Today's postings

  1. [Baren 42756] insurance for artwork (Linda Beeman)
  2. [Baren 42757] Re: insurance for artwork (Graham Scholes)
  3. [Baren 42758] Re: Poly sheeting. (Mark Vosmeier)
  4. [Baren 42759] Re: Poly sheeting. (Barbara Mason)
  5. [Baren 42760] RE: insurance for artwork ("Maria Arango Diener")
  6. [Baren 42761] Re: insurance for artwork (Graham Scholes)
  7. [Baren 42762] Re: Poly sheeting. (Sharri LaPierre)
  8. [Baren 42763] Former Art Institute curator of Japanese prints ( slinders #
  9. [Baren 42764] Bareners Are Everywhere (Annie Bissett)
  10. [Baren 42765] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Linda Beeman
Date: Sun, 06 Feb 2011 17:28:30 GMT
Subject: [Baren 42756] insurance for artwork
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My inlaws house burned down this last week and it got me thinking, among other things, about insurance for my artwork. I called my homeowners and it's not covered. My equipment and supplies are but not the finished artwork!! And they won't. They said that I needed to contact a company that does that but I don't know any. What do all of you do?
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Message 2
From: Graham Scholes
Date: Sun, 06 Feb 2011 17:47:15 GMT
Subject: [Baren 42757] Re: insurance for artwork
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Our insurance company made the same statement.... I have been with
them for 23 years and I reminded them of the loyalty toward them.....
They changed there minded in a heart beat.
If they will not cover the art work, be it yours or others, then I
suggest you look around and not be pushed around.

Insurance companies will try anything to get out from under a
commitment so read the small print./

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Message 3
From: Mark Vosmeier
Date: Sun, 06 Feb 2011 17:47:42 GMT
Subject: [Baren 42758] Re: Poly sheeting.
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Hi Graham,

I think that some Bareners use certain products from: Quoting from their site: "Crystal Clear
Bags^(TM) and our Crystal Clear Photo Boxes are high grade "museum
quality" products. They are 100% virgin polypropylene which is naturally
acid and lignin-free.

They have a FAQ page: ( ) which answers
quite a few questions about their products. The ones that may be of
particular interest to you and your friend might be:
19. Are your bags safe for archival purposes?

21. Why is it important for me to use your products

22. What does "acid-free"mean?
23. What is lignin-free?
24. What are archival and conservation-grade products?

Perhaps these are the bags which Barbara says she uses, since she
mentioned this site a while back on this forum. I hope to try these out
as well.

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Message 4
From: Barbara Mason
Date: Sun, 06 Feb 2011 18:01:17 GMT
Subject: [Baren 42759] Re: Poly sheeting.
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Yes, these are the bags I use and that most artists use. Shrink wrap it a thing
of the past. The good thing about these bags is you can seal them and then
reopen them and then seal them back up. I usually do not seal them as I am using
them for storage and not display. The really critical thing for art storage for
a long time is no light. If you put things in an acid free box so it is dust and
light free the work will last hundreds of years stored in interleaving, glassine
or polypropylene bags. I use to laugh at Dr Gordon Gilkey, he said in his gruff
voice, "our paper will be around in 300 years while the canvas rots and falls
off the wall"... and it was stored in these boxes, so there you go
My best
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Message 5
From: "Maria Arango Diener"
Date: Sun, 06 Feb 2011 19:02:19 GMT
Subject: [Baren 42760] RE: insurance for artwork
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Most insurance companies, even art insurance companies, will only insure
artwork for the value of its components.
So one of my precious prints retailing at $100 is insured for $6 worth of
paper and ink.

You can become a "listed artist" and have all your artwork appraised by an
official art appraiser. Then you can insure it for the current market value.

I personally just keep the matches away from my, I don't have
any children. My cats don't smoke. Cross the fingers and thank goodness I
live in a cinder-block house. I can make more opportunity to begin
a whole new body of work...hmmmmm...

Seriously, my insurance company (Allstate, I'm in good hands) is aware of
the studio and I have pictures of all my equipment and supplies. Every year
or so I take a new set of photos of my studio and the rest of the house for
that matter, in lieu of painstaking inventory. We're insured up to $150,000
for contents which costs a little more.
My vehicle insurance also costs a little more because my trailer and all its
art-festival-related contents are insured against total loss in case of a


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Message 6
From: Graham Scholes
Date: Sun, 06 Feb 2011 19:35:55 GMT
Subject: [Baren 42761] Re: insurance for artwork
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I know only one post per day per person.... but this is important stuff.

The operative words.... take photos every year.
If you don't have a hard copy record (stored in a safety deposit) you
will probably not collect any insurance.

Your figure for contents seems awfully low Maria. I would be
concerned if ours was that low.

Interesting you have AllState.... they don't have a very good name up

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Message 7
From: Sharri LaPierre
Date: Sun, 06 Feb 2011 19:37:29 GMT
Subject: [Baren 42762] Re: Poly sheeting.
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I believe some of the clear bags at the site are listed
as ph OK. They used to be, anyway - check them out and give them a

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Message 8
From: slinders #
Date: Sun, 06 Feb 2011 19:55:23 GMT
Subject: [Baren 42763] Former Art Institute curator of Japanese prints
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Osamu Ueda, 1928-2011

"Osamu Ueda, 83, a former curator for the Art Institute of
Chicago who was responsible for cataloging its extensive
collection of Japanese woodblock prints, died Sunday, Jan. 30.

His most significant contribution was co-editing "The Actor's
Image: Print Makers of the Katsukawa School." With the book's
publication in 1994, the Art Institute of Chicago edged closer
to completing the catalog of the nearly 15,000 Japanese prints
in its Buckingham collection.

The book focused on the 18th and 19th century school of artists
named for Katsukawa Shunsho, which designed an enormous number
of woodblock prints devoted to the Kabuki theater. Working from
playbills, programs and diaries, Mr. Ueda identified individual
actors, their roles and, in many cases, the specific scenes
depicted in the prints.

Mr. Ueda's book, "The Actor's Image," remains one of the Art
Institute's foremost publications. His long list of articles
also includes catalogs for yakusha-e, Japanese woodblock
portraits of individual actors."

The article detailing his life and work can be found in today's
Chicago Tribune:,0,242497.story

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Message 9
From: Annie Bissett
Date: Mon, 07 Feb 2011 03:26:55 GMT
Subject: [Baren 42764] Bareners Are Everywhere
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Hello Bareners,

I've been seeing a lot of names I recognize from Baren Forum lately
as I travel the internet. One place where there are dozens of
Bareners listed is the Printmakers Periodic Table exhibit up now in
Philadelphia at the Chemical Heritage Foundation: "Elemental Matters:
Artists Imagine Chemistry." Jenn Schmitt, who spearheaded the
project, posted some photos of the exhibit and the participants on
Flickr if you want take a look:

I also see a lot of Baren Forum people listed in the upcoming
exhibition called "Mokuhanga: Dialogue and Dialect" which will be
shown during the Mokuhanga Conference in June. Here's a link to that

Congratulations to all!

And Margot Rocklen, your prints on are
gorgeous! Thanks for providing the link.

best to all,


Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: 'Hyakunin Issho' Newsletter: winter issue uploaded

The winter issue of David's newsletter is ready,
and uploaded to the website ...

This item is taken from the blog David Bull, Woodblock Printmaker.
'Reply' to Baren about this item.

Subject: Exchange 47 moku hanga woodcut
Posted by: Viza Arlington

I decided to abandon my original design and went with this peaceful easy one because i didn't want to stress out like i usually do when i print moku hanga. I loosely copied my image (the outline of the image area a circle and a line at the top of the wave area) onto all five blocks. i carved wavy shapes and hoped they would overlap in an interesting way and did the same with the moon. The lauan is a pain to carve but this design is pretty forgiving and the texture of the lauan hides many flaws in printing.
Artist: Viza Arlington
Title: Moon and Sea
paper size: 6X13 inches
image size: 5X12 inches
edition: 100 VE
wood used: Lauan
Five blocks seven or eight passes

This item is taken from the blog VIZArt.
'Reply' to Baren about this item.

Subject: February Update, Wood Arrives
Posted by: Maria

Lynita Shimizu contribution to the Baren Cairn
A quick update is in order!

First, I ordered and received the cherry plywood that we will all use to carve this project. I have it acclimating in the studio and will be designing and cutting beginning this coming week. I am very excited.

My first few ideas for the great city are being stretched and manipulated in Photoshop. I will post some "sketches" on the blog once they actually look presentable. After I am satisfied with the image, I will draw free-hand on the blocks.
Speaking of the blocks, with over 100 participants, this print will span five blocks so your final print will be five (vertically oriented) sheets wide! Each sheet is 22" x 30" or 55 x 76 cm.
I told you it would be HUGE!!!

After the image is drawn, I will cut out the separate pieces and begin . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog MCPP Puzzle Prints.
'Reply' to Baren about this item.