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Message 1
From: Laughing Crow Studio
Date: Thu, 22 Sep 2005 08:04:01 -0700 (PDT)
Subject: [Baren 28783] Re: New Baren Digest (HTML) V32 #3200
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Dear Frank,

I think I see a shared sensibility here - (though mine is oil-based).

http://www.laughingcrowstudio.com/ranchoschurch.html

Yours would be a good one to put in our upcoming "Imprints" show.

>
> Author: Frank Trueba
> Item: What I did this summer
> http://barenforum.org/blog/archives/2005/09/what_i_did_this.html
>
>

Lezle Williams
Laughing Crow Studio
http://www.laughingcrowstudio.com

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Message 2
From: "marilynn smih"
Date: Thu, 22 Sep 2005 09:51:48 -0700
Subject: [Baren 28784] RE: Baren Digest (old) V32 #3200
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Ladies, I did my talk on women printmakers yesterday after our luncheon and meeting at the Astoria country club. The women oooed and awed over the many wonderful prints I had brought to share. I did a demo with a small lino block and they really got the idea and loved seeing a print pulled right before their eyes. Women we rock. But hey all you male printmakers out there you rock too!
Marilynn

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Message 3
From: Diane Cutter
Date: Thu, 22 Sep 2005 10:02:40 -0700 (PDT)
Subject: [Baren 28785] Re: Baren Digest (old) V32 #3200
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That's great, Marilyn. You've widened their horizons on printmaking... way to go!

Diane

www.dianecutter.com

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Message 4
From: baren_member # barenforum.org
Date: 23 Sep 2005 00:02:37 -0000
Subject: [Baren 28786] Woodblocks on display ... more, more, more ... more!

Message posted from: baren_member@barenforum.org

Google News updates:

Sunday September 25
Ipswich, Massachusetts

Ipswich Historical Society trustee Stephanie R. Gaskins will lead a walking tour called “Arthur Wesley Dow in Ipswich,” during which participants will see examples of Dow’s work at the Heard House Museum and then visit nearby sites where Dow lived, taught, and painted.
http://www.ipswichma.com/calendar/default.asp

IPSWICH — The life and works of Arthur Wesley Dow are particularly apt subjects for a Trails and Sails event. The Ipswich-born artist and art teacher frequently made the waterways and byways of his birthplace the subject of his compositions.

Besides the artistic enjoyment his paintings and woodblock prints provide, they also offer small history lessons. The visible changes in the landscape since Dow's days say a lot about the evolution of not only Ipswich or even Essex County, but of all New England.

The Ipswich Historical Society owns the largest single collection of Dow's works, and the society's Dow curator, Stephanie Gaskins, will lead a walking tour of the town where the influential artist was born, worked and is buried on Sunday.

In the past century, Dow has become regarded as one of America's great art educators and an influential force in the arts and crafts movement. His book on composition became a standard art education text in this country following its printing in 1899.

Attendees will see the home where Dow established the Ipswich Summer School of Art, just up the street from the Green Street bridge. They'll walk along the other side of the river, which was the subject of one of Dow's most famous works, "Ipswich Shanties."

(story continues ...)

http://www.ecnnews.com/cgi-bin/05/snstory.pl?-sec-Lifestyle+fn-strailside.0922-20050922-+page_0

***

On Friday, Sept. 30 and Saturday, Oct. 1, SUNY (State University New York) New Paltz will host the New York Conference on Asian Studies, an event that has traditionally attracted scholars from across the United States and around the world.

The Cult of Happiness, a collection of more than thirty Chinese woodblock prints, will be displayed in the East wing from Sept. 16 to Nov. 6. According to the museum Web site, the prints were selected from SDMA's permanent collection by Elizabeth Brotherton, associate professor of Art History at SUNY New Paltz and this year's conference co-chair.

http://oracle.newpaltz.edu/article.cfm?id=1957

***

From the York Region Community Calendar (Ontario, Canada):

Studio tour: The fifth annual Stouffville studio tour features 26 artists at 15 different locations in Whitchurch-Stouffville from 10 a.m. to 4 p.m. today and Sunday. Works in acrylic, encaustic, jewelry, oil, pottery, woodblock prints and more. Call 905-642-1721.

***

Minnesota Children's Museum, St. Paul, Minnesota

Jump to Japan: Discovering Culture Through Popular Art
Opens Saturday, September 24, 9 a.m.

Explore Japanese culture through hands–on activities based on the art forms of animation, manga (comics), woodblock prints and traditional scrolls. Kids can hop on the magical Cat Bus from the film My Neighbor Totoro. Children and adults can be a shopkeeper or customer in a modern manga store, and create their own manga drawings and animation. Visitors can take off their shoes and step into a traditional tatami (woven floor covered) room for a tea party, try on kimono, yukata or happi (traditional Japanese clothing) and play the ancient card game karuta.

http://www.mcm.org/whatsnew.shtml#j2jwhatsnew

***

Paper Museums: The Reproductive Print in Europe, 1500-1800
Grey Art Gallery of New York University,
100 Washington Square East,
~ through Dec. 3.

http://www.nyu.edu/greyart/exhibits/paper%20museums/papermuseums.htm

"Now that digital imagery circulates at lightning speed, the printing press may seem like ancient technology. Yet well before the advent of photography, printmakers’ innovations revolutionized the reproduction and distribution of images. Paper Museums traces the history of reproductive prints—that is, prints which reproduce other works of art—from their rise in Germany and Italy to their flourishing in the Netherlands, France, and England. The exhibition features prints by and/or after Dürer, Michelangelo, Raphael, Rubens, and Watteau, along with celebrated sets by Claude Lorrain and J.M.W. Turner, among many others.

Relatively inexpensive and readily transportable, reproductive prints allowed broader audiences to become familiar with the paintings, sculptures, and other works previously available only to royalty, wealthy travelers, and collectors. Organized in five thematic sections, Paper Museums opens with an introduction to the various ways prints transmitted ideas and styles. Section two explores the paradoxical role played by reproductive prints in relaying notions of truth and authenticity. The third section illustrates how reproductive prints disseminated the imagery of antiquity and contributed to the creation of a classical canon. Part four focuses on the use of prints to promote the fame of artists and collectors. The exhibition concludes with an examination of the social organization of print workshops, highlighting the important contributions of women printmakers.

Challenging time-honored assumptions about art, Paper Museums sheds light on past perceptions and raises issues still relevant today. Revealing the often complex relationships between “original” works of art and “reproductions,” it offers new perspectives on a previously overlooked and underappreciated body of work."

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Message 5
From: annie bissett
Date: Thu, 22 Sep 2005 22:27:56 -0400
Subject: [Baren 28787] Anyone Using a Disk Baren?
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Hi Bareners,

I'm curious if any of you have tried the disk baren designed by Akira
Kurosaki that McClain's sells.

http://www.imcclains.com/catalog/baren/index.html#disk

I'm particularly wondering if anyone has used it for moku hanga. I bought
one and find that it makes a lovely goma zuri but I can't get a nice smooth
impression on a large flat area of color, and I use a lot of broad flat
areas of color. The thing is, I really *want* this baren to work for me
because I love the feel of it. It's so smooth and easy to hold and offers
very little resistance on the paper. My bamboo baren prints beautifully, but
it's not very comfortable in my hand.

Any tips?

Thanks,

Annie B
Northampton MA
http://woodblockdreams.blogspot.com

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Message 6
From: Blog Manager
Date: 23 Sep 2005 03:55:02 -0000
Subject: [Baren 28788] Baren Member blogs: Update Notification
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This is an automatic update message being sent to [Baren] by the forum blog software.

The following new entries were found on the listed printmaker's websites during the past 24 hours. (8 sites checked, just before midnight Eastern time)

*****************

Site Name: Woodblock Dreams

Author: Annie B
Item: Finally Printing!
http://woodblockdreams.blogspot.com/2005/09/finally-printing.html

*****************

Site Name: Wood Engraver

Author: Andy English
Item: Back To The Old Routine
http://studiodiary.blogspot.com/2005/09/back-to-old-routine.html

*****************

[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php

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Message 7
From: Barbara Mason
Date: Fri, 23 Sep 2005 00:11:37 -0700 (PDT)
Subject: [Baren 28789] Disk Baren
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Annie,
I have used it, with akua kolor inks. You might try a piece of mylar as a slip sheet, that might help the marks. Actually I am using a heavy duty ball bearing baren to print an oil based print for the museum here....We had planned to print it on the press as it is linoblock, but the block is so uneven it was impossible and all the edges are breaking down as the artist used some type of particle board door for the support...not the best idea. I am afraid to try to unglue it from the backing as it is deeply carved and I am afraid of damaging the image. Two of us spent 5 hours and finally decided to print it by hand. We are using Masa paper because I had a lot of it and we need 50 prints. They look really good and I am blessing the day I got those two ball bearing barens. We could never have printed this with a rice paddle as the block it 17x22 inches. The artist who carved it is 85 and was unable to print it...wonder why????? At any rate this will be a real labor of love...we h
ave 10
so far.

I think the disc baren will continue to work for you, maybe you should try a different paper? The problem I have with it is I cannot "feel" the block. I know this sounds silly, but it is true. I do like the regular one better for that. Maybe you need to retie it, It should fit your hand well. Where did you get it???? There is a gal here that reties them for McClains in just a few minutes...she is so good. She did a sample of a bottle cap, tied as a baren. Just showing off!
Richard Steiner used this baren a lot at the workshop I went to last summer, and it did leave a few baren suji marks, but that is part of the charm of these prints. Unless it really detracts from your image, I say ignore the marks.
Best to all,
Barbara

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Message 8
From: baren_member # barenforum.org
Date: 23 Sep 2005 10:21:38 -0000
Subject: [Baren 28790] Paul Jacoulet prints on display in Ocala, FL

Message posted from: baren_member@barenforum.org

Google News is still finding an incredible amount of information about woodblock print activity ... here's a goodie for our Florida members:

The Appleton Museum of Art of Central Florida Community College.
Pacific Exotic: Woodblock Prints of Paul Jacoulet
Saturday, September 17, 2005 through Sunday, November 13, 2005

Paul Jacoulet (1902 - 1960) designed a remarkable set of woodblock prints which are beautifully composed, visually exciting, and masterfully produced. This group of 47 original prints - about a third of his total output - demonstrates not only Jacoulet’s interest in exotic subjects, but also the remarkable range of techniques and unsurpassed skill his carvers and printers used to achieve the images.

http://appletonmuseum.org/

Paul Jacoulet blended French and Japanese art influences to come up with his woodblock print visions of Asian subjects. His Paul Gauguin-inspired designs focus on intimate groupings of people. A realist during his early years before WWII, Jacoulet (1902-1960) evolved into fantasy representations after the war and until his death.

His method stemmed from traditional Ukiyo-e, which translated literally means pictures of the floating world, a concept evolving from Buddhist views of pleasure and youth. The subjects float in the frame, without a portrayal of depth and distance. Facial features are symbolic rather than lifelike. The art style began in the 6th century.

Jacoulet produced about 166 woodblock prints, and the Asian Collection at the Appleton has 47 on loan from the Museum of Arts and Sciences in Daytona Beach.

A complicated art process that typically uses a team of sketch artists, carvers and printers, woodblock prints use plates, similar to newspaper printing plates, made of wood to apply each color. The original sketch is painted by the artist and others complete the assembly process. There were at least as many woodblocks as there were different colors.

Jacoulet not only gained worldwide recognition as a woodblock artist, he invented several techniques. Jacoulet's use of powdered semiprecious stones in the wood block was an original idea. He also incorporates current woodblock features such as embossing, lacquers, micas or metal pigments.

Pacific Exotic: Woodblock Prints of Paul Jacoulet is described by the Appleton museum guide as a remarkable exhibition of woodblock prints that are beautifully composed, visually exciting, and masterfully produced. The works, according to the guide, demonstrate not only Jacoulet's interest in exotic subjects, but also the remarkable range of techniques and unsurpassed skill his carvers and printers used to achieve the images.

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