Baren Digest             Tuesday, 12 February 2002     Volume 18 : Number 1716


----------------------------------------------------------------------

From: Daniel Dew <ddew@tampabay.rr.com>
Date: Mon, 11 Feb 2002 09:37:37 -0500
Subject: [Baren 16930] Just A Few Ideas 

Howdy, I am enjoying this trend in the conversation re: quality.
Regarding the amount of exchanges, I think four is fine.
I think Josie at PrintAustralia has come up with a neat twist to their
exchanges that I wanted to share on Baren as an idea.
What if the exchanges were "mixed-up" a bit?
What if one exchange was Hanga only?
Oily stuff only?
What if one exchange was "white line" only?
Printed on dark paper only?
Etc.....

Just some ideas, thanks Josie!


Daniel L. Dew
http://www.dandew.com/
ddew@tampabay.rr.com



------------------------------

From: "Mandel" <rmandel@socal.rr.com>
Date: Mon, 11 Feb 2002 07:03:01 -0800
Subject: [Baren 16931] Re: For  Bobbi Mandel 

Hi Carol,  My e-mail address is rmandel@socal.rr.com.  Title of print is
Sept. 11th. Thanks, Bobbie
- ----- Original Message -----
From: <ArtfulCarol@aol.com>
To: <baren@ml.asahi-net.or.jp>
Sent: Sunday, February 10, 2002 11:40 AM
Subject: [Baren 16922] For Bobbi Mandel


> Are you there?
>
> What is your e-mail address?
> And what is the TITLE of your print for the Firemens Benefit.?
> (This is my one Baren e-mail for the day!)
> Carol
>



------------------------------

From: Cucamongie@aol.com
Date: Mon, 11 Feb 2002 10:26:39 EST
Subject: [Baren 16932] congrats April and non-woodblock post 


Hi all, Congrats April on all the well-deserved successes!  I might add that 
if you pick up Rebecca's woodblock book, you may see work by a couple of 
familiar baren people in there  [:)] 

Also - warning, non-woodblock item!  There will be a solarplate workshop 
taught by Dan Welden in LIC, close to NYC Manhattan, May 4-5.  Dan is the 
originator of this fascinating technique, a great teacher nice person, to 
boot, as Barbara Mason and others can attest.  I have to admit that I took a 
one-day workshop in solarplate printing and have started a whole new series 
of work using this technique.  If you're interested, please email me offlist 
and I'll give you the details.

Best wishes
Sarah


------------------------------

From: slinders@attbi.com
Date: Mon, 11 Feb 2002 09:43:55 -0600
Subject: [Baren 16933] Vandercook Press...Vermont 

This is from another list that I'm on.  This area code seems to
indicate Vermont. (I'm not involved in this transaction.)  

Call the number provided or email her at <zoep@together.net> .

For Sale: VANDERCOOK 320 PROOF PRESS - Bed size 20" x 46 1/4",
Maximum form 19 3/4" x 27" - in great working order, asking
$600.00 ,
you move. Call 802.863.0511.

Sharen

------------------------------

From: "Gillyin Gatto" <gillying@Maineline.net>
Date: Mon, 11 Feb 2002 12:06:45 -0800
Subject: [Baren 16934] exchange discussions 

continuing the discussion on exchanges and the quality of work we are 
sending out
      it is just now sinking into MY head that the margins
  everyone is talking about must be about my print
 which had quarter inch margins! yikes

this is something that i would never do on purpose
 for it is not impossible,but not fun, to mat

   so why  would i do it for an exchange?

to meet the size limits of the case
 the paper could only be 10x 15"
i had impulsively carved a block that "looked about the right size"
 when
the idea
that had been cookin thru the summer finally jelled
and wanted to come out
it wasnt til i had carved the whole thing that i remembered to measure it
and found that it was really too big if it was to have any margins at all
i remember my thinking process  to be -  well  in a set of prints
  it wont matter       i  always envision a print  matted and shrinkwrapped
or matted and framed     except in my own file drawers ,
the margin is always matted out
so thats how i was thinking about it

also on the computer jpeg   one can
 frame the image precisely
 so again the margins are irrelevant
   i really SEE now that i sent a print with quarter inch margins
 and purposely off register  and that that might have upset some

when i myself ,was so carried away by the CONTENT of the work
  that i really did not consider those things to be important

i do apologize for forgetting that margins matter  in a "set" of prints in a
case
in future exchanges i am taking care to find a block  or cut a block  which
allows for a good size margins.....

i   sign up for exchanges for many reasons
but the neatest to me   is that it MOTIVATES

and gets me working  thinking  carving printing
 which  even tho i am a professional artst   selling in galleries
  alot of my time is spent preparing existing work for sale
  getting up my inventory  for the galleries
matting and framing    matting framing
i also do monumental collages of my prints
utilizing underinked prints and proofs
and hand coloring
on room dividing screens

new work had somehow gotten relegated to last in line
finding the BAREN two years or so ago changed that
and  signing up for two exchanges in that time  plus two overflow exchanges
did not seem too much   but just right
i planned to do a different variation of the same print for the over flow
different colors  or   a black and white version

for once a deadline was welcome
i like the feeling of working on my ideas for an exchange
letting them simmer and then pouring forth

 presently printing   for our large print exchange

 and looking for a block for my Matt 10:1
 which is drawn  on paper

the exchanges make me feel part of an art world " out there somewhere"
 getting to talk with many other  artists
 and then
 experience their prints in person
 is very rewarding

and  brings back to me
 so MUCH inspiration
 in the prints
the papers , the ideas , the inks, and styles
such stimulation is hard to come by
out here  in the boon docks

i welcome this discussion of quality and technique
also  because i tend to be one of the more messy impulsive types
 and not a perfectionist  to me there  is no such thing as perfection
 so why aspire to it?  can perfectionists
 and nonperfectionists  coexist ?

    that speck of dust with a little haylo around it
 might be the one upon which Horton Heard  The Who  !
  it shows that LIFE is happening around us
   that  cats  sometimes  run across the  printing  table
   that theres a sick bantam hen in a cage on the other table
 watching me print
or
that i will stop to go fill the woodstove and
 may  transfer
 a splintery speck of wood inadvertently to the ink bed!

   i admit to not worrying about these things half as much as i used to
.one doesnt live in a cabin for thirty years and have the same sensibility
as the one in an uptown apartment with white carpet

or any one in between for that matter
  we each have our own level of quality control

 after pulling a print  i inspect it for  specks and the like .
 if i find any   i retouch with my finger or a small stiff brush
when it dries  it blends quite well

 i DO appreciate being prodded to improve technique
and once again an exchange as prompted me
 to change  the way i finish

 the 18 x 24   plywood  block i am printing now

i am burnishing  the figure in the foreground with a silver spoon
  after having first burnished the whole print with a telflon baren

this turns the background to a grey tone and makes the figure stand out

when you look at the print
  the background is not " under inked"
it is purposely  not- burnished  with the spoon    to keep it light
which is
another way ,refering to  Dan's quest for shades ,
 to easily create grey tones   especially  for those who dont use a press-

burnish the whole print with the baren/or hands
 first
 then
simply rub areas with the spoon that want to be BLACK
 and not the ones which want to be grey

i am finding myself doing this selective rubbing with alot of my older
prints which are still selling
 and it makes them even more alive
and 3 dimensional

thanks for all the encouragements  AND chastisements
thanks for being out there

Gillyin  machias  me  usa



------------------------------

From: Wanda <robertson@canby.com>
Date: Mon, 11 Feb 2002 10:32:28 -0800
Subject: [Baren 16935] from Claude Aimee Re: Quality of Printing 

Re: quality of printing in exchanges, time limit, etc.
Quality:
I think that exchanges are learning experiences. There are printmakers
of all levels participating, from novice to really accomplished ones.
The important is to send out our best effort. There will always be a
difference of quality between the prints because of that. If one wants a
high quality portfolio, one can contact very highly skilled printmakers
and ask them to join in a top professional project. But even then, there
will be differences and an unevenness that is characteristic of group
shows or group effort. And believe me, I know. I've coordinated many
group shows of national and international scope and there are always
outstanding pieces, excellent ones,really good ones and some that lack
inspiration and are kind of mediocre. That's life!

Image:
This is a sensitive issue. What is considered a good image? What is
considered out of topic? Imagery is a very personal thing and something
that is developed over the course of one's career. Who is to judge what
is good and what is not?

Frequency of exchanges and time limit:
I think it's up to the artist to figure out how many exchanges a year
they can realistically take part in. Some artists (Like Maria or Barbara
Mason) are very prolific and work fast (and well), others need more time
to think out the image and carve out the block. So it's a question of
personality and working style.

 I think it's a good idea for Baren to have many exchanges a year so as
to give a greater number of artists the chance to participate. And if
the time limit is too long, most artists will tend to wait till the last
minute anyway.

I tend to agree with Barbara Mason. The more you print, the more you
learn the craft of printmaking and exchanges are a stimulating way of
learning. Long live exchanges!

Claude Aimˇe

------------------------------

From: Julio.Rodriguez@walgreens.com
Date: Mon, 11 Feb 2002 12:52:40 -0600
Subject: [Baren 16936] Re: Just A Few Ideas 02/11/2002 12:52:42 PM 

Congratulations to April for all the hard work and showing and welcome to
the new folks and the lurkers
speaking up for the first time.  Long post  about exchanges follows.

Some wonderful discussion on the exchanges, quality, themes, etc. My humble
opinion below.

Gillyin writes:
"...i do apologize for forgetting that margins matter  in a "set" of prints
in a
case in future exchanges i am taking care to find a block  or cut a block
which
allows for a good size margins.....i   sign up for exchanges for many
reasons
but the neatest to me   is that it MOTIVATES"

Hey, no need to apologize, there are no standards defined in our exchanges
and we all do it a little different. Some do bleed prints, others do 1/4"
and others do 1", yet others do
a 4X6" image on a sheet of 10X15" paper for an oban sized exchange !!! I
don't think anyone was referring to your prints in regards to margin size.

ps.There is nothing I dislike more than when I get a japanese print and
someone has matt burned over the edges where all the print information is
found...or someone has purposely trimmed this off.. Aaargh!

The Baren exchanges were started back in 1999 by Mundie, Hauser, Vollmer,
Bull and the rest of the gang just for the very same reason you mentioned.
MOTIVATION.  To get us to make prints. Lot of prints. Oily and Hanga,
beginners and pros, etc...To get us to make better prints, by doing prints
and exchanging them with peers...not by having our prints sit in drawers.
To that degree, Baren has been responsible for the creation of nearly 360
NEW woodblock prints in the last 2.5 years thru the 12 completed exchanges.
Because our edition has been close to 31 per exchange...that means over
11,160 prints that are out an about all over the world...prints that
perhaps may never had been made if not for these exchanges. Are they all
"good" prints ? Perhaps not, I can't tell you that..only each individual
artist can say wether his/her print is good enough or not and that is a
matter of self satisfaction and pride wether the print passes.... But the
prints are out there and that's a fact. Like the motto reads....CUT! PRINT
!

Years from now when I look back on my time spent here at Baren, I want to
think of us as a community of printmakers striving to work and learn from
each other. The special people
I have encountered and shared prints with will be with me forever. I won't
measure the success of Baren on the merits of any one print or any one
exchange but rather on the overwhelming feeling of global camaraderie into
we have evolved. That' special.


Sharri writes speaking about the flora exchange:
"...But I felt that on the whole the package was nowhere near as good as
the 'junin' set, which is the other baren set I had. So,
when I got home, I pulled both sets out and had a look. The
junin prints were far superior as a group than flora. I  was
very disappointed. When I signed on to flora I was
envisioning all those subtly beautiful hanga flower prints."

I agree here with Sharri, Josephine & Dan here. There were a couple of
prints badly printed in Flora but I think overall people's dissapointment
(my own included) maybe more inline with content rather than with
technique.  My suggestion is that the exchange theme was toooo wide and
open. If you look back at the previous themed exchanges : Self-portrait,
The Comedy of Life, Junin-Toiro (Ten Color,Ten people), Endangered
Species...these were all very self contained themes. In my opinion "Flora"
and now "Music" are just too wide ranging themes to make a theme exchange
work well as a whole. Perhaps narrowing the theme a bit would help.

Many have spoken up for the fact that we need to clean up our act, I mean
our prints!...I agree. For me it will mean doing a larger edition so I can
throw out the bad ones.

David Stones writes:
"The quality decision is the print-creator's alone - and it's a tough call.
Or it should be (I put this in for those who have either just started or
are on the way - and not to criticize those whose style is different from
my own). If you think your print's not good - it isn't. Either submit it as
a step to better work or store it for six months and then look at it again.
If you still find it lacking - cut it up and into the bin."

I totally agree with David here. As a beginner and a part time amateur
printmaker, I make prints to please myself and that is my goal, either I
like them or not, but I am not concerned what others think. I am not
actively trying to sell them or to have them displayed at a gallery. Those
would be big pluses for me. Often half-way thru an exchange I have not
liked a design, or perhaps found that my work was not  acceptable and made
decisions to start over or redo the work.  This often has caused delays
which is an entirely other subject. I am always striving to get better (and
I think I have improved thanks to the help and support of the Baren folks)
but I can only measure myself by my own rulestick and not against the work
of pros and full-time printmakers like the two David's, Maria, Graham and
others.  As long as I am making progress along the way, there is hope!

David Stones writes more:
"...may be the "fault" of exchanges that have short time limits of a few
months and randomly-selected themes also decided over a short time. This
gives little time to think, sketch, proof, re-carve, re-print or thoroughly
look at the work."

A year and a half ago, a rotating pattern of theme/no-theme and print sizes
was put into
the exchange schedule to allow everyone/anyone as much time as needed to
prepare work for in advance for the exchanges. This pattern has not changed
and is clearly stated in the guidelines. I can sit here and tell you
exactly what each exchange will bring for the next 100 years (if Baren is
still around or until we change the rules). It is not rocket science ! The
only two unknowns are "themed" exchanges and every third exchange when the
print size is "other" and is a variant. For those that need six months to
prepare their prints, or a year or two years...there is an exchange for
you...there will always be alternating open
& theme exchanges...and you can plan ahead for either a chuban or an oban
sized open exchange. These are the Baren established exchanges that run
quarterly. Remember there is at least  3 or 4 other side projects that have
nothing to do with this. Gospels, Large-Print, NYFD Benefit, etc are all
pluses for those that can't get enough or have the time for making more
prints. There are also many other lists that offer other exchange
options...WEN, PRintmakers, etc....

Here is the current schedule for Baren quarterly exchanges, paper size &
theme:

#13 - chuban, theme: 'Music', opens 2/1, due 6/1
#14 - Oban Open , opens 5/1, due 9/1
#15 - "other" theme, opens 8/1, due 12/01
#16 - chuban, open
#17 - oban  theme
#18 - "other" open
#19 - chuban theme
#20 - oban open
#21 - other theme
#22 - chuban open
#23 - oban theme
#24 - other open
#25 - chuban theme

I just put in the dates for the next three exchanges but you get the
idea..is all spelled ou in the guidelines at barenforum.org. While you
can't plan ahead for a themed exchange or an 'other' paper size..you can
certainly plan WAY AHEAD for the chuban and oban open. The schedule above
carries us thru mid  2005 !...if we are still here or the rules don't
change... which is really up to us.



Dan writes:
"..I think Josie at PrintAustralia has come up with a neat twist to their
exchanges that I wanted to share on Baren as an idea.
What if the exchanges were "mixed-up" a bit?
What if one exchange was Hanga only?
Oily stuff only?
What if one exchange was "white line" only?
Printed on dark paper only?"

There are some wonderful exchanges going on at Print Australia and they
have a different approach to running them that what was established here at
Baren a while back.  For example in PA they have certain exchanges only for
Australian artists and just recently I believe they are introducing a
"selection" process prior to acceptance to the exchanges.  This in order to
weed out inferior prints and other problems like what we are discussing
here. I think is great that many folks participate in both forums (Baren &
PA) and take advantage of the many exchange opportunities available.

On Baren your only requirement for participating is that you sign up for
the exchange and take part on the forum discussions. On Dan's comments
above, there is no reason why we could not have any of these  ideas used as
part of a  "theme" exchange....I vote for an all 'Hanga' exchange for
#15...are you with me  Dan?

thanks for reading thru........Julio



------------------------------

From: b.patera@att.net
Date: Mon, 11 Feb 2002 19:53:13 +0000
Subject: [Baren 16937] Re: Quality 

Princess,

I'm in total agreement. Feedback on the prints would be 
great. As you say... the comments/criticisms can 
be "taken or left" ... but at least we won't be 
operating in a vacuum. 

Barbara Patera 


------------------------------

From: barebonesart <barebonesart@attbi.com>
Date: Mon, 11 Feb 2002 11:51:46 -0800
Subject: [Baren 16938] Re: Baren Digest V18 #1715 

Wow, I think Mary has hit the nail firmly on the head. Why not have all the
exchanges sign up at the beginning of the year? There may be some holes in
this, but I'm sure we could work them out. That way, those of us who are
turned on by a theme could have more than the 3 months now offered, which
some of us deem insufficient. I would love to do the music exchange, but am
afraid I cannot meet the deadline, but if I had 6 months, it would be no
problem. 
This recent  Exchange(#12) - who would have had something ready to go for
that since it was an unusual size? And even if I had, for some obscure
reason, worked in that size my luck would have been to have formatted it
horizontally.  Having even a 6 month sign up, rather than the 3 months
offered at present, would certainly work for me.  As far as that goes, we
could stay with 4 per year, signed up quarterly, but given 6 month
deadlines. Well, I seem to have spoken in a circle.

I hope no one implied that a single color print is any less than a multiple
color print. Or any easier to do.  Plain old black and white, done well, is
exquisite and can't be beat. And, many times, black and white is all that
works. 

Princess, your comments on critique are right on target.  This forum seems
very well suited to exactly that.  I'm just mulling the various ways it
could be done and what would be the most effective. If we get into critique
in the forum it could easily become the only thing we do. Maybe someone will
come up with a workable solution.
But, since I said I was going to lurk and work, I'd better get to the
lurking part.
Sharri



------------------------------

From: Daniel Dew <ddew@tampabay.rr.com>
Date: Mon, 11 Feb 2002 16:39:36 -0500
Subject: [Baren 16939] Re: Just A Few Ideas 

You know, if the size was smallish, I want to give Hanga a shot, so yes, I'm
with ya.
Please understand:  I am not picking on or pointing out "newbies" (means
beginners, not meant as a derogatory) mistakes.  I was speaking to those who
have done excellent work in the past but have submitted "less than"
excellent work in some of the exchanges.
I knew I was going to blasted, but you know what?  I don't care.  It needed
to be said.  I have busted my hump late into the night and cancelled and
skipped plans for the weekend to meet the deadline, even if I had to start
over on a print, and then to receive prints that looked like they were
whipped out in an hour or two "WITH NO EXPLANATION ATTACHED", then I felt
slightly gipped.
I am going to use a member here as an example, hopefully she will still be
my friend.
When I hosted the Salon de Refuse, I received these prints that at first
look "I thought" looked horrible, very poorly done.  Then I read her
information sheet she sent along and it all made sense.  Now I love the
print and it is one of the few I have framed and set aside.  That is what I
meant by just "explain" the print, the reason, the etc.....

Oh well, I always stick my foot in my mouth, so...


dan dew


> From: Julio.Rodriguez@walgreens.com


> Subject: [Baren 16936] Re: Just A Few Ideas


On Dan's comments

> above, there is no reason why we could not have any of these  ideas used as
> part of a  "theme" exchange....I vote for an all 'Hanga' exchange for
> #15...are you with me  Dan?
> 
> thanks for reading thru........Julio
> 
> 



------------------------------

From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 11 Feb 2002 14:53:04 -0800
Subject: [Baren 16940] RE: Other Ideas 


> Howdy, I am enjoying this trend in the conversation re: quality.
> Regarding the amount of exchanges, I think four is fine.
> I think Josie at PrintAustralia has come up with a neat twist to their
> exchanges that I wanted to share on Baren as an idea.
> What if the exchanges were "mixed-up" a bit?
> What if one exchange was Hanga only?
> Oily stuff only?
> What if one exchange was "white line" only?
> Printed on dark paper only?
> Etc.....


Re the above I think the more an artist is restricted the worse the images
and the more that an image will be done in haste just for that exchange. I
feel the best images are those that participants have somehow fitted to
their current body of work and/or style, as John Center suggested and (for
example) Barbara Mason, Ruth Leaf and Jim Mundie have pulled off so
superbly. Free exchanges are nearly always my favorite, because they truly
say something about the art of the artist.
I (needless to say) also feel that 4/year is fine, all that is required is
that someone thinks a year ahead. Julio's schedule should help anyone plan
their July 2005 exchange. More on a serious note, longer deadlines tend to
serve to fade enthusiasm and increase drop-outs. There is more pressure on
the coordinator to try to keep everyone on task and, as someone else
suggested, the vast majority seems to start working about 30-60 days prior
to the deadline anyway. JMHO here.
As far as why we exchange...personally, to get my filthy greedy hands on
other printmaker's prints. I exchange because I love prints, I love good
prints, bad prints, beginner prints, nonsense prints, wrinkled prints,
especially prints from all over the world. Love prints, that's why. I learn
from each and every one, I don't need a damn explanation to tell me why the
margin is too small and, as a growing/learning printmaker, I certainly don't
need an explanation to tell my why there are fingerprints on the back of the
print or why the registration is off. Neither do I care whether _I_
personally get the relationship between the theme and the print. Words spoil
art. I throw away those little pieces of paper telling stories about the
print. I love prints, they speak their own language, they scream or whisper
a story, everyone of them. I don't particularly look at the colophon or the
signatures. Words spoil art. I can tell many Bareners prints by the style
and it pleases me when I guess right (okay, I peek at the colophon after I
look at the prints) and it pleases me when I guess wrong. As someone said
recently in a sit-com: "take that blah-blah to the blah-blah-ologist."
The second reason I exchange was the challenge, but that was a long time
ago. Now I'm just addicted. New theme? new challenge! Hanga only? a really
new challenge! But those of you who want perfect prints will be disappointed
every time, and are undoubtedly sending out perfect prints, yes?  Perhaps a
more fitting venue for those perfect prints would be the many museum
competitions available to the more discriminating printmakers out there. If
the print folios are to be exhibited, THEN and only then pluck out the
offending bastards and by all means exhibit only the best work.
"Young" prints are full of energy and desire, something that is missing in
many a perfect work. And with all the changes in printmaking history, who is
to say that ink should be thin and margins wide? I thought one of the gifts
of contemporary art-think was that art is in the image? Printmaking is, to
me, all about the surprises, how the plate (whatever plate) changes the
image I had in mind, how the tools change the image I had in mind, how
pressing too hard with a baren embossed the clearing marks from the chisels
and they made a fine and intriguing background. The first time I over inked
a block I fell in love with the ridges left by the ink on the paper, a
simile of the carved block itself. Planned it? No, everything must not be
planned in printmaking, not my printmaking. And if my prints aren't "good"
enough to satisfy someone then I suggest that they do the same thing with my
prints that I do when they are not good enough for me: recycle in the
blender and make paper for the next exchange prints.
Let's not ward off someone who wishes to exchange and love prints for the
sake of a bundle of smudgless prints. Why exchange prints with other
printmakers?  For the love of the craft, that's why.

jdakl;ytawe478ot3atlgu <those are smudges! Maria

<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria@mariarango.com
<><><><><><><><><><><><><><>


------------------------------

From: Vishnovus@aol.com
Date: Mon, 11 Feb 2002 19:38:29 EST
Subject: [Baren 16941] Re: Quality 

I love this baren discussion.
I'm one of those Newbies...this will be my first exchange...Im feeling 
positivly virginal about it! 
 Im finding the discussion very helpful, because many of these same questions 
came to my mind after I signed on and started having second thoughts as to 
whether I was up to this project...
Im relieved that this discussion illustrates such varied opinion and honesty.
Previewing the slideshows of past exchanges is pretty intimidating for a 
newbie, but I promise to do my best, and hope you enjoy what I can contribute.
Cut. Print. Love that!

Ld




------------------------------

From: Graham <gscholes@woodblock.info>
Date: Mon, 11 Feb 2002 17:51:05 -0800
Subject: [Baren 16942] Quality & Exchanges

Its been a good can of worms Dan.

I am coming out of the shadows and offer suggestions and experience with regards to 
exchanges and quality issue.

For the sake of the new members, I participated in two exchanges in 1999. The links 
are not operative on the Baren forum so you can only see one thumbnail gif. of Rain Dance.

On the subject of quality this is very much a subjective topic.  As there is not a red rule 
book, it depends on the ability/knowledge of the one that critiques the work.  For a 
newbie the standard is usually less than that of established/oldies and/or persons that have a 
great deal of experience.  Don't get you garters knotted folks I'm talking generally.

I have seen work accepted into high end exhibitions that have questionable quality and 
yet the statement is profound. Having a recent discussion with the National Gallery of Canada, 
the most important fundamental criteria is "Statement" and an understanding that the artist has 
given the subject  "profound thought and the subject matter is handled in an innovative way". 
Technique and quality (within reason) is secondary. (except for finger prints)

As far as the standard in the exchange programs, both here and Print Australia, the standard 
is all over the map. When anyone participates in the exchange, you go knowing that it will be 
a mixed bag. If in the opinion of a person, they feel the mix bag, is not what they want to be 
involved with, well so be it.  If the standard of execution and imagery improves then they may 
become involved.

Often, time is a factor.  The number of exchanges has to do with involvement as you can pick one, 
or all, depending on the workload.  For myself I have not been involved since 1999 because of 
the workload.  Another factor is the size of the exchange.  I have heard from some that 30 prints 
is too large for their liking. I am one of them.  It is going to be interesting to see the feed 
back from PA, since Josie, through consultation, has reduce the edition down to 20.  She had hoped
I would participate but alas I have much on my plater and can't go there.

The other area to be considered is the time allotment to create a piece for an exchange.  
Generally the lesser the time the lesser the results, (careful with your garters knots folks). 
Some dislike creating work based on a rigid time schedule. This is critical for me. I left 
deadlines back in the graphic art world. Numerous piece have taken me up to a year to sort out 
and come up with a print image that is the statement I want to express. I prefer to do prints 
that are very involved and requiring a dozen and usually more colours. I have been working on 
and developing a print that is now into the 5th month of off and on thought process. I am hoping 
to have a hard copy in a month or so. 

Dan's introduction to this matter, points to the fact that some of the work is sloppy from several 
aspects.  I suspect that in time this sloppiness will probably catch up to those that did sloppy 
work. I would venture to say that a person knows in their heart if it is a "that will do" or 
"that is what I wanted" print.

First it has to be determined, usually by the audience, if it is slip shod practice, or is it 
intended as a part of the expression, a kind of "Risk Taking", that is such an important ingredient
in art making. This can only be determined by a body of work... not just by one piece. The body of
work then becomes the norm' and begins to show intent and expression. Thus a reason for 
exhibitions. A non-adjudicated Baren exchange exhibition is not going to facilitate this objective.
The worst scenario about slip-shod is that sometime, someplace the occasion will arise where the 
work you have contributed will be critiqued. If it does not pass the test (of caring) you will 
be overlooked. So it is critically important that every piece of work one creates should be at the 
quality and the highest standard you want to express. I have read so often on the list servers that
...  I am a beginner I don't know. Not knowing is no defence, so says the judge.... 30 days or 
$500 fine.


Princess Rashid wrote.....

>I think it would help us all improve the overall quality of the contributions
>to the exchanges for the re-introduction of consistent, intelligient criticism
>via the feedback page or just private emails.


A couple of years back I endeavoured to help some to the contributors via personal e-mails.  
In theory e-mail should be an wonderful vehicle for a help forum. In my experience and based on some 
of the responses to my questions, endeavouring to get a dialogue going, I could see I was wasting my 
time. I had enough negative response from some, who immediately went on the defensive, that I stopped 
the practice.

As I said before on this forum, it almost impossible to carry off a critique through writing for one 
basic reason.   NO BODY LANGUAGE.    


>If we don't intelligently comment and criticize each others work  how will
>we grow as artists and as a community of artists?


Feed back is vitally important but it has to be a body language event. (that sounds dirty (*<:)    
Become involved with other people in your communities. Take classes, bring together others with 
interest in printmaking, join a group. If this is not possible then read all you can find on the 
subject.

Create - Cut - Print

Graham/Sidney BC
An Island in the Pacific
Home of the Boot Camp
http://woodblock.info



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End of Baren Digest V18 #1716
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