Baren Digest Sunday, 8 July 2001 Volume 16 : Number 1482 ---------------------------------------------------------------------- From: "Alan Basist" Date: Sat, 7 Jul 2001 11:15:12 -0500 Subject: [Baren 15069] Pigments charset="iso-8859-1" Any suggestions on grinding powdered pigments from Japan? I know there're toxic and I have no intent on breathing dust particles, but I'm not sure if I should add a little gum Arabic to the mixture after I grind them with a mortar and pestle. After taking a Japanese woodblock printing class from Pyramid Atlantic a few weeks back I finally got to use the Russian Birch I had bought from Yuri. I am sorry to say it was very hard to cut my images and did not let my tools glide through the wood like Shina plywood. It will do the trick but more muscle than I wanted to expend-was put into carving these blocks. Jerelee---- Original Message ----- From: "Garth Hammond" To: Sent: Friday, July 06, 2001 11:20 PM Subject: [Baren 15068] Re: printmaking history > "The history of woodblock prints which is often emphasized is that of > Ukiyo-E > prints or prints of > the floating world in Japan" > > Only response is that you left out most of western graphic history. ------------------------------ From: "kate courchaine" Date: Sat, 07 Jul 2001 15:14:44 Subject: [Baren 15070] Re: Pigments I have heard people who work with pigments recommend buying the pigments already wetted from suppliers like 'Gurrera' (sp?) think they are out of New York. That won't help you grind your pigments, but could help avoid the pigment dust problem. Kate Courchaine >From: "Alan Basist" >Subject: [Baren 15069] Pigments >Date: Sat, 7 Jul 2001 11:15:12 -0500 > >Any suggestions on grinding powdered pigments from Japan? I know there're >toxic and I have no intent on breathing dust particles ------------------------------ From: "Bill H Ritchie Jr" Date: Sat, 7 Jul 2001 09:29:38 -0700 Subject: [Baren 15071] printmaking history charset="iso-8859-1" Jean, I am not a card carrying historian, but printmaking history greatly interests me. I will offer this: In my humble opinion, printmaking history was made (began) 30,000 years ago in the caves in what we now call Europe. Relief and stencil were intentional "gestures" that I base this view upon that distinguish the accidental footprint, the irrelevant plate-making (engraving on shell, bone, rocks or in clay, etc.) What we do in baren began, I think, in China at the Ten Bamboo Studio in the 17th Century when they wanted to get the effects of watercolor painting in multiple copies. The innovators at Ten Bamboo came up with a number of ways to fool people into thinking the color images were paintings. Thus began the effects we like even today, such as sesame, bokashi, etc. (Japanese language). The name "baren" comes from the Chinese style rubbing tool, which doesn't even resemble "our" baren. It was I think a tool made with a horsehair wrapping, and I was told the sound of the word for "horse" is like "bah". Thus "bah-ren". I'm not a student of Chinese, and my knowledge of Asian history is fragmentary. But it may pass for some history. I hope this is useful. I'm working, always, on a printmaking history course for on-line "free" art education. As some people know, I plan to use DVD as the text book--a very intereting interactive medium, I am finding. Which reminds me, one of my baren contacts reported the DVD did not work on her system and is sending her disc back to me, so does anyone want it? The catch is you have to have a fast PC with a DVD driver in it. So far, one person reported "it worked" and one said it didn't run. Bill H. Ritchie, Jr 500 Aloha #105 Seattle WA 98109 (206) 285-0658 Professional: www.seanet.com/~ritchie E-Store: www.myartpatron.com General: www.emeraldaworks.com First Game Portal: www.artsport.com ------------------------------ From: Steve Goddard Date: Sat, 07 Jul 2001 12:03:35 -0500 Subject: [Baren 15072] Re: printmaking history >In my humble opinion, printmaking history was made (began) 30,000 years ago >in the caves in what we now call Europe. That's how I start my print history class, Bill -- and is the rationale behind the hand logo on my website. It used to be huge, here is an archived link: http://www.ukans.edu/~sma/printsold.html O.K. - this is a cool story. My daughter Caitlin was two or three at the time that I was starting work on the website. I decided on the hand idea and thought I would get an impression from Caitlin. I inked up her hand with a brayer but before I could tell her what to do she had slapped her hand down on a piece of paper - POW ! - it was a great impression so we went with it. You can tell its a kids hand because the little finger is played at an angle that would be pretty hard for an adult to muster. So, making more of something, stamping, etc. is pretty well part of the genotype, I think. You'll notice that on the my active website I haven't been able to completely do away with the hand, and I'm sure I won't. Cheers Steve Stephen Goddard Curator of Prints and Drawings Professor of Art History goddard@ku.edu http://www.ku.edu/~sma/prints.html ------------------------------ From: "bemason" Date: Sat, 7 Jul 2001 10:37:48 -0700 Subject: [Baren 15073] Fw: Position Announcement--Portland Art Museum, Oregon Just in case anyone is interested, here is Gordon Gilkey's wonderful collection, needing a curator. Best to all, Barbara > > > > >Curator of Prints and Drawings > > >Portland Art Museum > > >Portland, Oregon > > >The Portland Art Museum, Oregon, seeks an ambitious, highly qualified > > >individual to oversee the museum's distinguished Vivian and Gordon Gilkey > > >Center for Graphic Arts. Responsible for the development and care of a > > >collection of more than 20,000 works on paper from 500 years of history, > > >this individual will be a team player experienced and knowledgeable in > the > > >field, able to refine the collection, recommend acquisitions, develop > > >original exhibitions and oversee loan exhibitions. Proven experience with > > >the management of a print study room, familiar with the specialized > > >storage and conservation needs of works on paper collections, highly > > >developed oral and written communication skills a must. The ability to > > >work effectively and collegially with a broad range of staff, collectors, > > >trustees, artists, and other supporters, including the 120-member Friends > > >of the Gilkey Center, is vital. An ability to work simultaneously on > > >multiple projects in a highly demanding work environment essential. > > >Position reports to the Chief Curator and is responsible for budget > > >development, supervision of center staff of three persons, interns, and > > >volunteers. Requirements are a M.A. in art history or equivalent, with 5 > > >years or more of curatorial and/or related experience, a record of > > >scholarly exhibitions and publications, demonstrated skills in > > >connoisseurship and research. Competitive salary and benefits package. By > > >September 1, send cover letter and resume with samples of published > > >writings and the names and addresses of three employment-related > > >references in confidence to: Bruce Guenther, Chief Curator, Portland Art > > >Museum, 1219 SW Park Avenue, Portland, Oregon, 97205. EOE. > > > > > > ------------------------------ From: Jean Eger Date: Sat, 07 Jul 2001 12:07:50 -0700 Subject: [Baren 15074] Re: Baren Digest V16 #1481 Yikes! I stand corrected. Jean >On printmaking history of wood cuts you should not leave out western wood >cuts if it is a general picture of wood cuts you are talking about. Which >started in the 1400s with the introduction of paper? You could look up >Albrect Durer as an example. > >John of the furry press > >------------------------------ > >From: "Garth Hammond" > >Only response is that you left out most of western graphic history. ------------------------------ End of Baren Digest V16 #1482 *****************************