Baren Digest                Sunday, 16 June 2002        Volume 19 : Number 1864


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From: Shireen Holman <shireenh@earthlink.net>
Date: Sat, 15 Jun 2002 10:43:05 -0400
Subject: [Baren 18365] Re: Munch's "The Kiss" 

They do look very different, but I suppose that the second one could just 
be very poorly scanned. I've sent slides of my work to places that have 
scanned them and put them on the web - you'd hardly know their pictures 
came from the same slides!
Shireen

At 01:40 PM 6/14/02 -0700, you wrote:

>To further complicate and add to the fun of the
>discussion about "The Kiss" look at the reproductions
>of the prints found on these sites:
>
>http://www.moma.org/docs/collection/printsbooks/c46.htm
>
>http://xroads.virginia.edu/~MUSEUM/Armory/galleryK/munch.244a.html
>
> There are significant differences, though obviously

>from the same block(s). This would argue against a

>reduction print. The different registration argues
>against a puzzle print (notice the different alignment
>at the bottom). The MOMA print may be made with a
>different image block (notice the missing line of the
>woman's arm in this print). Perhaps this print is a
>puzzle after all!
>
>Richard Stockham
>Birmingham, Alabama

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From: FurryPressII@aol.com
Date: Sat, 15 Jun 2002 11:22:45 EDT
Subject: [Baren 18366] Re: Exchange #14 Technical postings etc. 

no  i like it the way it is      i like all the other things relateing in 
anyway to printmaking.

john center

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From: slinders@attbi.com
Date: Sat, 15 Jun 2002 14:44:03 -0500
Subject: [Baren 18367] All-Hanga (all the time?) X15 

Hi, Mike,

I may need the KC treatment before I'll ever easily submit to
hanga again.  Perhaps it isn't something I should have expected
to learn from a pamphlet! {%^{  Anyway, you surely made the X15
topic sound enticing, inviting and maybe even manageable!  I'm
making my 'wish' list now! July 7th/Tanabata is approaching!

And I'm looking forward to meeting everyone next June in KC. 
Let us know how we can help you with that.
Sharen

Mike Lyon wrote:

> 

Tanzaku is a narrow vertical

> paper format -- the word "tanzaku" literally means something
> like "ribbon" or "strip" and it is the usual name given to
> those strips of paper containing 'wishes', 'names', and
> 'poems' which are tied to bamboo branches or other things as
> offerings in the hope they will come true. For a cute
> illustration, see
> http://www.ak.cradle.titech.ac.jp/rise/HTML/mr003.htm
> 
> o-tanzaku (large tanzaku) measure approximately 38 x 17cm (15
> x 6 1/2 inches)
> chu-tanzaku (mid-size tanzaku) measure approximately 38 x 13cm
> (15 x 5 inches) it is half of an oban sheet cut lengthwise
> ko-tanzaku (small tanzaku) measure approximately 34.5 x 7.6cm
> (13 x 3 inches) it is half of an aiban sheet cut lengthwise
> 
> I am leaning toward ko-tanzaku or chu-tanzaku format because
> the paper will be relatively easy to handle and register (if
> cut with fibers running mainly lengthwise) and the format
> should be interesting, challenging, and rewarding to most.
> 
> Sooooo.... #15 will be a great 'warm-up'!   LET'S GET READY
> FOR THE FIRST BAREN MOKU-HANGA SUMMIT -- MID-JUNE, 2003 IN
> KANSAS CITY!!!


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From: Mike Lyon <mikelyon@mlyon.com>
Date: Sat, 15 Jun 2002 14:53:59 -0500
Subject: [Baren 18368] Re: All-Hanga (all the time?) X15 

Thanks, Sharen!  I don't even have a clue what's going to be on the agenda 
yet -- only that we're all gonna be here, and it's going to be GOOD !!!!

Best,

Mike


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From: "Maria Arango" <maria@mariarango.com>
Date: Sat, 15 Jun 2002 16:02:28 -0700
Subject: [Baren 18369] framing/archival question 

I'm framing, floating prints with ragged edges. Picture this sandwich:
- -glass
- -spacer
- -print floating on...
- -matboard
- -backing

Okay, I've been using frame-space or econo-space for a spacer to keep air
space between the floating print and the glass. Too expensive, only come in
black and clear, have to stick to the glass thus ruining the glass forever,
irritating to run out.
Think think think...go to Lowe's, check out tiny square dowels (I know, an
oxymoron, but you know what I mean), paint with acrylic to match mat or
frame or whatever...presto! An inexpensive air-space solution? Or a disaster
waiting to happen?
Jack! Anyone! Help! Is wood painted with acrylic okay to use as a spacer
between glass and support? It doesn't touch the artwork, but I know
sometimes the sneaky acid travels in strange ways.

TIA,
Maria



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From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Sat, 15 Jun 2002 13:32:25 -1000
Subject: [Baren 18370] Re: framing/archival question 

Sure, it's OK with me. I really don't see how it will bother your art work,
especially since acrylics are sealing the wood, and the acrylics themselves are
pretty inert.

Jack R.

Maria Arango wrote:... Is wood painted with acrylic okay to use as a spacer


> between glass and support? It doesn't touch the artwork, but I know
> sometimes the sneaky acid travels in strange ways.
>
> TIA,
> Maria
>


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From: "Philip Smith" <SmithArt@Pacifier.com>
Date: Sat, 15 Jun 2002 17:40:01 -0700
Subject: [Baren 18371] Spacers 

Maria, Did you go to www.frametek.com yet? They have a product that may work
for you.
Philip
Hammond, OR
USA


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From: Vishnovus@aol.com
Date: Sat, 15 Jun 2002 20:49:04 EDT
Subject: [Baren 18372] Re: framing/archival question 

Maria,
There is a spongy product out on the market that is all the rage for the 
scrapbooking people. It has an adhesive on one side and could possibly be 
used to get some space between the print and the glass....not sure but when I 
saw it I thought of it immediately.
Craft stores like Michael's, Ben Franklin's or Joann's fabric carry it...dont 
know about its archivability though....
Ld

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From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Sat, 15 Jun 2002 19:01:43 -0700
Subject: [Baren 18373] Re: framing/archival question 

Maria,
I use another mat, sort of  frame around the edge, leaving the edges of the
work free to float inside this matt frame. This elimitates the need for a
spacer, and if I need more space, I put strips of foam core behind the mat,
lifing my narrow mat frame off the backing mat. It works well and I can do
it all myself with no need for any extra stuff....
Barbara


> I'm framing, floating prints with ragged edges. Picture this sandwich:
> -glass
> -spacer
> -print floating on...
> -matboard
> -backing
>
> Okay, I've been using frame-space or econo-space for a spacer to keep air
> space between the floating print and the glass. Too expensive, only come

in

> black and clear, have to stick to the glass thus ruining the glass

forever,

> irritating to run out.
> Think think think...go to Lowe's, check out tiny square dowels (I know, an
> oxymoron, but you know what I mean), paint with acrylic to match mat or
> frame or whatever...presto! An inexpensive air-space solution? Or a

disaster

> waiting to happen?
> Jack! Anyone! Help! Is wood painted with acrylic okay to use as a spacer
> between glass and support? It doesn't touch the artwork, but I know
> sometimes the sneaky acid travels in strange ways.
>
> TIA,
> Maria




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

From: "Maria Arango" <maria@mariarango.com>
Date: Sat, 15 Jun 2002 19:08:14 -0700
Subject: [Baren 18374] spacers and 911 show 

Thanks for all the spacing answers. Phillip, I have used framespace, I love
it but it is expensive and the wood will allow me to get as much as I want
any time. I have tried foamboard too, but I was looking for a better way.
Also with acrylic I can match the color of any frame for a cleaner look.
Happy to know that the wood/acrylic is inert, at .38c per 48" length, it's
hard to beat, thanks Jack!
Tyrus, I noticed nobody answered your 911-exhibit query. I would lend my set
to be shown or all the participants could send you an extra print to show
and perhaps sell? Baren "owns" a set of frames that could be used depending
on the dates. I think right now they are in Gayle's hot little hands for a
show in OH. Is that right, Gayle?
Another way to approach this would be to ask participants to send an exhibit
fee to cover framing costs. I believe this is what we did with the Gospel
Illustration show in Scotland.
Just let us know what you need.

Maria

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


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From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Sat, 15 Jun 2002 19:16:24 -0700
Subject: [Baren 18375] 911 show  

Maria,
I emailed Tyrus and offered a set as there are two here in Portland.  Sharri
and I both got one. We are hoping to exhibit them soon, maybe on the
anniversary. I should have done it on list, but had other stuff to talk
about so just took it off list. Possibly someone else offered their set
also. Nice of you to do so....I wonder how many people have extra prints of
their editions? It would be good to know if there are extra prints and how
many, in case we do sell them. I was going to do a second print and coerce
Sharri into doing the same so we would have some to sell here, but perhaps
others have extras.

If you have extra prints of the 9-11 prints, send me an email and I will
make a little list. No need to put this on baren, just email me privately if
you have extra prints! No pressure here folks. This was a freebie after all,
so do not feel obligated to run out to the studio and print more.
Best to all,
Barbara


> Tyrus, I noticed nobody answered your 911-exhibit query. I would lend my

set

> to be shown or all the participants could send you an extra print to show
> and perhaps sell? Baren "owns" a set of frames that could be used

depending

> on the dates. I think right now they are in Gayle's hot little hands for a
> show in OH. Is that right, Gayle?
> Another way to approach this would be to ask participants to send an

exhibit

> fee to cover framing costs. I believe this is what we did with the Gospel
> Illustration show in Scotland.
> Just let us know what you need.
>
> Maria
>



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

From: "John Cleverdon" <jhcleverdon@mindspring.com>
Date: Sun, 16 Jun 2002 01:10:53 -0700
Subject: [Baren 18376] Re: Munch's "The Kiss" 

"Woodcut: Step-by-Step Lessons in Designing, Cutting, and Printing the
Woodblock" by David Oravez states that "The Kiss" from the Museum of Modern
Art's collection was printed from two blocks.  "The two figures were printed
first.  Then another heavily grained block was given a very light coat of
ink and printed over the two figures."

I have always been puzzled by the overall brown tone, thinking that three
blocks were used, two for the background and one for the figures.  The image
of The Kiss on the MoMA site that Richard Stockham identified (see below)
clearly shows that the print was done on brown, not white, paper.  Other
reproductions I had seen showed the print cropped at the edge of the image,
making it look as if a solid brown tone had been printed first.  A different
proof of The Kiss on the web looks like the figures were printed over the
background.

According to Linda C. Hults' "The Print in the Western World: An
Introductory History" Munch did at least five versions of The Kiss "(that
is, new renderings of the same motif) in woodcut, not to mention the
variations in paper,inkings, and combinations of sawn-out blocks with
background blocks."

John Cleverdon
Point Clear, AL


Richard Stockham wrote: 

> To further complicate and add to the fun of the

> discussion about "The Kiss" look at the reproductions
> of the prints found on these sites:
>
> http://www.moma.org/docs/collection/printsbooks/c46.htm
>
> http://xroads.virginia.edu/~MUSEUM/Armory/galleryK/munch.244a.html
>

(I never was able to get the image up on the University of Virginia website.
JC)


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End of Baren Digest V19 #1864
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