Baren Digest Monday, 15 July 2002 Volume 20 : Number 1897 ---------------------------------------------------------------------- From: Sharri LaPierre Date: Sun, 14 Jul 2002 11:51:17 -0700 Subject: [Baren 18720] Re: Baren Digest V20 #1896 I'm probably behind the eight ball since I'm a digest reader at the end of the day, but my answer to sending prints internationally is to send them unframed and declare no value; that they are documents. I've never had any trouble. However, having said that [:-)] , I suppose I have now placed an irrevocable hex on all my future mailings. The evil eye of the mail-god will be focused on my mail habits. Oh - what an evil thought. (Sorry, Bill Ritchie, but I had to jump into this evil game-) Sharri ------------------------------ From: b.patera@att.net Date: Sun, 14 Jul 2002 18:51:24 +0000 Subject: [Baren 18721] Re: Nudeless in Seattle Having spent two days a week for the past 25 years drawing the nude I would certainly like to take part in the "nude"/ "figurative" exchange..... whenever that will be. As to the evilness of nudes...... years ago, miles away, and in another life, I had a discussion with friends about nudity in general. Most were terribly "anti". However, their reason wasn't because the nude was inherently evil, it was because without the clothes it is almost impossible to ascertain a persons social status quickly. Barbara P. ------------------------------ From: "Lee and Barbara Mason" Date: Sun, 14 Jul 2002 12:25:46 -0700 Subject: [Baren 18722] :Nudeless in Seattle and the price of goods Most were terribly "anti". However, their reason wasn't because the nude was inherently evil, it was because without the clothes it is almost impossible to ascertain a persons social status quickly. Barbara P. Barbara, This made my day...I almost fell off the chair laughing. Sort of says a lot about us as a species, doesn't it? I just got a wonderful catalog of etchings and see one of the prints for Jean Kloss (maybe spelled Gene, altho a woman) was selling for $2200. I have a beautiful piece of hers that I bought before her death about 10 years ago when I was in Taos....I won't tell you what I paid because I don't want to hear all that weeping on the net. My husband says it doesn't matter, as I am not planning to sell it. Isn't it interesting how things increase in value as soon as they are not as available? Or when someone becomes "famous". This catalog had wonderful etchings and lithos, some of the artists I knew but many I did not. The work itself seemed comprable....some were $250 some were $10,000. Is there some printmaking guru that decides this? Supply and demand??? Are galleries responsible?? All of the above?? As artists how are we able to market out own work with this huge price fluctuation with no real reasons....I do it by size, thinking what is the least I would ever sell a piece for, adding 50% for the gallery and going from there. It seems a strange way, how can a 9x12 print be one third the price of a 16 x 20 print??? Same work, slightly more costs of materials, slightly more costs of framing....but three times the price. I think this whole price thing is just too wierd. It would be good if we had rules to go by, say all 6x9 etchings were $100 retail, or so much a square inch. I know there is no answer to this post..just venting here while I am taking a break. Best to all, Barbara ------------------------------ From: "Philip Smith" Date: Sun, 14 Jul 2002 13:25:40 -0700 Subject: [Baren 18723] Re: Baren Digest V20 #1896 Sherri....You really have to watch out for that "mail-god" he pops up when you least expect him!! Philip Hammond, OR USA ------------------------------ From: "Philip Smith" Date: Sun, 14 Jul 2002 13:34:22 -0700 Subject: [Baren 18724] Re: Nudeless in Seattle Barbara P. When I was in art college many years ago, we had a show of drawings. I was asked to be in it. I put up about 50 drawings. One was a centaur chasing a young lady through the woods, and he excited to do so. I thought it was a good drawing, but the powers to be asked me to remove it. My fellow students thought it was unfair as did I. Ah well, that was then, this is now! Philip Hammond, OR USA ------------------------------ From: Mike Lyon Date: Sun, 14 Jul 2002 17:36:33 -0500 Subject: [Baren 18725] All Nude All the Time -- Size does matter... #17 -- spring 2003 -- "all nude, all the time" -- let's see... size... It's tempting, April... Very tempting to make a joke here - -- especially after Carol Lyons' skeleton question, and then Bill Ritchies Bare-en' thing, but I'm gonna restrain myself a little and try to play it straight... [;-)] So size DOES matter, after all... #17 will be OBAN 11=oban (flora) due Nov 1, 2001 12=other-hosoban no theme due Feb 1, 2002 13=chuban (music) due June 1, 2002 14=oban no theme due October 1, 2002 ... and now back to our proper four exchange per year schedule: 15=other-chu-tanzaku (15" x 5" = 1/2 oban) (all hanga) sign up Oct 1, 2002 prints due Feb 1, 2003 16=chuban no theme sign up Jan 1, 2002 prints due May 1, 2003 17=oban (all nude) sign up April 1, 2003 prints due August 1, 2003 18=other no theme sign up July 1, 2003 prints due November 1, 2003 19= chuban (theme yet to be determined) sign up October 1, 2003 prints due Feb 1, 2004 At 03:42 PM 7/13/2002 -0400, you wrote: >All nudes all the time...funny to hear that is the thought for the new >theme. I just started working on some nudes, maybe I could use those blocks. >I was inspired by all the Italian bodies. What size? > >April Mike Lyon mailto:mikelyon@mlyon.com http://www.mlyon.com ------------------------------ From: Myron Turner Date: Sun, 14 Jul 2002 18:31:35 -0500 Subject: [Baren 18726] Re: All Nude All the Time -- Size does matter... Would it be possible to give the paper dimensions in inches? I've determined that oban is about 10x15, but what about chuban? I've found several sets of dimensions for it on the baren web site. As for hosoban, I've found only one listing for it (using Google) but without the dimensions. Thanks, Myron ------------------------------ From: GraphChem@aol.com Date: Sun, 14 Jul 2002 19:50:02 EDT Subject: [Baren 18727] Re: All Nude All the Time -- Size does matter... Barbara - There's an interesting story about Gene Kloss (and it was spelled Gene). She sent in some of her prints (probably back in the 30's) to a juried show on the East Coast. The rather prestigious organization sponsoring the show returned the prints and suggested that she "learn to use her Brownie(camera) and to not enter real artist's competitions with her efforts". About 40 years later, this same organization went to her as one of the leading printmakers in the country - wanting to do a retrospective of her work. Gene, who was every a lady, made some suggestions to them that were probably just a trifle crude, finishing with the fact that she had never owned a Brownie and wasn't interested in their show. She was always referred to around Graphic as "that young lady from New Mexico" because that's what my grandfather called her. Her work was wonderful - even though she didn't use photography. Dean Clark ------------------------------ From: Milky Scarabs Date: Sun, 14 Jul 2002 16:54:20 -0700 Subject: [Baren 18728] KIWA > > >I'm adding a bit to the original - is anyone sending prints to the KIWA >(2003) exhibition? and has anyone seen their show(s)? > > Louise Cass, I have some pictures of their last KIWA show, and my Japanese friend visited it also. I sent KIWA prints years ago that I guess will be in the 2003 exhibition. Kat Pukas http://home.earthlink.net/~milkyscarabs/art.html ------------------------------ From: Mike Lyon Date: Sun, 14 Jul 2002 18:53:45 -0500 Subject: [Baren 18729] Re: All Nude All the Time -- Size does matter... Here's my Japanese print size table: FORMAT = high inches x wide inches (approximate!) Aiban = 13 x 9 Chuban = 10 x 7.5 Chu-tanzaku = 15 x 5.1 Dai Oban = 18.25 x 13.75 Ebankiri = 20.25 x 7.5 Hashire-e = 28 x 4.5 Hosoban = 13 x 5 Kakemono (vertical oban diptych) = 30 x 10 Kakuban = 8 x 7 Kaku-Surimono = 8.5 x 7 Koban = 9 x 6.75 Ko-tanzaku = 13.5 x 3 Naga-ban = 20.25 x 9 Oban = 15 x 10 Ogata-chuban = 11.5 x 8.5 O-hosoban = 15 x 6.75 Tanzaku = 17 x 5 Shikishiban = 9 x 8 Sho-tanzaku = 10 x 3.75 Uchiwa = 10 x 9 Yatsugiri-ban = 5 x 3.75 These dimensions are only approximate, and depend on sheet size... The 'official' size for each exchange are given on the exchange information page in both inches and centimeters while the exchange is active. Mike At 06:31 PM 7/14/2002 -0500, you wrote: >Would it be possible to give the paper dimensions in inches? I've >determined that oban is about 10x15, but what about chuban? I've found >several sets of dimensions for it on the baren web site. As for hosoban, >I've found only one listing for it (using Google) but without the dimensions. Mike Lyon mailto:mikelyon@mlyon.com http://www.mlyon.com ------------------------------ From: FurryPressII@aol.com Date: Sun, 14 Jul 2002 20:14:37 EDT Subject: [Baren 18730] Re: All Nude All the Time -- Size does matter... if i did a self port. in the nude the baren folks would be rofl all the way to japan and back some things are best left unseen, john of the furry press ------------------------------ From: Myron Turner Date: Sun, 14 Jul 2002 19:36:35 -0500 Subject: [Baren 18731] Re: All Nude All the Time -- Size does matter... Thank you very much. It's a lot, lot more than I had anticipated! Myron At 06:53 PM 14/07/2002 -0500, you wrote: >Here's my Japanese print size table: > >FORMAT = high inches x wide inches (approximate!) >Aiban = 13 x 9 >Chuban = 10 x 7.5 >Chu-tanzaku = 15 x 5.1 >Dai Oban = 18.25 x 13.75 >Ebankiri = 20.25 x 7.5 >Hashire-e = 28 x 4.5 >Hosoban = 13 x 5 >Kakemono (vertical oban diptych) = 30 x 10 >Kakuban = 8 x 7 >Kaku-Surimono = 8.5 x 7 >Koban = 9 x 6.75 >Ko-tanzaku = 13.5 x 3 >Naga-ban = 20.25 x 9 >Oban = 15 x 10 >Ogata-chuban = 11.5 x 8.5 >O-hosoban = 15 x 6.75 >Tanzaku = 17 x 5 >Shikishiban = 9 x 8 >Sho-tanzaku = 10 x 3.75 >Uchiwa = 10 x 9 >Yatsugiri-ban = 5 x 3.75 > >These dimensions are only approximate, and depend on sheet size... The >'official' size for each exchange are given on the exchange information >page in both inches and centimeters while the exchange is active. ------------------------------ From: juan Date: Sun, 14 Jul 2002 20:59:37 -0500 Subject: [Baren 18732] Re: Baren Digest V20 #1896 DEAR LOUISE: I sent 3 prints to KIWA exhibition, and also I received an email from Richard Steiner confirming they have received them . How long did it take? Incredible about two weeks from Mexico to Japan (I sent them by regular service). Now I know it takes longer to the US than to Japan, >I'm adding a bit to the original - is anyone sending prints to the KIWA >(2003) exhibition? and has anyone seen their show(s)? > >And apropos to sending to international shows I've just found out that >air mail packages (from Canada, at any rate) can take months to arrive Juan Guerrero J. Pilar Ruiz 276 F. del R=EDo. Morelia 58040 MEXICO tel/Ph: (443) 320 7273 Alternative e-mail: 2ojos@ozu.es www.juanguerrero.galeon.com ------------------------------ From: Myron Turner Date: Mon, 15 Jul 2002 07:07:16 -0500 Subject: [Baren 18733] Re: Baren Digest V20 #1896 With a July 30th deadline, I'm sure it's already too late to submit to KIWA from Canada by air mail. Canada Post says about 10 working days to most International points but my wife sent a tape to a festival in Australia and it took 5 weeks. From Canada, I wouldn't trust anything less than Fedex or UPS's fastest service, and to Japan we're talking close to $75.00. There's an issue about the KIWA competition that gives me pause. They ask you to send them prints which they are going to keep, instead of asking for slides. There are a few other international competitions which also ask you to send prints directly but I don't recall whether any of the others keep your work. But I do recall that someone reported to baren a year or so ago that one of these competitions never returned his prints. I can see circumstances in which it might be o.k. to send off prints without a guarantee of return, particularly if you print big enough editions. In my own case the biggest editions I ever make are 10 prints, usually fewer. After all, for ten large prints in Canadian dollars we're talking about more than a $100 for the paper alone. And we all have our own working habits--for me editions of 8-10 prints means a day an a half working time--half a day proofing in my studio, a day editioning at the Manitoba Printmakers Association. I'm always glad to be finished with the printing, which is my least favorite part of the process, and eager to start cutting the next block. I did have a few thoughts about how to deal with competitions that ask for originals instead of slides. One way-- which is a time-honored method of editioning--would be to set the edition number higher than the number actually printed in the initial run, and then to print copies to fill out the edition as required. Or, in the case of editions which have been fully printed, create a smaller second edition, using an alternate numbering system, i.e. roman numerals, from which to print copies as needed, up to the maxiumum number set for this edition. Myron Turner ------------------------------ End of Baren Digest V20 #1897 *****************************