New Baren Digest Saturday, 15 of November, 2003 Volume: 25 Number: 2441 _____________________________________________________________________ Today's postings: 1. [Baren 23354] Self portrait project ("Robert Canaga" ) 2. [Baren 23355] NYC Print Fair (ArtfulCarol # aol.com) 3. [Baren 23356] intro (Alain Cislaghi ) 4. [Baren 23357] editioning question (Frank Trueba ) 5. [Baren 23358] message from Sue Salsbury.... (Wanda ) 6. [Baren 23359] and this message from Aimee in Alaska..... (Wanda ) 7. [Baren 23360] plus a post from Jan Telfer: (Wanda ) ______________________________________________________________________ Message 1: From: "Robert Canaga" Date: Fri, 14 Nov 2003 08:47:21 -0800 Subject: [Baren 23354] Self portrait project Hi everyone. I would like to invite all of you who have self portraits to email them to the site for "Look at Me! Look at Me!" our self portrait show. No fee, no prizes, just fun. Just send to my email. http://www.robertcanagagallery.com/Gallery_Links/Eugene_Gallery/Self-Portrait__Project/Self-Portraits_2/Lyon_Sp2/lyon_sp2.html http://www.robertcanagagallery.com/Gallery_Links/Eugene_Gallery/Self-Portrait__Project/Self-Portraits/Arango_alien/arango_alien.html , Take a look! Robert _________________________________________________________ Message 2: From: ArtfulCarol # aol.com Date: Fri, 14 Nov 2003 16:21:56 EST Subject: [Baren 23355] NYC Print Fair Hi, Last weekend I had a very busy and pleasurable time rushing around the NYC Print Fair. There were many more woodblock prints shown this year than I have seen in the past Fairs. So much to enjoy--so little time I do want to share some things of interest . A part of the Fair was a presentation by Deborah Wye. Curator of Prints at the Museum of Modern Art. These are some quotes of hers from A Perspective from MOMA on Collecting Prints. I found them liberating and validating. "There is no hard and fast rule about anything" (I like that!) Slides were shown that "throw aside academic conventions" MOMA collects work that "demonstates unusual use of techniques" and "defies traditional wisdom" Afterwards during question and answers, someone asked about the importance of using museum quality materials. Wye said her department isn't concerned about that. She said the Conservation Department handles all conditions and materials. (Related to our Baren discussion last week--there are no print police here) One more thing, under a shunga print: "Erotica is unsigned, as usual" Carol L Irvington, NY http://www.rst-art.com/artfulcarol.htm _________________________________________________________ Message 3: From: Alain Cislaghi Date: Fri, 14 Nov 2003 17:20:52 -0500 Subject: [Baren 23356] intro Hey folks! As the title indicates, this is the intro post I've gotta make to get myself somewhat weighed and caught in a single post, a more or less effective tradition I always encouraged in every forum in which I participated. So yeah, 'lo folks, I'm Alain Cislaghi, I live in Montreal, a wide open mental asylum somewhere in QC, Canada. I was born at the St-Luc hospital the 21st day of June '74, which, no matter what some of you may think, makes me a gemini and tiger of wood. I paint, I draw, I cut various woods in plus of lino (such a smooth wonder!), I write shit down (Altho English is a second language to my motherly French, I found myself quite fond of it, over the few years I spent learning, perfecting and distorting it to what it has become today), I mess'round with old beat up furniture (and many other things) I find in back alleys, restoring or reinventing'em along with my father, I'm into photography, guitar (I have now more old, weird fx pedals in which to plug my frankensteinised fender jag than I have fingers and toes to count, really and, I swear, I really use'em all in some sessions) and I do many other things, but you're probably on the verge to be fed up, if it's not already done, so I'll switch onto the next portion of this introduction. Here are a few links betraying my online presence, all in severe need of updating, even the most recent one, about my "latest" junk, having, during the last few days, jerked two or three new paintings and finished the beta version of my latest woodcut: http://www.livejournal.com/users/alaincis/ http://alaincis.deviantart.com http://alaincis.lunaticsworld.com/stuff/stuffmain.htm http://alaincis.lunaticsworld.com/ I may update a number of things before I leave for Beijing (from where I intend to bicycle my way down to Shanghai and eventually to Katmandu either via India or Tibet) but I'm quite busy getting ready to leave, so we'll see. Bye bye (bai bai, in pinyin ;)) for now. Alain. _________________________________________________________ Message 4: From: Frank Trueba Date: Fri, 14 Nov 2003 16:24:06 -0800 Subject: [Baren 23357] editioning question Hi all, I'm trying to find a source that speaks to editioning. I've been to the Baren Archives and I'm not interested in starting another philosophical discussion on the merits of edition, but looking for some place that speaks to"rules" of editioning (knowing full well there is no "Great Printmaker in the Sky" that laid down a tablet of editioning commandments). This is basically a research project. I've searched various printmaking resources (such as the Print Council of America's A Guide to the Care and Collecting of Original Prints and the printing guide published by the Conseil Quebecois de l'estampe, etc.) and have found definitions of editioning but no technical stuff such as: does changing the paper when printing the same image constitute a different edition; or when doing chine colle, how does one number a set of prints given that each piece of the glued piece of paper although the same color will be a different shape, etc, etc. I ask mostly due to curiosity, as I'm taking a printing course at a local community college and our instructor believes in editioning and thus from a purely practical point, I need to edition the work produced in this class, but I'm looking for information on nuances of the editioning process. Any leads to resources I can turn to would be greatly appreciated. Thanks, frank _________________________________________________________ Message 5: From: Wanda Date: Fri, 14 Nov 2003 19:35:43 -0800 Subject: [Baren 23358] message from Sue Salsbury.... This just came into my bounced pile: Hello, Jeanne Norman Chase is having computer trouble and won't be able to get it back until after Thanksgiving. Sorry. Sue Salsbury _________________________________________________________ Message 6: From: Wanda Date: Fri, 14 Nov 2003 19:45:07 -0800 Subject: [Baren 23359] and this message from Aimee in Alaska..... Don't know what's going on here - but we will get to the bottom of it soon! Here is a message from Aimee: >Today's postings: >1. [Baren 23350] [ANN] Changes to the Digest ... (David Bull ) ______________________________________________________________________ yay,Dave!! thank you SO MUCH for the new format---my baren mail was piling up because i just couldn't find the time to plow through the so much extra to get to the gist of the matter, any matter, all matters. I still hold the memory of my visit to kansas, so many good people, so much to absorb...i am working on a flock of birds now, for our gallery christmas openings. actually six different birds, printing on cloth for prayer flags to provide a little color to the winter sky...hanging, not hanga of course. that comes later, when the long quiet returns in january. ==aimee in alaska _________________________________________________________ Message 7: From: Wanda Date: Fri, 14 Nov 2003 19:51:15 -0800 Subject: [Baren 23360] plus a post from Jan Telfer: Something funny going on here..... Here's Jan's post: Dear Bareners I have an important announcement that involves many bareners and I have asked Jan Telfer, a moderator on the Print Australia list, to forward this letter to baren for me. I'd like to give credit where credit is due. A few years ago now, I participated in my first print exchange and was introduced to the pleasure and rewards that exchanging prints brings. The exchange was baren's 'Junin Toiro' #5. I then approached David Bull and asked if baren could run an exchange on the theme 'sacred tree'. At that time the baren exchange schedule didn't allow for this, David suggested that I run the sacred tree exchange myself and so the Print Australia forum and exchange schedule was born. Its now four years, 12 PA exchanges and several exhibitions later. Each PA exchange generates an archive set and from the inception it was intended that the archive be placed in an Australia museum collection. This presented problems as most Australian museum collections are confined to primarily Australian content and the Print Australia archive is two thirds international content. The idea was put on the back burner, mostly for reasons to do with ill health, but in recent months I have made contact with the Museum that holds the Australian Print Collection. Following a meeting yesterday, the Print Australia archive now forms part of that collection. There are a large number of baren members who have contributed to the archive. Favourable comments were made about the quality of the woodblock prints that form part of the archive and which have been contributed by bareners. So I'd like to thank you for your achievements and congratulate you on your inclusion in the Australian Print Collection. The cv entry should read as follows:- Collections: The Australian Print Collection of the Wagga Wagga Regional Art Gallery, NSW, Australia It is my understanding that these prints will be used for ongoing exhibitions at the gallery and I will be requesting that the artists whose work is exhibited will be contacted each time the work is shown. Included below is the formal announcement. There has been further discussion and information on the Print Australia Forum. In addition I'd like to note that the exchange exhibitions on the Print Australia site have been overhauled and in many cases, completed. This process will continue to be refined as I work with the gallery to complete the documentation. The link to this new display is included below. Congratulations and my thanks to the many people who have assisted me in making this possible. Yours in printmaking Josephine Severn ***************************************************************** >The Print Australia Archive and the Australian Print Collection of the >Wagga Wagga Regional Art Gallery > >Wagga Wagga City Art Gallery (now Wagga Wagga Regional Art Gallery) was >established in 1975 presenting exhibitions in the original City Council >Chambers. The gallery re-opened in 1981 as one of fourteen public art >museums in regional NSW in a facility renovated to museum standards >with funding assistance from the state government. The new facility >included exhibition paces and collection storage and workroom areas. At >the time, Margaret Carnegie offered the gallery a collection of 120 >prints and the collection was exhibited as the opening exhibition >"Carnegie Prints 1945 - 1977" in 1981. The Carnegie prints became the >foundation of the Australian Print Collection. Over the past twenty >years the collection has grown to provide a rich and engaging overview >of the development of contemporary printmaking in Australia from the >1960's through to the present. > >The collection catalogue reads as a 'who's who' of Australian >printmakers and contains works from printmakers such as Tate Adams, Ray >Arnold, George Baldessin, Yvonne Boag, GW Bot, Arthur Boyd, Noel >Counihan, Barbara Hanrahan, Michael Kempson, Lionel Lindsay, Bea >Maddock, John Olsen, Lloyd Rees, Jorg Schmeisser, Eric Thake and many >others. The collection contained around 750 prints until this morning >when it was increased by the gift of approximately 250 prints in 12 >folios. > >At a meeting with the current Gallery Director Susi Muddiman, Damian >Kelly (Curator: Exhibitions and Collections) and myself at my studio, >it was agreed that the current Print Australia archive would form a >permanent part of the Australian Print Collection where it would be >available for public viewing and exhibitions and where it can be stored >in archival conditions. Both Ms Muddiman and Mr Kelly were very >impressed at the high standard of the prints and the presentation of >the print folios. > >The gallery has invited Print Australia to continue to donate future >exchange folios to the collection. This will form part of an ongoing >professional relationship between Wagga Wagga Regional Gallery and >Print Australia. As a condition of the acquisition there will be a >Print Australia feature exhibition celebrating the acquisition of the >archive at a date yet to be determined. It is intended that the >gallery will draw from the collection in its educational and exhibition >programme. The gallery has also expressed interest in conducting a >print symposium involving Print Australia at Wagga Wagga. I have been >invited to travel to Wagga Wagga to assist in the collation and >documentation of the collection. > >The Gallery's website can be found at >http://www.waggaartgallery.org/ > >The Australian Print Collection can be found at >http://www.waggaartgallery.org/collections/history_print.htm > >The Print Australia archive prints are available for viewing at >http://www.acay.com.au/~severn/PAEx/PAExchanges.htm > > >A catalogue of the Australian Print Collection as at 2000 is available >for purchase from the gallery and contains a catalogue essay by Dr >Sasha Grishin. Information from the catalogue introduction has been >used in this announcement. > >Congratulations to the artists concerned. > >Josephine Severn >Founder, Print Australia > _________________________________________________________ ***************************** End of Baren Digest Volume: 25 Number: 2441 *****************************