Today's postings

  1. [Baren 38277] Re: New Baren Digest (Text) V46 #4731 (Mar 6, 2009) ("Frank Trueba")
  2. [Baren 38278] Re: No Friends to Greet Them (Sharri LaPierre)
  3. [Baren 38279] cohesive body of work ("viza arlington")
  4. [Baren 38280] Re: cohesive body of work (carol Montgomery)
  5. [Baren 38281] Re: cohesive body of work (ArtSpotiB #
  6. [Baren 38282] Re: No Friends to Greet Them (aqua4tis #
  7. [Baren 38283] Re: cohesive body of work ("Terry Peart")
  8. [Baren 38284] New Press!! (AGott26909 #
  9. [Baren 38285] Re: cohesive body of work (Barbara Mason)
  10. [Baren 38286] Re: New Press!! (Jürgen Stieler)
  11. [Baren 38287] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: "Frank Trueba"
Date: Fri, 06 Mar 2009 13:03:43 GMT
Subject: [Baren 38277] Re: New Baren Digest (Text) V46 #4731 (Mar 6, 2009)
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Our offices will be closed for relocation Friday, March 6th, 2009. I will reply to your message on Monday, March 9th.
For information regarding the Staff Human Resources relocation, please visit our website at:
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Message 2
From: Sharri LaPierre
Date: Fri, 06 Mar 2009 17:53:16 GMT
Subject: [Baren 38278] Re: No Friends to Greet Them
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Annie, Your new print is lovely. I couldn't get my computer to
respond to your blog. It is feeling out of sorts since I updated
Firefox, I guess. My preference is for the darker one - I like the
mood it sets and the tension it provides with the postures and
expressions of the group. Just wait until they find out what is in
store for them!

Cheers ~
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Message 3
From: "viza arlington"
Date: Fri, 06 Mar 2009 19:14:11 GMT
Subject: [Baren 38279] cohesive body of work
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ROBERT SIMOLA asked in his blog post
As I look over the prints I have done in the last year, I keep trying to see if they create a body of work that meet the "cohesive" criteria of the California Society of Printmakers. So far the answer I keep coming up with is no, they are not cohesive. My goal has been to illustrate the respective poems to which each print is attached, and for some reason, even though the subject matter of each print is a woman's face, the prints seem to me to be to stylistically diverse to be cohesive. So what makes a body of work "cohesive"? Is it style? subject matter? size? technique? all the above? some of the above? none of the above?

I have this same problem. i set this goal for myself every year and every year i fail. I don't know what's wrong with me. i just seem to flit all over the place style, subject matter, printing techniques etc... i can never land on one for long. does that make me a failure as an artist? is it just a lack of discipline on my part? why is it so important anyway? and to who?or is it whom? anyway i would like to hear what others have to say about this subject and maybe get some advice.

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Message 4
From: carol Montgomery
Date: Fri, 06 Mar 2009 21:27:40 GMT
Subject: [Baren 38280] Re: cohesive body of work
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Hi, Viza - I know what you mean! I didn't know what a cohesive body of work meant until I was exposed to the master printmakers at the San Francisco Art Institute. They worked with me on my vision and technique and that helped a lot. Apprenticeship and constant feedback is the key. Sincerely, Carol Montgomery, Helena, MT
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Message 5
From: ArtSpotiB #
Date: Fri, 06 Mar 2009 23:16:43 GMT
Subject: [Baren 38281] Re: cohesive body of work
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first of all, there are no limits to repeated tries to join the California
Society of Printmakers. If a portfolio is not accepted the first time, there are
other opportunities in the future with kind eyes and hopes by the jurors. The
jury consists of anyone who has been on the Board of the group. As a result,
new and different eyes do the jurying each time as the group is not always the

Next, I believe that your work has a singular "voice". By that I mean that I
could look at a variety of prints and pick out which ones you created. This
is, as you know, different from the "style? subject matter? size? technique"
that you mention in your posting. Choose your best, try not to have a hodgepodge
selection and take your chances. Depth rather than breadth is appreciated.

The CSP seeks to add members who are capable of a professional presentation.
For that reason, following the guidelines posted on the website regarding
packaging, presentation and selection is important as such are indications of
professional level awareness. As former pres. of this group, believe me, it's a
hard thing for many to achieve... and maintain, yet makes the difference when
organizing exhibitions and other events.

Originally the group was set up as a means to acquire patrons and further
sales. Throughout it's nearly 100 yr old existance the CSP has varied in it's
focus and abilities. This has included publications both for the membership and,
separately, for the more academic world, an archive of
administrative/publications in the UC Berkeley Bancroft Library Archives, education (it's a 510c),
networking and social benefits, brown bag workshops for futher education, etc.
It is close to being the oldest group of it's kind in the USA, and is
recognized by museums and overseas as a prestigous group.

Since my tenure and into the following president's time, much of the energy
of this magnificient group has gone into presenting juried exhibitions. This
coming Saturday the annual membership meeting occurs. Leadership is about to be
transferred from the capable hands of Barbara Millman to Anthony Ryan. I'll
not be there, as I am determined to attend a stone litho class at the KALA
printmaking school in Berkeley despite unfortunate calendaring.

So, please, do send in a portfolio for the juring time... You have nothing to
lose and everything to gain.

ArtSpot Out
Benny and The Bandit Dog
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Message 6
From: aqua4tis #
Date: Sat, 07 Mar 2009 00:52:17 GMT
Subject: [Baren 38282] Re: No Friends to Greet Them
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(re Annie's print) i agree with sharri on all counts
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Message 7
From: "Terry Peart"
Date: Sat, 07 Mar 2009 00:54:54 GMT
Subject: [Baren 38283] Re: cohesive body of work
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From: "viza arlington"
i can never land on one for long. does that make me a failure as an artist?
is it just a lack of discipline on my part? why is it so important anyway?

No Viza, It doesn't make you a failure - its probably what makes you an
artist. You want to see, 'what-if' and 'what would this look like?' Or
you see something and think - I can do that too!
I must say that doing a series has its advantages tho. I'm in the middle of
a series and I'm tired of it, but I can tell I'm learning things that will
be very useful to my future art-making. Whenever I have a problem or a
technique I'm having problems with, I set myself a goal and do it tell I'm
sick of it! But, I've always been pleased with the results. (and I get it
out of my system).
West Seattle
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Message 8
From: AGott26909 #
Date: Sat, 07 Mar 2009 04:19:40 GMT
Subject: [Baren 38284] New Press!!
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I have not been too active here for a LONG time- Between moving, and
other 'stuff', I've just been BUSY.

I recently completed one of the biggest printmaking-related projects
that I have ever undertaken- The building of my etching press! I actually
started it about 3 yrs ago, but am just now getting it fully assembled and working,
now that I am moved into my new studio space and have room for it. You can
see it here-


I was actually inspired by others on this list- and decided to give it a
shot. I am glad that I did! Most of you probably don't recall back when I
was starting on it- But I got a lot of advice/encouragement here. Mike Lyon was
one of the major reasons I tried this- After seeing his beautiful press, I
had to give it a shot.... Thanks, Mike :)

It works like a dream- and I can't wait to get ink all over it. Perhaps I'll
have to do an exchange in the near future- After the Wedding in June, that
is- I'll be pretty busy up 'till then :)

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Message 9
From: Barbara Mason
Date: Sat, 07 Mar 2009 05:08:19 GMT
Subject: [Baren 38285] Re: cohesive body of work
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When you print for an exhibition, say you need 15 pieces to fill the space, it helps to have a theme and to use colors that go together in units, say three that are mostly warm, 5 that are mostly cool and 7 that are neutral. This will make the work look like you did it all at the same time and that it goes together. Having a theme for the exhibit that you keep in mind for several months as you do the work will also make a cohesive show. Similar technique also will help. I have been doing one person shows every year or two for the last 20 years and the older I get and the more often I do them the more they look like they belong to their own group.
I think it helps sell the work to have it hung as a unit, but it can be two or three units in one so they do not all have to look alike. If you are doing several units in one show it helps if they are all the same technique.
I think it makes you look more professional as an artist to do a body of work that relates to itself. On the other hand, you could do a very diverse body of work and have one thing that travels through each piece, like a little image that is somehow repeated in some way in each piece, if even in a small way.
I am working on a body of work now for an exhibit in May and my theme is 'connections ", I visualize it as ribbons that run through each piece in some way symbolizing the threads that run through our lives.
Maybe you are making yourself crazy by trying to make all your work look cohesive, try doing 4 pieces that are a group and then 4 more and then 4 more. In the end you will be cohesive and the groups can be quite different as long as the 4 pieces relate to each other.
My best.
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Message 10
From: Jürgen Stieler
Date: Sat, 07 Mar 2009 11:28:01 GMT
Subject: [Baren 38286] Re: New Press!!
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Hi Andrew!

Congrats for your new press, I am really imPRESSed! I havn't been busy
for a long time too here due to other business. I have a really cheap
press, rollers abt 2" in diameter and 20" long, which is really
unsatisfying with relief prints. I decided to build a simple press for
woodcut and linoprints and smaller size, made of kitchen working plates
and a jack, finished tow weeks ago, and it is still waiting to press the
first print. There are enough concepts and drafts, but no finished
printing plates yet.

My dream still is an etching press with rollers of abt 31,5" long and a
bed size of 32" width - we have a wonderful paper here made in Germany
(Hahnemuhle mold made, deckle edges) with a sheet size of 31,7" x 47,25".

Could ypu please tell me where I can find the plans of Doug Forsyth, my
son is still keen to build an etching press together with me so we have
a common plan for the near future :-) .

And by the way: All the best for you and yours for the wedding!


Digest Appendix

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

Subject: Tom Kristensen - printmaker
Posted by: Julio

Here is a short video by the owner of Artelino Galleries that describes the work of one of our baren members. Tom Kristensen, born 1962, resides in Australia and works in the Japanese 'moku hanga' style. The video looks into his methods, tools and materials and his previous series. It also includes the latest designs from the Barack Obama series. - Video produced by where you can find other introductory videos on such artist's as Paul Binnie, Toshi Yoshida, Katsuyuki Nishijima and many others.

Here are links to Tom's prints on the Baren Exchange archives:

'36 Views of Green Island, No 5, Rock Platform' (Exchange #22)
'Green Island Moon 1' (Exchange #25)
'Kaiju, Godzilla vs KFC' (Exchange #27)
'Grable Nude BX29' (Exchange #29)
'M is for Mao' (Exchange #31)
'Sleeping Beauty" (Exchange #35)
'Footprint' (Exchange #37)

This item is taken from the blog BarenForum Group Weblog.
'Reply' to Baren about this item.