Baren Digest                Monday, 21 July 2003        Volume 24 : Number 2312


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From: "Gillyin Gatto" <gillying#Maineline.net>
Date: Sun, 20 Jul 2003 10:42:49 -0400
Subject: [Baren 22283] one ugly ( and sensitive )dude 

 from seeing the photo of Jacoulet that Julio found for us ,

my first impression  on viewing this print

was that it is a self portrait

movin' on ..........

gillyin


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From: David Bull <davebull#woodblock.com>
Date: Sun, 20 Jul 2003 23:51:11 +0900
Subject: [Baren 22284] Re: It's been a while ... 

Jeanne wrote:

> Thanks for the reminder of your Step by Step demo.


Ten steps are now done, two left ...
http://woodblock.com/surimono/process/6/index.html

This afternoon I did the mica background on the print. There seemed to 
be quite a bit of interest in mica printing over in Kansas City, but I 
certainly didn't pull off a very effective demo. To try and make up for 
that, I had my daughter Himi - who is here staying with me this week - 
work with the camera while I printed this afternoon, and we just 
finished putting up a new Encyclopedia page showing the process:
http://woodblock.com/encyclopedia/topics/012/012.html
... click on 'Printing a Mica Background'


> The paper on your Kabuki performer is so beautiful and fragile looking, 
> what
> is it? Is it the same Hodomura paper as in your "Crow"?


All my prints for some years now have been made on what is known as 
'hosho' paper, the same type used for most prints in the ukiyo-e era. In 
particular, it is Echizen Hosho, named for the area where it is made.  
In more particular, my paper is made for me by Iwano Ichibei, who just a 
couple of years ago, was named a Living National Treasure.

I use that thin 'hodomura' paper only for doing colour transfers - it is 
thin and strong, but doesn't have anywhere near enough 'body' for colour 
printmaking.


> Also you say that you used a "light" sumi ink in your "Crow" print. Did 
> you
> mean the ink was thin?


Yes, simply diluted with water ...

***

Carole Baker wrote:

>  I didn't find that one in my book.  I'm wondering if it
> is a watercolor rather than a print..


Yes, I'm sorry not to have mentioned this - that image is of one of his 
watercolours, not a woodblock print.

***

John mentioned:

> It is rather telling that he is not mentioned in Micheners Japanese 
> Prints FROM THE EARLY MASTERS TO THE MODERN.


Michener really didn't seem to have much interest for any of the people 
working in the collaborative field in the 20th century, as there is 
almost no mention made of _any_ of the shin-hanga artists in any of his 
works. I think perhaps he disregarded them as making 'touristy stuff' ...

***

John asked:

> What was the name of the profession of block cutters in Japan?


Cutters/Carvers here in Japan are known as 'hori-shi' ... printers are 
'suri-shi' ...

Dave




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From: FurryPressII#aol.com
Date: Sun, 20 Jul 2003 11:10:17 EDT
Subject: [Baren 22285] Re: It's been a while ... 



hori-shi   or formschnider your call     but i is what i is.

wood peckers unite!!!
you have nothing to loose but your printers

furry is in a good mood

g'day folks
john "furrypress ;-)" center

-
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From: Mike Lyon <mikelyon#mlyon.com>
Date: Sun, 20 Jul 2003 11:30:10 -0500
Subject: [Baren 22286] Re: http://barenforum.org/temporary/oleai.jpg 

>Dave said:
>

> >How about this one?

>http://barenforum.org/temporary/oleai.jpg
>
>Not a pretty picture; that's one ugly dude. I would guess its a likeness of
>some person Jocoulet saw and were I to run into him I'd definitely have a
>case of the creeps.  I didn't find that one in my book.  I'm wondering if it
>is a watercolor rather than a print...the clouds and water seem to have a
>painterly uneveness that the prints don't have, and there appears to be more
>writing than just a signature and there isn't a seal that I can see.
>
>Carole Baker


I agree with you, Carole -- this image appears to be a water color from 
Palau, maybe.

- -- Mike


Mike Lyon
mailto:mikelyon#mlyon.com
http://www.mlyon.com  

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From: "Joseph Sheridan" <sheridanpsm#msn.com>
Date: Sun, 20 Jul 2003 14:59:02 -0400
Subject: [Baren 22287] Re: Baren Digest V24 #2310 



This symbol has been use be many cultures throughout time. Probably since
 it was first scratched into the dirt. 
Joe



>images of Buddha in Japan from very early times and it had nothing to do
>with Germany.  But, that's just speculation &deduction on my part.

>Happy Printing,



>that would depend of the time of his use of the crocked cross    remember
>Japan was an allies of Germany during the war.  So depending on the time
>frame it might not be so innicent.  

>john   
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From: barebonesart <barebonesart#comcast.net>
Date: Sun, 20 Jul 2003 13:56:49 -0700
Subject: [Baren 22288] Re: Baren Digest V24 #2311 

Gillyin,

I think you may be attributing the wrong definition to Myron's term
"decadence."  In terms of art history the meaning is "the falling away of a
particular school or movement or period after its culmination."  With this
definition, Jacoulet's work is definitely "decadent".   As for "authentic",
again, in terms of art history, this simply means that the artist was not
alive during that period they are portraying.  Their work may be very
"authentic" in terms of their thinking, but not in terms of the period - if
they weren't living then, and since he was not living during the ukiyo-e
heyday, they are not "authentic."  Hope that clears up a number of issues.

John,

We will never know for sure what Jocoulet meant with his use of the
swastika, however, since  it was very difficult for foreign artists in Japan
during  WW II and he had to move and resort to growing fruits and vegetables
for a living, I doubt he had much sympathy for the Nazi regime.
I don't know, since I am not a fan of his work particularly, so I don't have
any idea if he got into critical socio/politico commentary, or not.  That is
not the same as protraying lifestyles - so please, don't anyone write and
say, Oh Yes he had a lot to say about this style or that - :-)  Anyway,
methinks that is moot point since there is probably no way to determine that
one.

As for these discussions - I think they're good for all of us, but maybe we
have about flogged this one to death.  So, shall we move on to Durer and
Escher or . . . . ... . .. .

Sharri



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From: juan <viscult#unimedia.net.mx>
Date: Wed, 23 Apr 2003 21:25:49 -0500
Subject: [Baren 22289] Re: Baren Digest V24 #2310 


>DEAR MURILIO PEREIRA:


Creepy: Horroroso, espantoso

disturbing: molesto, desagradable.

Tal vez se parezca un poco al portugues.

Saludos,

>Please someone explain to me
>what the  words "creepy and disturbing"
>means.


Juan Guerrero
J. Pilar Ruiz 276
F. del R=EDo.   Morelia
58040   MEXICO


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From: "marilynn smih" <marilynnsmih#hotmail.com>
Date: Sun, 20 Jul 2003 23:59:45 -0700
Subject: [Baren 22290] Re: Baren Digest V24 #2311 

Carole, the Jacoulet you called one ugly dude to me is very sensual.  
Interesting how we all react differently.  I find the man/woman image 
reminding me of gay men.  But this man has a strikingly feminine side and to 
me seems decorated and with full lips, sensual.  I do not find it ugly or 
frightening.  It also seems to depict an aging man, to me also not ugly.  
But I can agree about the clouds in the back ground, are they printed??  Is 
it possible to get that sort of image in a block print?
John you mentioned 2 artists you found interesting for discussion (Durer and 
someone else), how about a few links to their work so we can all see what 
you are thinking?  These discussions and critiques of artists work are 
informative and interesting.
Marilynn


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From: Wanda <robertson#canby.com>
Date: Mon, 21 Jul 2003 00:48:47 -0700
Subject: [Baren 22291] Message from Julio about the Calendars....... 

I have put up some new pages for the Calendar 2004 project. Check out the
individual calendar pages for pics of
prints received and make sure to fill your colophon info once your prints
are completed and mailed. Prints are due by September 15, 2003. Go to the
"Calendar-2004 Project" link on our main opening page or directly to:

http://www.barenforum.org/calendar/

thanks....Julio Rodriguez (Skokie, Illinois)


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From: "Janet Warner Montgomery" <originaletchings#hotmail.com>
Date: Mon, 21 Jul 2003 05:50:16 -0400
Subject: [Baren 22292] Re: one ugly ( and sensitive )dude 


that was, oddly enough, my impression, and I had not, have not
yet, read the entire 'baren' discourse on this. or seen the links
to the work. My concept of my 'growth' as an artist has been my
learning to get something out of stuff that I might not
necessarily like, or want to do. I wonder where all this
wonderful give and take on baren was when I was in college...my
memory of art history was sitting in a darkened room listening to
some old Geezer talk about his 'Guernica' slides he was
projecting. I feel sure that some of my art teachers were gay,
and I wonder how much more I could have gotten out of them if
they had been freer to 'be'. (I am 60...and I went to Bennington,
but even then...verboten.) I bought a recent Paul Cadmus
book...because the detail relates to how I work. or would like
to. He recorded life into old age, and saw the beauty in it. I
like that. I 'do' art shows, street festival type things, where
nudes are not allowed. the level of 'sophistication' is about
nil. try explaining what 'prints' are....when the reproduction
world has appropriated the word.

and for those of us for whom
english is not the first language, I would add to'creepy',
definition thereof, that to me it connotes some element of
danger. Which, for whatever reason, is part of the human
condition...lots of people like 'horror' movies...we read Stephen
King....the 'Dracula' thing is a genre. 

JMHO....jan

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From: Cucamongie#aol.com
Date: Mon, 21 Jul 2003 08:42:27 EDT
Subject: [Baren 22293] upcoming show question, and congrats to Mike Lyon & to April 



Hi folks, one of the shows I was accepted into recently was a Works on Paper 
show at Long Beach Arts in Long Beach, CA.  Anyone familiar w/this place?  
It's always fun to get an "onsite report" if anyone happens to live in the area, 
etc.  I was pleased that two very quirky drawings were accepted there.  Feel 
free to email me offlist, as I realize this is not woodblock-related.
On another note, I just received my brochure from Contemporary Graphics 
(formerly Connecticut Graphics) and our own Mike Lyon is giving a workshop there - 
there are pictures of two of his prints also, hard to imagine that these are 
woodblocks, the detail is incredible.  Congrats Mike, wish I could take the 
workshop there to see how the heck you make these!
Not to mention that in the same brochure is an announcement for a show that 
includes such luminaries as Helen Frankenthaler, Jim Dine, and.... April 
Vollmer - congrats April!
Happy printing all!
best wishes
Sarah

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End of Baren Digest V24 #2312
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