Today's postings

  1. [Baren 43595] 49,50 (Ruth Egnater)
  2. [Baren 43596] Re: Dedicate to Claudia (Barbara Mason)
  3. [Baren 43597] Re: ...........Missing 'Charlie Overshoe' (cjchapel #
  4. [Baren 43598] Re: ...........Missing 'Charlie Overshoe' ("Bea Gold")
  5. [Baren 43599] "Charlie Overshoe" (Gayle Wohlken)
  6. [Baren 43600] Barbara Patera (Marilynn Smith)
  7. [Baren 43601] Re: Dedicate to Claudia (Sharri LaPierre)
  8. [Baren 43602] Re: ACEO size ("Ellen Shipley")
  9. [Baren 43603] Life ("Bea Gold")
  10. [Baren 43604] Re: Barbara Patera (Louise Cass)
  11. [Baren 43605] Baren Member blogs: Update Notification (Blog Manager)
Member image

Message 1
From: Ruth Egnater
Date: Fri, 17 Jun 2011 13:33:08 GMT
Subject: [Baren 43595] 49,50
Send Message: To this poster

I am still in for exchanges 49 and 50. Thank you. Ruth Egnater
Member image

Message 2
From: Barbara Mason
Date: Fri, 17 Jun 2011 15:03:11 GMT
Subject: [Baren 43596] Re: Dedicate to Claudia
Send Message: To this poster

those of us who were in Victoria for a workshop met Claudia several years ago,
she was a great participant and we had a wonderful time with her.
She was active in the Baren exchanges and lived in Hawaii...we all envied her
the great weather.
Most on Baren did not know her well but those who did will miss her
My best to all
Member image

Message 3
From: cjchapel #
Date: Fri, 17 Jun 2011 15:34:36 GMT
Subject: [Baren 43597] Re: ...........Missing 'Charlie Overshoe'
Send Message: To this poster

Thank you Sharen for mentioning Barbara Petera. I too had corresponded with her via email after meeting her at the Baren get together at Shari's. Her emails were always a joy. And I too am saddened that I won't be receiving any more. And you are absolutely correct about her work. I'm so pleased to have a few of her wood cuts from Baren exchanges.

Thank you for giving the date of her death. I didn't know.

Please visit:
Member image

Message 4
From: "Bea Gold"
Date: Fri, 17 Jun 2011 15:51:05 GMT
Subject: [Baren 43598] Re: ...........Missing 'Charlie Overshoe'
Send Message: To this poster

Thank you Sharen, I wrote to Kate, Barbara's daughter. I miss Barbara and
also had an off exchange relationship. I love her work and she wanted
copies of a couple of
mine for Kate. Her presence and her work were very special. I have a
print of hers and her note to me
in a drawer that I go to once in a while. I enjoy seeing them as a surprise
when I open the drawer.
I reread the note occasionally which is written in a note card with
Barbara's Anne's Ravens on the cover.
It is a wonderful print. She was a very special lady. Bea Gold
Member image

Message 5
From: Gayle Wohlken
Date: Fri, 17 Jun 2011 15:51:56 GMT
Subject: [Baren 43599] "Charlie Overshoe"
Send Message: To this poster

Sharen, you did a beautiful job with your tribute to Barbara Patera aka "Charlie Overshoe". She was a creative printmaker who made consistently strong prints. It was good to see her entire Baren body of work with those links you provided.

Here is a list of exchange prints by Claudia Coonen. As you can see, she joined many exchanges.

Baren will miss both these contributing and appreciated relief printmakers and their work, both powerful and lyrical.

~Gayle Wohlken
Member image

Message 6
From: Marilynn Smith
Date: Fri, 17 Jun 2011 16:57:24 GMT
Subject: [Baren 43600] Barbara Patera
Send Message: To this poster

I remember Barbara Patera at the Vancouver summit. She was an
inspiration to me. I sat with her and we chatted about the print I was
carving. In reality I never finished it. One of those things you just
never get back to. Now I am thinking if I find that carving I will
finish it and if it fits the 5x7 format for the next exchange I will
use it! I remember he telling me that it would be a "good print". She
was a large woman with a strong will and a wonderful imagination. She
would pick up a piece of wood and just start out and would end up with
wonderful prints of the human form. It was an amazing experience to
watch her carve.

Marilynn Smith
Member image

Message 7
From: Sharri LaPierre
Date: Fri, 17 Jun 2011 17:46:28 GMT
Subject: [Baren 43601] Re: Dedicate to Claudia
Send Message: To this poster

Thank you for letting us all know about Barbara. I was just thinking
about her the other day and wondering how she was doing. She and I
are the same age - and we had more than that and a love of printing
and the figure in common. I am so sad that she is gone and thank you
for all the resources to her exchange prints. Yes, Louise, Barbara
was here in Vancouver for the summit. She was the woman with the
wonderful, hilarious sense of humor!

Claudia will also be missed. Perhaps we could dedicate #50 to both of
them? I will never forget Claudia from Bootcamp at Graham's.
Somewhere I may have a photo of her, and if I can find it I will send
it - one of these days. Right now I am half way through my Japan
prints and needing to finish a piece for another show next week and
get a show ready to deliver for hanging next week. It is hard to keep
an old lady down, by golly.

Best to all,
Member image

Message 8
From: "Ellen Shipley"
Date: Fri, 17 Jun 2011 18:00:39 GMT
Subject: [Baren 43602] Re: ACEO size
Send Message: To this poster

I'm in favor of ACEO size mini prints. It's trading card size and thus very
collectable. I've got some of those acetate sleeves myself. And I'd dearly
love to have actual relief printed ACEOs! 8-]

Member image

Message 9
From: "Bea Gold"
Date: Fri, 17 Jun 2011 18:15:56 GMT
Subject: [Baren 43603] Life
Send Message: To this poster

Another one of our members who died and who was a very talented and
interesting woman was Karen Berkenfeld.
She was a fabric artist and took part in Exchange #9. I went back and read
what she said about her work. I remember
I asked her to do an exchange using fabric to print on but she never made
it. Life including death happens. Do we still have
the After Five page? I haven't paid attention. I feel like we shouldn't
talk about things other than relief printing on the
Forum but it is good to have a place to be able to do it. Bea Gold
Member image

Message 10
From: Louise Cass
Date: Fri, 17 Jun 2011 20:18:08 GMT
Subject: [Baren 43604] Re: Barbara Patera
Send Message: To this poster

Oh my - how forgetful can one get - as soon as Marilyn
mentioned sitting with Barbara Patera an image of her came
to mind (I was mostly working in the other part of Sharri's
studio and somehow didn't get to know everyone) but I do
have one of her super prints and a couple of Claudia
Coonen's -it's lovely to have works to remember these people

Digest Appendix

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

Subject: Senshafuda Project - Ain't we got fun! (Part 2)
Posted by: Dave Bull

The shipping problems that I discussed yesterday were disappointing to encounter, but not something that will have too much of a long-term impact. The company that makes my shipping boxes is going to be very happy for the increased business, the purchasers less happy to pay the increased shipping charges, but we'll get through.

Today's post however, is going to let you know about a situation that is going to have huge ramifications for Mokuhankan - and I'm still not sure just how I'm going to find a way through this one ...

(This might get a bit long ... apologies in advance ...)

Since first starting up this Mokuhankan venture a few years ago, finding printers capable of doing this work has been an exercise in frustration. The first few prints I put out were done for me by Shinkichi Numabe, who is a very skilled printer (and my age to within a couple of weeks, as it happens). He is very busy. He does all the printing for the Yoshida studio (mostly Toshi Yoshida reprints), as well as most of Paul Binnie's work (some of which are quite large). Whatever time he has left is soon taken up with whatever he wishes to choose from the general work available (mine included). Because of his high quality (and his generally low 'hunger' for money), he has all the work he can handle.

I also had some work done by Shingo Ueda, who - at the time, about three years ago - was trying to establish himself as a printer for hire. Although he was nowhere near as experienced as Numabe-san, he was (is) conscientious and trustworthy, and he was able to do some editions of smaller size work to my satisfaction. But with very little interesting work coming to him from publishers (he got mostly postcard-size tourist stuff), he was forced to look around for other ways to support himself, and has since then built up a quite substantial business dealing in old books and prints (for which he has a license permitting him to participate in wholesale auctions). That business is flourishing, and he is no longer available for printing work.

There are other (basically) competent printers in town, but they are not all available for hire. Major publishers such as Adachi and Watanabe have their own 'in-house' printers - salaried workers who 'go to work' in the morning at those workshops. These men do not do outside work.

All that is left is the general pool of craftsmen in the 'kumiai', the traditional craftsmen's association (of which I am a member). This pool is now very small indeed, and the level of competence in the group varies very widely (as it always has) with a few people being quite skilled, and others working at a more basic level.

I was lucky for the initial Senshafuda project job to be able to get Tetsui-san, the son of one of the long-time members of this association, and he has (as we have seen) turned in a good job for me. But he has been astonishingly slow, and has still not yet completed the initial batch of 200 sheets of this relatively simple project, well over a month after he actually began work. Talking to him about this, I now learn that he is not actually printing on a normal 'full-time' basis - he is a member of some kind of jazz-rock band, and spends a few days each week (mostly weekends, etc.) with them. He also works on staff at a guitar 'academy' here in Tokyo (he's in the third row of this staff list).

Now I can understand this ... The job of being a woodblock printer really isn't all that interesting - when you don't have anything emotionally invested in the products themselves, as I do. And for young men such as Ueda-san and Tetsui-san (both in their 30's), the fact that you spend all day alone in your workshop means that you never get a chance to meet ... you know, girls. Both of them have mentioned this to me as a major factor in their decision to get involved with other activities, and I am in absolutely no position to criticize them for this. Young women here are in a pretty strong position these days when it comes to choosing partners, and 'traditional woodblock printer' does not even register on the list of acceptable occupations for a future husband.

So ... knowing about all these things, and thinking about how to move my little business forward, I swallowed hard, and talked to one of the printers from the association. I say 'swallowed hard' because this is really not the route I want to take. These men are nearly all approaching the end of their active years (which means it's pointless to establish any kind of long-term relationship), and the fact that they are older than I makes it nearly impossible for them to take 'direction' from me.

And that's exactly what happened. I certainly won't use his name here, so will simply use X-san. After he heard that I was casting around for a printer, he called (more than once) to emphasize that he was available. I had seen his work, which was only average, so was a bit hesitant, but he was very insistent, and even went so far as to jump on a train and head out here one day, calling me from the station to let me know he was in town.

I decided to give it a try. I pulled some blocks out of the storeroom, sliced up some paper, and sent him off with this small test batch. Of course I gave him a sample print to follow, and the two of us went over it thoroughly before he left, discussing exactly what I wanted. But given that he is about fifteen years my senior, the conversation was not 'easy'. Remember that Japanese has 'built-in' status/position phrasing. It's very simple to speak to somebody younger and tell them what to do; it's far from simple to do it with somebody older.

You can see where this is going.

The samples arrived a short time ago. Here are a few images (clickable). The first is my sample - which he took with him, and (presumably) had by his side when printing:

(The print is from my second Surimono Album, and as I am now down to the final few copies of my own edition of that album, I would like to prepare to release the prints individually in the Mokuhankan catalogue.)

Here are three of his proofs:


[Long item has been trimmed at this point. The full blog entry can be viewed here]

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

Subject: Peru Day Seventeen - Looking Forward & Looking Back
Posted by: Steveke

So far the creative components of our trip have included assigned readings, blogging, and some "looking exercizes" involving drawing (thanks to Bethany for offering some practical pointers), watercolor, relief printing, and "sun printing" (a blueprint or cyanotype process -- for a mid-19th-century example see the cyanotype by Anna Atkins in the Spencer Museum of Art, 1997.0033).


[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog VELOPRINT : A Journal of Printmaking and Bicycling.
'Reply' to Baren about this item.

Subject: Peru Day Sixteen -- Gold Mining
Posted by: Steveke

Looking back over the past two weeks there are several topics that our group has discussed often but that we have not shared in our blog. One of these concerns our awareness of a bristling tension between ecologists, loggers and gold miners -- all of whom have strong opinions about the natural resources of the Madre de Dios region. This became very clear on our trip up the Rio Madre de Dios toward CICRA when a gold miner mooned us. 

We picked up our boat at Laberinto, a gold mining boom-town, and all along the Rio Madre de Dios one can see the blue tarp and bamboo lean-tos where miners have set up temporary camp while they sift the river silt in hope of finding a way out of poverty.

Since we are guests in Peru we do not presume to enter into the complex political debates that churn around its remarkable rain forests, but it is clear that extensive gold mining is severely polluting the Peru?s rivers with mercury (up to 40,000 tons per year as estimated in 2009, according to the BBC, in turn quoting Peru's environmental ministry).

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog VELOPRINT : A Journal of Printmaking and Bicycling.
'Reply' to Baren about this item.