Baren Digest Wednesday, 23 July 2003 Volume 24 : Number 2314 ---------------------------------------------------------------------- From: "Jeanne N. Chase" Date: Tue, 22 Jul 2003 09:49:49 -0400 Subject: [Baren 22307] More Summit Photos If you go to; http://www.jeannenormanchase-art.com\ and then click on; Recent Activities you will see more of the Summit photos. The first batch taken by me, with captions if you run the cursor over the pics. The second batch were taken by Sue Salsbury.My son (my web person) has not gotten around to putting the captions on the pictures yet as we are doing this long distance. A little late but here they are anyway. Jeanne N. ------------------------------ From: Emkaygee#aol.com Date: Tue, 22 Jul 2003 14:07:14 -0400 Subject: [Baren 22308] Re: Baren Digest V24 #2313 Hi Everyone! For what it's worth..... I don't think that anyone would suggest that modernism isn't heavily influenced by the printmasters that have gone before (as the show at the Spencer museum suggested), but it is true that photography has changed printmakings modern emphasis. Since accurate representation (as in catalogs)can now be accomplished cheaply through the use of photos. Printmaking has become more of an artistic field...a true hybrid between painting and drawing! What is truly wonderful is that so many people can enjoy (and afford)an artist's image. Back to work for me...... Love to everyone! Mary > Some time I think the modernist idea of art must be original is a load of > poppycock esp if one looks at the history of printmaking in its totality. Almost > all printmaking before 1900 was reproductive in nature. The craftsman ship > of the reproductive printmaker of the 19th century is of great importance to me > much more so then the cult of originality of the modernists. In there rush > to worship the idol of originality they through the baby > out with the bath > water. ------------------------------ From: Barbara Mason Date: Tue, 22 Jul 2003 11:21:43 -0700 (PDT) Subject: [Baren 22309] photos Nice Pictures Jeanne...miine are still in the camera. You guys put me to shame, but one day soon I will develop them and then all the memories will come flooding back. YMMV This is just too funny, certainly a new one. I think my husband will love it. I am slowly losing my mind trying to meet all my printmaking commitments...why do we do this to ourselves??? Is anyone else cracking up trying to get it all done???? I also have a one person show in September...bad timing. I will get pictures up on my gallery site soon of new work, although my show will not be woodblock, I do woodblock for fun only. I would hate the pressure to be good at is as I am not. I have decided to let my own website go and put the money into our small gallery site. We hired a professional to do it and what a difference. I appreciate Dave's work on the encyclopedia and mall so much after trying to do a bit myself! I guess the key word is do what you do best and hire the rest. I have enjoyed the recent art discussions a lot and am sure I am not alone. We need a little serious art criticism going on here, it stimulates the brain! I am still interested in history as far as the development of woodblock and the connection it had on the west. The more I read the more I am fascinated by it. Also the African influence in western art. I had a couple of great books on African influence but gave them away, I might have to borrow them back. We all copy each other...makes us wonder who had the first original art thought! I read that the entire poster era, Lautrec and so on was so greatly influenced by the East. Guess the treatment of line with flat space was just not used in the west before the influence of woodblock. Before this time, perspective was the norm. This new flat work was greedly adopted. All artists want some new thing to grab onto and adapt to their own. Things seem all over the place now, almost like there is no real direction in contemporary work. Am I the only one that feels this way???? Best to all, Barbara ------------------------------ From: barebonesart Date: Tue, 22 Jul 2003 10:24:32 -0700 Subject: [Baren 22310] Re: Baren Digest V24 #2313 Dave answered the question much better than I could even begin to, and I would agree that he fits neither "decadent" nor "not authentic", given the definitions previously stated. Having said that, I would add that neither is such a bad thing to be, and would vary from culture to culture. Ain't it grand that we're all so diverse? And, ain't it even greater that we have each other? Decadent and nonauthentic, Sharri ------------------------------ From: Aqua4tis#aol.com Date: Tue, 22 Jul 2003 15:24:08 EDT Subject: [Baren 22311] Re: More Summit Photos jeanne and sue thanks for sharing these photos with us i really enjoy seeing everyone georga ------------------------------ From: "marilynn smih" Date: Tue, 22 Jul 2003 16:12:38 -0700 Subject: [Baren 22312] Re: Baren Digest V24 #2313 Julio, to update you on the nude calander project, mine is in progress and doing well. The plate is carved and 16 prints have been run successfully. I should have the rest done by the end of the week and ready to trim to size. (oops I cut my paper 9x11, so am trimming off the extra, no problem as this piece has a plenty of space and originally I was going to trim it even smaller, but it looks good on a spacious piece of paper) Since they are oil prints some drying time will be needed. Also for Colleen my playing cards are nearing completion as well, all should be in on time!! Hope everyone is enjoying their summer. Marilynn in sunny Nahcotta on the Washington coast ------------------------------ From: Jan Telfer Date: Wed, 23 Jul 2003 19:19:22 +0800 Subject: [Baren 22313] Re: Exhibition in W Australia - Printmaking in Switzerland since 1960 Currently on at Curtin University Perth, Western Australia, at the John Curtin Gallery is an Exhibtion "Why Make Prints - Printmaking in Switzerland since 1960" 51 Selected artists of Printmaking including Woodblocks, Lino Relief, Lithographs, Copperplate engraving, Etching and Screenprinting. These works were selected as an international travelling exhibition, but I found them disappointing and not very inspirational and lacking intense technical skill...sorry ...but I am not very "partial" to naivity and simplification...it may be "modern"....but in that case it must mean " not having time to spend time on any individual print!" Woodblocks consisted of approx. 77 cm x 55 cm or 30" x 20" (+ or -) pieces of roughly cut wood, brushed with a wire brush to enhance the grain and then printed and One print had an unprinted knot hole area. A third was a roughly cut simplified portrait, sectioned and printed like an uneven picket fence from the original which was carved/ huned from a square fence post.... I wasn't very impressed! Artists were Markus Baldegger, Franz Eggenschwiler, Francine Simonin, Josef Felix Muller and Renato Oggier. Etchings and engravings were concentric rough circles or one of "windy" grasses or lineal floating characters in cartoon form. Aquatints where of blobs of grey-black circles, etc. A couple of more skilled mechanical subject drawings in copperplate engravings by Bernhard Luginbuhl and Klaus Lutz werre more impressive! Lots of Lithographs mostly very "painterly" with large brushes...not even of any calligraphic significance! There were other finer linear ones and one very mechanically detailed tech drawing by Jurg Kreienbuhl. Screenprints were mainly consisted of geometric coloured shapes, mainly squares in different configurations. There were a couple of Photogravure and aquatint combinations and a couple of Offset floral designs printed "offset" to one another, too. The catalogue Preface written by Christoph Eggenberger from the Pro Helvetia Arts Council of Switzerland has some very interesting comments to make: "Does there have to be a reason for practising or conceiving of a specific artistic genre? The title of the exhibition leads to fundamental questions as to what art is, what it was, what it it not. Prints are both originals and reproductions, though not in the sense of Walter Benjamin. Every print pulled from the same block is an original, for no two impressions are identical and each one is approved and signed but the artist. An unsigned print is worthless; it merely provides a record......." Curtin school of Printmaking have lectures from time to time and next month are: 13th "Durer and the rabbit woman: print technologies in history." (Dr Maggie Exon - Curtin Uni who has worked at the Bodleian Library in Oxford and was History Librarian at the Uni of London Library) 20th "Popular Prints in the Past" (Prof David Dolan - Curtin Uni) mmmmm.... Jan Perth, Western Australia ------------------------------ End of Baren Digest V24 #2314 *****************************