Baren Digest                Tuesday, 2 July 2002        Volume 19 : Number 1883


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From: Cucamongie@aol.com
Date: Mon, 1 Jul 2002 09:41:47 EDT
Subject: [Baren 18570] thanks Barbara 


Thanks Barbara for all your work organizing these shows and with the million 
other things you do for Baren people!  I really appreciate your energetic and 
generous spirit-
and thanks all for your support..
best wishes
Sarah


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

From: Frank Trueba <ftrueba@cats.ucsc.edu>
Date: Mon, 01 Jul 2002 07:56:54 -0700
Subject: [Baren 18571] Re: help 

You may have spelled my name correctly on
the show tags, but on the list contained in your
e-mail list it is spelled wrong.  It is Frank TRUEBA
(not TRUBA).
Of course, it's not the end of the world.

Thanks,
frank


At 11:31 PM 6/30/2002 -0700, you wrote:

>Baren,
>I am doing the tags for the baren show here in Beaverton and Portland OR and
>I need to know the city and state for Monica Bright and Kat Pukas....I hate
>to have you living in limbo here!
>It looks so nice framed, much better that I thought it would. We used
>plexi-glas and frame clips, so it has a very clean contemporary look. I
>tried to get everyone it, but it was just impossible. So sorry if you are
>not on the list. I did my best with the space we have available here. I put
>#9 in three frames, sort of like a quilt. It looks amazingly good that way.
>Thanks,
>Barbara
>
>If your name is on this list, you have work in the exhibit..I will probaly
>add a few more names in the morning, I am still working here at getting all
>the tags done.
>Ist show:
>Beaverton City Hall,
>Beaverton, OR 97006
>July 1-31 2002
>
>Second show:
>John and Betty Grey Gallery
>Northwest Print Council
>922 SW Main
>Portland, OR 97205
>Aug 1-31 2002
>
>Heather Nichols
>Bobbie Mandel
>Ray Hudson
>Jandi Goshert
>Kate Courchain
>Colleen Corradi
>Lynita Shimzu
>Gregory Robison
>Josephine Severn
>Juan Guerro
>John Amoss
>Jean Eger Womak
>Dimitris Gammatikopulos
>Kat Pukas
>Ruth Leaf
>Mary Hrieger
>Foo Kwee Horng
>Sara Hauser
>Bea Gold
>Philip Smith
>John Root
>Megan Dew
>Frank Gall
>Andy English
>Dan Dew
>Jeanne Norman Chanse
>Jim Bryant
>Maria Arango
>Frank Truba
>Brad Schwartz
>Jeralee Bassist
>Tyrus Clutter
>Marco Flavio Marinucci
>Wanda Robertson
>Sharri LaPierre
>Darrell Maddis
>Barbara Patera
>Mike Lyon
>Monica Bright
>Greg Valentine
>Horacio Soares Neto
>James Mundie
>Barbara Mason
>Brian Lockyear
>Carol Baker
>Karen Berkenfield
>Christina Blank
>Georga Garside
>Gillian Gato
>Julio Rodriguiz
>Larry Giacoletti
>Liz Horton
>Mary Kuster
>Sylvia Taylor
>Jan Telfer
>Claude Aimee Villeneuve
>Gayle Wohlken
>David Bull
>David Stones



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

From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Mon, 1 Jul 2002 08:01:20 -0700
Subject: [Baren 18572] Re: wood 

Minna,
Yes, it means #15 will be all waterbased pigment printed the Japanese way.
It will be interesting to see if we can get 30 people willing to try it.
There are about 15 or so on the list I know of who do the moku hanga work
but can we get another 15 to make up an exchange? We will see.

Wood printed as intaglio is interesting, I have never been successful at it.
My lines are too fat and the wood not slick enough to wipe well and I kept
pulling the ink out of the lines. Think it would almost have to be an
engraving to print well, with very fine lines. I gave up on it as I can do
intaglio so easily with polymer or metal...and I was so frustrated trying to
make wood do this.

The release agent is a waterloving combination of gum arabic and archival
vegetable glue. Any rewetting watersoluble material will release from almost
any surface using damp paper and this release agent. It makes printmaking
portable using crayons, ink, pencils and watercolors without a printing
press, you can use a rolling pin, or a baren! If you want to try it email me
off list and I will send you some. I do not think it will make moku hanga
work better, but it is great using plexi-glas as a plate.
Best to all,
Barbara


Barbara wrote


> the next exchange (#15) will be all moku hanga, so that means all
> wood. I


Yes, but, doesn't this mean you must use also watercolours and make it
japanese way.

So, there could be something for western oil based too? And why not wood
printed like intaglio.
At least it could be very nice to do it only with wood (or, I do it anyway,
but also others would)

By the way, Barbara, I read somewhere in your webpages about using release
agent with monotypes. Is it some kind of detergent?

Minna



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

From: jimandkatemundie@juno.com
Date: Mon, 1 Jul 2002 11:21:34 -0500
Subject: [Baren 18573] Re: wood, and something further about Gauguin and Munch 

Minna Sora wrote: 
 

> Barbara wrote:

>> ...the next exchange (#15) will be all moku hanga, so that means all

wood... 
 

> Yes, but, doesn't this mean you must use also watercolours and make it japanese way.
>So, there could be something for western oil based too? And why not
>wood printed like intaglio. At least it could be very nice to do it only with wood (or, I do it
>anyway, but also others would)
> 
> So long as you can find at least thirty Baren members willing to work in
>a particular way, there's an exchange.  The trouble is that when you get
>very specific about what specialized technique or theme must be used, it
>rather limits the number of interested parties; but by all means, people
>in this forum should feel free to suggest themes for upcoming exchanges.
>
>In spite of what I said above, the "all hanga" makes quite a bit of sense
>for a Baren exchange because though not all of us here work in that
>manner, Dave Bull did start this forum to discuss and promote
>traditional-style Japanese woodblock printing.  It therefore seems rather
>appropriate to have an exchange of this sort. This oil-based occidental
>printer won't be taking part in Exchange #15 for fear of making an unholy
>mess of it, but I can't wait to see the prints produced by those who do
>join in.

***

An addendum to my last post about the Paul Gauguin block in Boston:

I wrote:


> If you ever get the chance to stop into the Museum of Fine Arts in
> Boston, there is in a small gallery downstairs devoted to printmaking in
> which they have one of Gauguin's blocks on display in a vitrine with one
> of the prints.

Twenty minutes after I posted that, I happened to be flipping through
Fritz Eichenberg's _The Art of the Print: Masterpieces, History,
Technique_ (New York: Harry N. Abrams, Inc., 1976).  While looking for
something else I stumbled upon that very block and print - well, a photo
reproduction of the same:

"Nave, Nave Fenua (Wonderful Earth)", 13 5/16 x 8 inches, 1893-95
[bequest of W. G. Russell Allen] 

Block and print are on page 99, one above the other.  One can clearly see
the gouged and scraped marks Gauguin used to create the illusion of form.

Flipping further, in the color reproduction section, I found twelve
versions of Edvard Munch's "Male Bather" (no date given) from the
collection of the Munch Museum in Oslo.  It appears to my eye that this
print was executed from three blocks -- the first consisting of the
bather standing on a rock, a second with some indication of water and
foreground roughly gouged out around him, and a third tone block with a
strong grain pattern.  The twelve examples show a wide variety of
different color combinations and inking patterns.  In some the ink around
the central figure is roughly blocked in; in others the touch is much
lighter giving a softer effect.  One version has what appears to be a
bokashi gradation of blue from the top meeting green from the bottom
(Japanese influence made manifest?).   I presume Munch produced more
proofs than the twelve presented, which hints at the almost endless
possibilities presented by even the most simple composition.

I highly recommend Eichenberg's book.  It's out of print and a tad bit
pricey if you can find it, but worth every penny.  The author (recently
deceased printmaker/illustrator) thoughtfully goes through the history of
all the printmaking techniques (for better of worse, this was published
before digital raised it's head) lavishly illustrating each section with
examples of each, providing discussions of technique, and studio notes
from prominent contemporary printmakers.  If you cannot acquire your own
copy, at least treat yourself to a viewing and your local library.

Regards,
James Mundie, Philadelphia U.S.A.
http://missioncreep.com/mundie/index.htm

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

From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Mon, 1 Jul 2002 08:18:25 -0700
Subject: [Baren 18574] Baren show 

Sarah,
Thanks for the thanks! It has been interesting getting all this 
together. I was mazed seeing how many wonderful prints I have. What a 
pleasure it has been to be connected with baren.

We have printed the baren brochure (3000 copies)and it looks great. 
Anyone exhibiting baren work in the future can contact me for copies to 
hand out or copies for yourself if you want one! Email me of list with 
your snail mail address. It is pretty impressive thanks to the design 
work of John Amoss. Of course you could just show up here at the exhibit 
and pick one up!
Best to all,
Barbara


>  Thanks Barbara for all your work organizing these shows and with the 
>million other things you do for Baren people!  I really appreciate your 
>energetic and generous spirit-
>and thanks all for your support..
>best wishes
>Sarah


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

From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Mon, 1 Jul 2002 08:20:58 -0700
Subject: [Baren 18575] Portland Show  

Mary Krieger, that was a typeo, I do have your name correct in the tags.
Sorry to worry you!
Barbara

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

From: "Tyrus Clutter" <TRClutter@NNU.Edu>
Date: Mon, 01 Jul 2002 11:06:17 -0600
Subject: [Baren 18576] Marco in DC 

For those who want to see an excellent example of Marco Flavio's
woodcuts I send you to the following site:

http://www.thefrasergallery.com/future.html (you will also notice
a non-print image of mine, which will give people an idea of what
I'm doing when not working on images in other print media and for
our exchanges--remember, I was trained as a painter).

TyRuS

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

From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 1 Jul 2002 16:25:22 -0700
Subject: [Baren 18577] artist book question 

Question for the book artists in the list.
In making an artist book out of a series of my prints, do I use part of the
edition? Or do I use unnumbered prints? Do I make a tiny extra edition just
for the book(s)?
Help!
Thanks,
Maria

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


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

From: "Jean Womack" <jeaneger@jeaneger.com>
Date: Mon, 1 Jul 2002 17:20:28 -0700
Subject: [Baren 18578] Re:   Baren Digest V19 #1882 

Welcome, Carol G-W from Sacramento, California!  Do you know Patti
Phare-Camp?  She is also in Sacto.  I hope you will join us in the San
Francisco Bay Area for the August 10-11 gathering of Bareners, which
coincides with April Vollmer's visit to Kala.  Please let me know what you
want to do that weekend.

Yes, Marilyn, bootcamp was full of very useful information for woodblock
printmakers.  There is no doubt that Graham knows what he is doing and knows
how to teach advanced hanga printmaking.  After all, Vancouver Island is an
island
of woodcarvers, because that island is the place where they carve TOTEM
POLES, and house poles.  In fact, you can see a totem pole being carved
right in downtown
Victoria, BC at the museum there.  It is truly awesome to see a huge log
being prepared for carving.  The person sits on it and uses a long handled,
wide, flat U-gouge, almost as big as a shovel, to prepare the surface of the
log for carving.  I forgot to ask what kind of log it was.  I think it might
have been a cedar log, because they have a lot of that up there.  (But I
didn't smell it, and cedar smells really, really good.)  So it is true,
creating a woodcut should be wood CARVING, not wood HACKING (like I do it).
We have a lot of bareners from the Pacific Northwest, right around
Vancouver-Seattle area, so this stuff is not news to them.

Graham sharpened my expensive chisel that I bought from the baren mall, and
made it into a bull-nosed chisel, right before my eyes, except that he had
his finger on the chisel blade the whole time, so I didn't actually see the
metal contacting the stone, like you can do in super closeup shots that some
people's cameras can take.  I was astonished at the perfect shape he created
when he was done.  Of course, it will take me a million years to learn to do
that and I have only just recently learned how to sharpen my tools.

It didn't really sink in how important it was to have really fine sandpaper
for the final sanding of the block, until I sanded it with his 600 grit
sandpaper, using a sander that actually had a bag to collect the sawdust.
So I didn't have sawdust all over me, like I do when I work at home.  It
made a huge, giant difference on how easily I could print a flat color, not
that it made any difference to Gauguin when he was working, but we can't all
be Gauguin, who had the most amazing grasp of beauty, not only of the human
form, but of plants, animals, color, and COMPOSITION.  I can learn technical
ability, but I will struggle for the rest of my life with composition,
lucidity, fluidity and beauty.  I need diagonals in my work.  I need more
looseness.  I gotta looosen up, but I may never really do that, too bad.

I am grateful that the woodcarvers of Vancouver Island let me visit and
learn some of their trade secrets (like 600 grit sandpaper and a bull-nosed
chisel).  Well,  I just spent a lot of money buying Iyo glazed paper from a
baren-mall competitor which shall remain unnamed, so I have to get to work
on #14 and #14a.  So it's back to the salt mines, and I have another
professional organization to do some work for, before they all quit on me.

Sincerely,
Jean Eger Womack




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

From: Mike Lyon <mikelyon@mlyon.com>
Date: Mon, 01 Jul 2002 20:07:02 -0500
Subject: [Baren 18579] #13 - MUSIC EXCHANGE IS ON-LINE 

The wonderful prints from [BAREN] Exchange #13 are now viewable on-line at 
http://www.barenforum.org/exchange/exchange_13/exchange_frame.html

Thank you so very much Barbara Patera for your masterful, gentle, 
un-BEAR-ably relaxed coordination !!  What joy!

- -- Mike




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

From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 1 Jul 2002 19:31:54 -0700
Subject: [Baren 18580] RE: #13 - MUSIC EXCHANGE 

WOW!
What a great collection! And to think it could have been mine...sniff sniff
Oh well, next one.
Incidentally, the large print exchange is finally here and that too is
awesome to behold. Excellent work to all involved in both exchanges.
Juan, if you send me your current address offlist, I will send your prints
prontito. Tambien dime si quieres un tubo o un paquete, lo que llegue mas
facil.

Thanks everyone!
Maria

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

> -----Original Message-----
> From: owner-baren@ml.asahi-net.or.jp
> [mailto:owner-baren@ml.asahi-net.or.jp]On Behalf Of Mike Lyon
> Sent: Monday, July 01, 2002 6:07 PM
> To: baren@ml.asahi-net.or.jp
> Subject: [Baren 18579] #13 - MUSIC EXCHANGE IS ON-LINE
>
>
> The wonderful prints from [BAREN] Exchange #13 are now viewable
> on-line at
> http://www.barenforum.org/exchange/exchange_13/exchange_frame.html
>
> Thank you so very much Barbara Patera for your masterful, gentle,
> un-BEAR-ably relaxed coordination !!  What joy!
>
> -- Mike
>
>
>
>



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

From: Cucamongie@aol.com
Date: Mon, 01 Jul 2002 22:45:44 -0400
Subject: [Baren 18581] congrats etc 

Congrats to Pete, wish I was in your area to see the show, 
and thanks all for your nice messages to me.
best wishes
Sarah

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

From: Printmaker <severn@acay.com.au>
Date: Tue, 02 Jul 2002 13:25:43 +1000
Subject: [Baren 18582] Oregon Show - Print Pricing 

Re Oregon Shows:

Barbara said

"Baren,
I am doing the tags for the baren show here in Beaverton and
Portland OR'

Sorry to be a nuisance, but I must have missed something, I
don't always get to read all the digests. I note I'm listed
for the exhibition, but I don't know which prints it relates
too, or the title of the show?


I also have a question. I have to price prints that are
going to another exhibition in the northwest usa. I would
prefer to use prices that are realistic for the area and I
have absolutely no idea what that would be. A range would be
helpful. The prints are intaglio collographs and on Rives
bfk sized 56 x 76 cm, thats 30 x 20cm Imperial. One is
multicoloured 'A la poupee' with a relief roll as well. An
'unframed' price would be relevant. 

As this is not a hanga question, perhaps an offlist reply
would be appropriate.

Thanks in advance
Josephine


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

From: Printmaker <severn@acay.com.au>
Date: Tue, 02 Jul 2002 13:44:41 +1000
Subject: [Baren 18583] Help Please 

Hi bareners

Sorry to be so quiet but I've been on sick leave and
catching up on housekeeping. 

Re Sacred Tree/Endangered Species Show

I have in safe storage here, a number of additional prints
from the 'Sacred Tree' exchange that were left with me for
sale in the Australian exhibition. The one that was
cancelled due to administrative problems at the gallery. I
held on to them through two or three attempts to restage an
alternate venue, and then in readiness for the Ohio show. I
have offered to send them directly to Gayle in Ohio, but she
is concerned about the expense of returning them to their
owners after the show, and who will pay for it. 

I note that most of you are also in the latest baren
exchange (which is why I'm posting Baren about this) and I
would like to suggest that I send the prints belonging to
those people to Darrell, the co-ordinator. That way, he can
post them back to you with your exchange prints, or
individual prints to Gayle, should your work be sold. If
this is acceptable, can the people concerned mail me,
especially you Darrell! 

I'll still need to send some prints direct to their owners,
if they are not in this exchange. 

****** VIP ********  I would be grateful if everyone can
contact me to advise what they would like done with their
prints and what they want to do about postage.

Mail me at 
severn@acay.com.au

Re Where I Live Show.

This was the exhibition in Perth, Australia late last year,
of the Print Australia 'Where I Live' exchange. Recently my
colleague Anthea Boesenberg in Sydney, who curated the
exchange, delivered to my house a number of prints that were
sent for sale in the Perth show. Until they arrived I wasn't
aware of these, as it was something arranged by the curator,
Gosia, and I'd completely overlooked them. So I also have
the same problem and request as above. Some of you have sent
prints into both shows. 

****** VIP ********  I would be grateful if everyone can
contact me to advise what they would like done with their
prints and what they want to do about postage.


Postage costs

I haven't received any monies to pay for return postage,
which will run into hundreds of dollars if I send them
individually, as its nearly all overseas mail. Print
Australia may be able to cover some of it, with my
complements, but I'm not sure at present how much is there
to spend. Dan Dew is currently co-ordinating the Dreams
exchange on PA and is collecting exchange monies. He might
be willing to collect postage monies on your behalf for
forwarding to me with those. Dan?

We had major bushfires here over Christmas, similar to the
recent Arizona ones. The fires were at the end of my street,
and I was very worried about the responsibility of looking
after these prints for you. I'll be much happier not to have
this burden. At the time I was worried that the one road
into the village here would be  blocked and if worse came to
worse, I'd have to drive my entire art collection to the
other end of the street and dump it on the beach!

Please dont flood baren with your replies, send them offlist
to me.

Looking forward to hearing from you
Josephine Severn
Founder, Print Australia
http://www.acay.com.au/~severn


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

From: "John Cleverdon" <jhcleverdon@mindspring.com>
Date: Mon, 1 Jul 2002 22:49:12 -0700
Subject: [Baren 18584] Fifth American Print Biennial 


Congratulations to Maria Arango for getting in the 5th Annual American =
Print Biennial, organized by the Marsh Art Gallery, University of =
Richmond Museums.  The juror was Richard S. Field, Curator Emeritus of =
Prints and Drawings, Yale University Art Gallery.  Maria was one of 44 =
artists selected from entries submitted by 224 artists.

The show ended this past Saturday (June 29th).  It was written up in the =
spring issue of the Journal of the Print World, which I finally got =
around to reading tonight.

If there were any other Baren members in the show I apologize for not =
mentioning your names.

John Cleverdon
Point Clear, AL



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

From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Mon, 1 Jul 2002 21:31:15 -0700
Subject: [Baren 18585] Re: Oregon Show - Print Pricing 


> Sorry to be a nuisance, but I must have missed something, I
> don't always get to read all the digests. I note I'm listed
> for the exhibition, but I don't know which prints it relates
> too, or the title of the show?


This is a show of my exchange prints, two shows actually back to back. The
first one at the Beaverton City Hall and the second one at the office and
gallery of the Northwest Print Council. I will list all the prints in the
show when I get time, your print is the 10 people 10 colors print. These
shows are in conjunction with the Japan Summerfest organized by the Portland
Art Museum and taking place all over the city this summer. We are showing
work as well as giving demonstrations and a lecture.

As far as pricing, things sell here for between $75 and $350 US dollars. I
could give you better advice if I knew more of where you are sending it and
for what. If it is a commercial gallery, more. If it is a university
gallery, less.
Best to you,
Barbara



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End of Baren Digest V19 #1883
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