, I didn't like all the re
inking necessary to get a good strong print.  Overall, I think Graphic
Chemical's ink behaved more like oil in that it didn't stick.  I was
happy with final results on the prints with both inks.  

Gayle Wohlken

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From: barebonesart <barebonesart@home.com>
Date: Fri, 16 Feb 2001 10:39:21 -0800
Subject: [Baren 13426] Re: Baren Digest v14 #1320 

Barbara.

Regarding donations: Gail is right on - limit yourself to those you feel are
really worthwhile and HONEST. A lot of these auctions give very little to
the charity they pretend to sponsor. Then put a minimum bid on the piece and
ask that if the minimum is not received the piece be withdrawn and returned
to you.  And, last and perhaps most important: arrange to buy and sell with
a friend so that you donate each others work. The reason for this is US tax
laws. If you donate your own work then you can only deduct the actual costs
you have in the piece, mainly the frame & paper. But, if you donate
something you have purchased then it has an established market value and you
can deduct the entire purchase price.
Go figure.
I really like the answer that you'll donate art if the person making the
request will donate their paycheck. I may use that one!

Sharri


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From: "Bill H Ritchie Jr" <ritchie@seanet.com>
Date: Fri, 16 Feb 2001 11:00:52 -0800
Subject: [Baren 13427] Baren Digest v14 #1320 charset="iso-8859-1" 

Barbara Mason asked for a philosophy of donating art, auctions, etc.

In Seattle we just had an art auction, probably one of the several biggest
in our area. My work sold for about half its market value, in a custom frame
that would have cost an amount equal to the amount the whole nine yards sold
for.

I've seen it happen again and again, and it hasn't changed for a long time.
At the gala event, I had conversations with art patrons, and one said, "I
just came to bid to give myself a feeling I was contributing something. But
so far I haven't seen anything that turns me on."

The upshot is that in general the local, regional fundraiser art auction is
a tempest in a teapot. It's all for fun, and the sponsoring groups feel
good, the caterers, facility planner, auctioneer, handlers, etc. all get
paid, generally speaking, unless they donate their value as a tax deduction.
That assumes, of course, the professionals have any taxable profits.

The volunteers who work months and months also get to donate their time,
assuming the auction planners have structured the affair correctly.

I find artists in general, unless they are on the planning committees, don't
know much about the "back office" of art auctions.

On the othe extreme, you have the REAL art auction houses, which establish
market values and indicate trends in the very large art collecting world.
Museums, private collectors--notable celebrities included--and other
institutional buyers can bid incredible prices that we usually read about.

I picture it like the kids on the streets in suburbia in the summer selling
lemonade compared to a big soft drink company. When I think about it that
way, I stop thinking about the economics.

Because when I thought about it in terms of economics, I got depressed--even
resentful and hardnosed.

I see it now as a way that artists are invited to participate in a
social-economic event for the ticket price that is an artwork guaranteed to
sell fast and cheap.

What's in it for me?

Learning more about the place of art in the community as a study in the
economics of culture.

So this season (?) I decided to say YES to most of the auction invitations
and then, respecting the many people to whom I owe money, the grocery store,
my family, etc. I follow through by getting into the spirit of things,
ignoring the money aspect altogether.

When I left that day, my work had not been sold; it was in the silent
portion and the deadline passed. I was thinking about my next move, which
was to find out when to come and pick up the remains of the day. A little
dejected, I admit. Then, a woman grabbed my arm: Mr. Ritchie? I bought your
work. Oh! I'm so excited.

That delayed my leaving (we had a great chat and she's coming to my gallery
and bringing a friend to see more). And because I got delayed, I talked to
some other people. And I learned there's some kind of printmaking
organization in Seattle I should belong to . . . all due to this auction.

Other stories came out of it, too. So, in summary, are auctions good or bad?
Yes and No. Yaddy Yaddy. Yada Yada?

I wonder how to spell that.

Thanks, Barbara--I needed that!

Bill H. Ritchie, Jr
Artist's Gallery at 5th & Aloha
500 Aloha #105
Seattle WA 98109
(206) 285-0658
<http://www.myartpatron.com>


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From: slinder@mediaone.net
Date: Fri, 16 Feb 2001 14:28:06 -0600
Subject: [Baren 13428] Re: snakes and printing gods 

Georga,

Your wonderful snake has just arrived in Chicago!  How
wonderful!

I do this all the time with people's prints---but this image
would be magnificent printed in a row next to itself on a very
fine silk!!!  That strip of images could travel across the
border of a scarf, the yoke of a jacket..  Imagine it in black
on white, or black on tan,  black on one of Ittai's incredible
sunshine colors, or______!  It is quite wonderful, dramatic and
beautiful, and I'm enjoying imagining with it!

I'm very happy to have your lovely snake print!  Thank you!

This week I have chuckled several times about your magic wand
over your press....too cool! and we smiled about it in the
studio I use.  We always had kiln gods when I worked in
ceramics...and you HAVE to believe in them there!  

I have found a little press--my first, and need to go retrieve
it in Michigan this week.  When it comes I will install a wand
over it and smile with you!

Happy printing!
Sharen


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From: ArtfulCarol@aol.com
Date: Fri, 16 Feb 2001 15:35:02 EST
Subject: [Baren 13429] Re: Donations 

Hi

These are my ideas on donations:

Remember that we are not big business manufacturers or corporations who are 
donating part of our profits. Our art donations come directly out of our 
pockets.

So, when donating for a good cause benefit or  auction, I  gladly do so, and 
as the artist ,I decide what % of the sales go to the cause and what % goes 
to me.. It works well and is appreciated.

Keep in mind that many people who donate art are giving away what they 
already have in their house or what was given to them as a gift. The artist 
has already been paid.

I am now having a Benefit Watercolor Exhibit under the arrangement above and 
hundreds of dollars have been sent to the cause  This makes everyone happy.

Carol Lyons    Irvington, NY
http://rst-art.com.artfulcarol.htm

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From: GraphChem@aol.com
Date: Fri, 16 Feb 2001 16:36:23 EST
Subject: [Baren 13430] Re: Donations 

Gail -
I can only speak for one small business, but we have 99.9% of the art in our 
building as limited edition prints. The sole exception is the now famous 
poster (cheap offset reproduction) of Portland barowner/mayor Bud Clark 
"exposing" himself to art. Actually a fair number of businesses that I deal 
with both inside the artr community and outside of it have top notch art on 
display. The greater the bottom line of the company, the better quality the 
art. Since the '70's, the percentage of corporate art has increased 
dramatically, although it's still not enough. Maybe if you 
donated...........just kidding.

Dean

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From: Julio.Rodriguez@walgreens.com
Date: Fri, 16 Feb 2001 15:52:22 -0600
Subject: [Baren 13431] Re: Graphic Chemical ink 02/16/2001 03:52:10 PM 

Dean, I have a tube of black water-soluble ink I purchased from you guys
about a year or more ago. I read your post where you mention a special
vehicle for it........I have been diluting it with water..... but having
some problems...is this the reason ?

I usually don't roll it, but rather dilute it with a little water and dab a
bit to the block then use a japanese brush (the shoe-brush style) to smear
and cover all areas of the block....

Are you guys open tomorrow ?

Julio


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From: GraphChem@aol.com
Date: Fri, 16 Feb 2001 16:56:38 EST
Subject: [Baren 13432] Re: Graphic Chemical ink 

Julio -
The water is very likely the problem. These inks are technically water wash 
up, not water soluble. Adding the vehicle is infinitely better, otherwise the 
ink tends to scum. 
I expect to be here through about noon tomorrow. I'm expecting a delivery 
around 11:00 am, and will make a post office run about 9:00 am but otherwise 
should be here.

Dean

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From: Wanda <robertson@canby.com>
Date: Fri, 16 Feb 2001 20:16:39 -0700
Subject: [Baren 13434] Re: Donations 

Dean,

I just had to chuckle at the famous (infamous?) poster of Bud Clark "exposing"
himself to art. That had to be one of the funniest attention-getters that
Portland has thought up! He definitely was a fun mayor of Portland.

For those of you who haven't seen it - he is standing with his back to the
camera, holding his raincoat open in front of a statue (can't remember which
statue :-)). Of course, that's just about all we wear in the winter most years -
over our clothes, most of us, most of the time. 

Thanks for the chuckle!

Wanda

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End of Baren Digest v14 #1321
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