Delivery-Agent: @(#)$Id: local.c,v 1.54 1998/10/30 06:30:53 akira1 Exp $ on canberra Received: by j.xx.or.jp (ATSON-1) ; 28 Jan 2000 15:28:32 +0900 Return-Path: Received: from lancer.xx.or.jp (lancer.xx.or.jp [202.224.39.3]) by trantula.xx.or.jp (8.8.8/3.7W) with ESMTP id PAA17260 for ; Fri, 28 Jan 2000 15:28:31 +0900 (JST) Received: from ml.xx.or.jp (ml.xx.or.jp [202.224.39.111]) by lancer.xx.or.jp (Postfix) with ESMTP id 556B44884 for ; Fri, 28 Jan 2000 15:28:31 +0900 (JST) Received: from localhost (daemon@localhost) by ml.xx.or.jp (8.8.8/3.7W) with SMTP id PAA25690; Fri, 28 Jan 2000 15:25:54 +0900 Received: by ml.xx.or.jp; Fri, 28 Jan 2000 15:25:54 +0900 Received: (from ml@localhost) by ml.xx.or.jp (8.8.8/3.7W) id PAA53828 for baren-digest-outgoing; Fri, 28 Jan 2000 15:25:54 +0900 Date: Fri, 28 Jan 2000 15:25:54 +0900 Message-Id: <200001280625.PAA53828@ml.xx.or.jp> From: owner-baren@ml.xx.or.jp To: baren@ml.xx.or.jp Subject: Baren Digest V10 #877 Reply-To: baren@ml.xx.or.jp Errors-To: owner-baren@ml.xx.or.jp Precedence: bulk [Baren]: The mailing list / discussion forum for woodblock printmaking. Sender: owner-baren-digest@ml.xx.or.jp X-Mozilla-Status: 0000 Baren Digest Friday, 28 January 2000 Volume 10 : Number 877 ---------------------------------------------------------------------- From: Larry_Giacoletti@WHITNEY.ORG Date: Thu, 27 Jan 2000 09:25:11 -0500 Subject: [Baren 7971] Re: Portrait exchange charset="iso-8859-1" Forgive me for I just subscribed to Baren; but where are these images that you are discussing (below)? As a Woodblock / Relief print artist, I would love to take a peek at these pics and join in the discussions! - -Larry Giacoletti - -----Original Message----- From: Cynthia RR. Wilson [mailto:cywilson@juno.com] Sent: Wednesday, January 26, 2000 9:02 PM To: baren@ml.xx.or.jp Subject: [Baren 7967] Re: Portrait exchange > The whole exchange is just gorgeous. > Jean Eger I'm echoing Jean! What a great group of images! I am really sorry that I wasn't in this exchange. Wonderful stuff! Cyndy Wilson ------------------------------ From: "Daniel Dew" Date: Thu, 27 Jan 2000 09:38:26 -0500 Subject: [Baren 7972] Re: Portrait exchange at the w.com page. middle of second column, "portfolio exchanges", click on exchange #4. Dan Dew USA - ---------- >From: Larry_Giacoletti@WHITNEY.ORG >To: baren@ml.xx.or.jp >Subject: [Baren 7971] Re: Portrait exchange >Date: Thu, Jan 27, 2000, 9:25 AM > > Forgive me for I just subscribed to Baren; but where are these images that > you are discussing (below)? As a Woodblock / Relief print artist, I would > love to take a peek at these pics and join in the discussions! > > -Larry Giacoletti > > -----Original Message----- > From: Cynthia RR. Wilson [mailto:cywilson@juno.com] > Sent: Wednesday, January 26, 2000 9:02 PM > To: baren@ml.xx.or.jp > Subject: [Baren 7967] Re: Portrait exchange > > > > >> The whole exchange is just gorgeous. >> Jean Eger > > > I'm echoing Jean! What a great group of images! I am really sorry that > I wasn't in this exchange. Wonderful stuff! > > Cyndy Wilson ------------------------------ From: David Bull Date: Thu, 27 Jan 2000 23:36:25 +0900 Subject: [Baren 7973] Re: Portrait exchange > Forgive me for I just subscribed to Baren; but where are these images that > you are discussing (below)? Larry, Head to our main web site at: http://w.com ... and you will see a link to 'Exchange Folios'. The newest one, #4, has just been posted ... Dave ------------------------------ From: Cucamongie@aol.com Date: Thu, 27 Jan 2000 11:06:26 EST Subject: [Baren 7974] exchange prints well here's a me too message, but I can't resist - Jeffrey & I looked through the exchange 4 prints today, what a treat! I'm honored and extremely humbled to have my print in this incredible bunch! Jeffrey is a very tough critic when it comes to art, and he was very impressed also. Dave, since you've expressed such insecurity about your print, I have to tell you I love your print, it's like a topographical map or heat-sensitive type of picture, very cool - and there are so many amazing prints in this bunch, I'll email some of you folks separately when I have the time - kudos all and special thanks to Santa Maria Sangria for coordinating this exchange- best wishes Sarah ------------------------------ From: Maria Arango Date: Thu, 27 Jan 2000 08:44:34 -0800 Subject: [Baren 7975] Re: discussing #4 With critiques it is a love/hate thing, I think. Sometimes when you self-critique it is easier for other people to chime in. I like the critiques that, without offending, make me explore the way I work in ways that I would never think. Here is my favorite from Exchange #3 (The Guardian), and by my favorite I mean the one that made me think the most and reflect on my work. > Praise: This is just full of energy. I like the way you've worked with the wood here. It > is alive. > > Suggestions: I don't know if this guardian is supposed to be an angel or somebody, but the > darkness looks ominous and I'm wondering what the guardian is doing hovering in the corner. > It feels like he's (she, it) is about to do harm. But your title implies a helper. > > Comments: I like the feeling of this print, though the title may be confusing. The design > feels right and the colors enhances the look of the wood. > Of course if you are like me, you dismiss all the praise and focus on the suggestions, which is why we expose our work to others, I think. Here is what I replied, more or less: "Exactly! A guardian is someone who is there watching all the time, sort of freaky if you think about it. In Spain we used to have 'night watchmen' who dressed in long coats and walked the night, after all the stores and buildings were closed, until dawn. We called them El Sereno, which is also a name we give to the chilling wind that comes in about 3 or 4 o'clock in the morning." And then of course, I thought about what it was about my piece that did not clearly express the above sentiment. Or whether a piece should ever be that transparent. More thinking went on about whether I had achieved precisely the reaction that I wanted by having someone left as confused about the concept of the "Guardian" as I had felt. And more pondering about whether my art in general should be more obvious or more obscure or more or less personal... This person made me think! I loved it--now that is a critique I can sink my teeth into. As far as the technique and such, the paper was difficult to work with and I tore about 10 prints, all in the last state, of course. Always wondered if the texture of the paper did not distract too much from the image. The Guardian figure could have used a bit more form, maybe a darker outline, sometimes I see him(?) as just a bit too blobby. But I saw improvement in the registration and quality of cuts from my first few prints. Yet I have a long way to go. As far as the self-portrait, Woodrings, I always felt that I should have done more with it. That, since I am the person that knows myself the best, maybe I should have portrayed something other than just my face. So, conceptually, I could have done much better here, as some of the other members demonstrated (April and Jean come to mind). I'm happy with the tone and feel of the paper I chose. Unhappy with the colors, I really need to get away from the earth tones and explore more color; nothing wrong with a little purple here and a little blue over there, more like Barbara's bold print. Or maybe explore the richness of the classic pure black and white again, as Pete, Ayre and Arafat did so effectively. I did enjoy the slightly sad and tired look that the portrait has, something that few that know me have seen, and something that I chose to reveal for unknown reasons. An advantage of drawing from life, I think, the pencil takes over with a life and intent of its own. As I always tell myself, next one will be better, and in twenty years or so, I may begin to be happy with nearly every piece I do. Health to all, Maria - -- <><><><><><><><><><><><><><><><><> Maria Arango, Printmaker The Printmaking Studio http://www.printmakingstudio.com <><><><><><><><><><><><><><><><><> ------------------------------ From: James G Mundie Date: Thu, 27 Jan 2000 11:57:11 -0500 Subject: [Baren 7976] cross hatching Jean Eger wrote: > James, > Your portrait print is a knockout. How did you cut that cross > hatching? > Did you use two blocks? Thanks, Jean. Whether due to laziness or insanity, all that you see in that print came from just the single block, printed once. To cut all the hatching, I just get in there with the blade and cut cut cut. It's fun. *** And Dave said (offering himself up like the sacrificial lamb [wink,wink]): > To get things started, I'll post one that I myself received last > night. Er... It was me, folks. Yes, by all means, do start asking questions and making comments. These exchanges were meant for that purpose. Everyone has something to gain by sharing their thoughts and methods. Even the "great work!" sentiments without further comment serve to uplift and encourage your fellow printmakers. James Mundie http://www.fleisher.org http://www.printmakingstudio.com/jimundie/jimundie1.html ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 27 Jan 2000 13:50:06 -0600 Subject: [Baren 7977] re: #4 discussion OOPS; since I just realized that I did not send Dave any info for my print statement on the website...I must eat my previous words...or .....do so here and sort of get things going......thanks Dave for getting the discussion going. I had forgotten about the private critiques. - ------------------------ Julio's Notes. My #4 print is untitled and of course a BW self-portrait. It is my first rookie attempt at a reduction print and thus the woodblock was "destroyed" in the process. After considering many options (Julio at work, Julio on his baseball uniform, Julio working with kids, Julio as a ....never mind!) I ended up choosing a closeup mug shot taken last year. The photo was scanned (blasphemy!) and the image was altered to arrive at : http://www.skokienet.org/bandits/jcrstuff/images/jcr95b19.jpg Yes! A color mug shot. The decision to go to BW was taken after showing both a color & BW version of the image to a handfull of unbiased volunteers......the vote was 5-0 for the BW image ( I am easy!). The image was drawn in reverse unto a thin tracing paper type with alterations taken as needed. Notice that the bottom right hand corner was originally farther apart from the main image and later adjusted when transferring to the block. This was the last remnant of my first idea I had to make the self-portrait into a "jig-saw" puzzle style image with certain pieces or areas of the image "missing" (the "hidden" Julio). You can also see my kento register lines at the bottom of the drawing ( I am a lefty!). http://www.skokienet.org/bandits/jcrstuff/images/jcr95draw1.jpg Here is the first proof taken from the still unfinished block. Notice the many comments and marks I made to help me in further carving the first rough cut. All impressions taken with the Vandercook #2 press. http://www.skokienet.org/bandits/jcrstuff/images/jcr95proof1.jpg Here is an image of the final block after printing the middle-tone for the 35+prints in the edition. Again you can see the kento cuts at the bottom. The block is birch plywood (3/4" thick, 5 ply) , a small piece leftover from the making of my son's bedroom set. http://www.skokienet.org/bandits/jcrstuff/images/jcrblocksp1.jpg And here is the first impression on the paper of that middle-tone. http://www.skokienet.org/bandits/jcrstuff/images/jcr95bw1.jpg The final tone was double printed (two or three impressions) after the middle tone areas were carved away. No keyblock or outline lines were used or intended as I wanted to achieve a somewhat "loose" effect on the print. The eyes were left uncarved as a solid color area as a reminder that "our eyes are the window to our soul"..... again part of that "hidden" Julio....wanting to remain somewhat private. For those not in exchange #4, you can see the final print (three-toned) under the Baren Exchange page. Not a great print but acceptable for a first attempt at reduction. Cut! Print! ....and Discuss! Thanks.....Julio ------------------------------ From: CHRISTY BLANK Date: Thu, 27 Jan 2000 14:33:56 -0800 (PST) Subject: [Baren 7978] Re: Woodblock printing on Textiles - History Meredith, I have a friend ( who is computer phobic, and not on the internet..) whose specailty is cloth printing, but I think she works mainly with western European printing techniques like felting and block scrolls. (not Indian) I don't know if this will be helpful to you. If you would like more info, contact me off list and I will try to get you two in touch. Chistina chris_lyonette@yahoo.com - --- Meredith Hoar wrote: > Hello! My name is Meredith and I have a question > about the history of > woodblock printing. Now, I > know that this sight > focuses on printmaking and not textile printing but > I am really at a loss. > If anyone could help point me in the right direction > I would REALLY > appreciate it. > > Meredith Hoar > Jennifer Hoar Designs > > __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 27 Jan 2000 17:20:54 -0600 Subject: [Baren 7979] re: #4 kento lines I asked a couple of weeks back about the kento cuts on the printed paper that some of the bootcamp graduates are executing in their prints(#3) but I don't think anyone replied.... Now here they are again in exchange #4....I think it's too much coincidence that only bootcampers John Amoss, Greg Robison & Wanda Robertson are doing this so I know it has to come from Graham's clinic. (but ....Graham's own prints don't have such paper cuts...!) Would anyone like to explain ?, why is the paper being cut ? Is it part of the technique or is it an individual thingie....? Curious & with the flu......Thanks...Julio ------------------------------ From: BHearn2001@aol.com Date: Thu, 27 Jan 2000 19:01:19 EST Subject: [Baren 7980] Re: Baren Digest V10 #876 Wanda, Your dragon arrived today while a friend was here. She and I really really like it! Thank you for this gift. bhearn ------------------------------ From: amoss@mindspring.com (John Amoss) Date: Thu, 27 Jan 2000 19:02:52 -0500 (EST) Subject: [Baren 7981] re:#4 kento lines Julio- The paper cuts are usually done if you are printing on paper with dekles. As you know, the paper needs a hard straight edge to fit into the kentos. Another technique involves using acetate or paper tabs that are glued to the paper's edge. These are later removed. I assume that you use a water-soluable paste, but how it is supposed to stick to damp paper, I do not know. It can be of use if you find that the image is off center of the paper. That's why I used it for my #3 print. They are a pain to cut and has been yet another opportunity for me to mess up. I think I need to make a permanent jig or guide to make it more foolproof. There is an entry of Dave cutting his marks in his "preping paper" lesson (with pics). See: . Hope you feel better Julio! - -John Amoss ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ AMOSS ILLUSTRATION, INC. (706)549-4662 FAX(706)549-3962 amoss@mindspring.com www.mindspring.com/~amoss 365 Ponderosa Dr.,Athens, GA 30605 USA ------------------------------ From: Wanda Date: Thu, 27 Jan 2000 16:18:31 -0800 Subject: [Baren 7982] Re: #4 kento lines Well, Julio, I guess I will try to answer. Most of us boot campers wanted to preserve the irregular edges on our paper - so Graham showed us this little trick of cutting the kento edges into those irregular edges so that irregular edge wouldn't throw off our kento registration. I don't think Graham uses it himself because he just cuts the paper. Like he says, most people mat it when they have it framed anyway, so the paper edges don't matter. So it's really just a matter of choice. I like it, so I do it! Does that make sense? By the way, all 5 of us "boot-campers" are returning to Graham's this year, so it must not have been as bad as we all led everyone to believe. But then, eating, sleeping and carving woodblocks for a whole week is just too good to pass up. Although, Dave Bull says we are wasting time by sleeping, so we may have to leave that part out this year. Wanda ------------------------------ From: Wanda Date: Thu, 27 Jan 2000 16:36:48 -0800 Subject: [Baren 7983] bad print framing I just came home from a birthday lunch with my two sisters. We went to a local town, famous in this area for it's antique shops, and browsed through a couple of the antique stores. I bought a really lovely black & white crane print. I will scan this in & put it up for comments later. I noticed there is some foxing on the white crane, so when I got it home I ripped that baby out of that frame post haste, and my suspicions were right. It had a sticker on it for a frame shop in Tempe, AZ. But - this print is taped to the back of a mat with *masking tape* on all four sides! And backed with a piece of corrugated cardboard! With nothing between the print & the cardboard! In my opinion this is a crime! Now that I've ranted and raved - is there any safe way to get the masking tape & it's glue off, and stop the deterioration caused by the print being sealed against cardboard like that? Wanda ------------------------------ From: barnaby.smith@immi.gov.au Date: Fri, 28 Jan 2000 11:27:39 +1000 Subject: [Baren 7984] Re: #4 kento lines Julio Another way I was shown is attach 'sticky labels' to the paper which line up precisely along the kento registration points, and then remove these when the print is finished. I am not sure about the archival properties of the gum used in the sticky labels (ie how it affects the paper long term - perhaps you can get acid free sticky labels like those used in picture framing). Also you have to be careful when removing not to lose too much of the paper fibre underneath. Best to remove after dampening. Barnaby Wanda on 28/01/2000 10:18:31 Please respond to baren@ml.xx.or.jp To: baren@ml.xx.or.jp cc: (bcc: Barnaby Smith/ACT/IMMI/AU) Subject: [Baren 7982] Re: #4 kento lines Well, Julio, I guess I will try to answer. Most of us boot campers wanted to preserve the irregular edges on our paper - so Graham showed us this little trick of cutting the kento edges into those irregular edges so that irregular edge wouldn't throw off our kento registration. I don't think Graham uses it himself because he just cuts the paper. Like he says, most people mat it when they have it framed anyway, so the paper edges don't matter. So it's really just a matter of choice. I like it, so I do it! Does that make sense? By the way, all 5 of us "boot-campers" are returning to Graham's this year, so it must not have been as bad as we all led everyone to believe. But then, eating, sleeping and carving woodblocks for a whole week is just too good to pass up. Although, Dave Bull says we are wasting time by sleeping, so we may have to leave that part out this year. Wanda ------------------------------ From: Maria Arango Date: Thu, 27 Jan 2000 16:38:16 -0800 Subject: [Baren 7985] wet wood experiment Hi all, Just a note of interest. A while ago I posted that I was cutting on wet wood. I did this out of impatience after I tinted my block with a mixture of sumi ink and water in order to see the cuts better. The wood cut like butter. Well, I just printed the block and it did just fine and dandy, no problems whatsoever. There was no difference between the cuts made while the wood was wet and after it dried, even under a magnifying glass. The wood was 3/4" plank maple, and I print with oil based inks. Also keep in mind that in this desert climate the wood dried right away, without having time to shrink or warp. It was well dry before printing, since registration problems could arise should the wood not have been completely dry. In addition, the layer of ink/water was very thin, just penetrating the wood slightly to make cutting incredibly easy, but not permeating the depth of the block. Before I wet all my wood to cut it, though, I am going to experiment further to make sure that problems don't arise later. Health to all (seems like y'all need a little extra health these days), Maria - -- <><><><><><><><><><><><><><><><><> Maria Arango, All-Wet-Printmaker The Printmaking Studio http://www.printmakingstudio.com <><><><><><><><><><><><><><><><><> ------------------------------ From: "Cynthia RR. Wilson" Date: Thu, 27 Jan 2000 18:26:29 -0800 Subject: [Baren 7986] Re: cross hatching > And Dave said (offering himself up like the sacrificial lamb > [wink,wink]): > > > To get things started, I'll post one that I myself received last > > night. > > Er... It was me, folks. I KNEW it was you James!! The term "hirsute" gave you away!! Following on your recent exhibit in Philly....... Cyndy Wilson ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 27 Jan 2000 21:53:36 -0600 Subject: [Baren 7987] Re:#4 kento lines Thanks John, Wanda & Barnaby....for the quick reply.....now I understand. I could not figure out why you guys were going to the trouble of cutting those edges!!!! Julio ------------------------------ From: Jack Reisland Date: Thu, 27 Jan 2000 19:03:48 -1000 Subject: [Baren 7988] Re: bad print framing Wanda wrote: > > Now that I've ranted and raved - is there any safe way to get the > masking tape & it's glue off, and stop the deterioration caused by the > print being sealed against cardboard like that? Well, that depends to some extent on the print. Is it a Japanese print, with water based pigment, or an oil based ink print? What kind of paper is it printed on? Jack ------------------------------ From: Studio Dalwood Date: Fri, 28 Jan 2000 16:48:29 +1100 Subject: [Baren 7989] Bad framing Wanda said "Now that I've ranted and raved - is there any safe way to get the masking tape & it's glue off, and stop the deterioration caused by the print being sealed against cardboard like that?" You can get the tape and glue off with eucalyptus oil. It is great for removing anything like that including chewing gum from clothing. As for treating the paper, I remember there was a paper conservation site on Print Australia under 'professional practice' or you could ask on the books discussion list as there are quite a few paper conservators there. I suspect from things that I have read before that this is a dip and treat solution, which would be tricky to do. hope this helps Josephine ------------------------------ From: Graham Scholes Date: Thu, 27 Jan 2000 16:12:12 -0800 Subject: [Baren 7990] Re: #4 kento lines To answer the question. <(but ....Graham's own prints >don't have such paper cuts...!) You would have to see the "real thing" in order to see the kento cuts on my prints. I take off as little as possible..... so as not to make it too obvious as I sometimes float mount my prints. When you tear the paper you need to cut clean sections that fit accurately into the kento marks on the plate. If you cut your paper.....heaven forgive.... you would have clean edges therefore no need to cut. I NEVEREVER cut my paper....always tear. You remember the paper I got from Japan that had two cut edges, and I made available.... well it was the cut or trimmed edges that did it. It in know way spoils a print but been from the old school ..... and most of you know all about me/that. Graham >I asked a couple of weeks back about the kento cuts on the printed paper that >some of the bootcamp graduates are >executing in their prints(#3) but I don't think anyone replied.... > >Now here they are again in exchange #4....I think it's too much >coincidence that >only bootcampers John Amoss, Greg Robison & Wanda Robertson are doing >this so I >know it has to come from Graham's clinic. > >Would anyone like to explain ?, why is the paper being cut ? Is it part of the >technique or is it an individual thingie....? > > >Curious & with the flu......Thanks...Julio ------------------------------ From: Gregory Robison Date: Fri, 28 Jan 2000 09:19:50 +0300 Subject: [Baren 7991] Kampala Show Update Kampala, 28 January 2000 For those just tuning in, the following is an update on the show of Baren prints at the National Art Gallery (the 'Nommo Gallery') in Kampala, Uganda, scheduled for May. Here are the salient points, including some new information: 1. I just received the quotation from the framer, and the cost, after some negotiation, of matting, framing, glazing and hanging an oban-size print is about $20. The mats are "African archival": the part next to the print is acid free... frames will be in solid mvule, a beautiful tropical hardwood. The most trouble-free (for me) solution to meeting this expense would be for participants (see below) to send $20 to me as a sort of 'participation fee.' Is this acceptable? 2. My original intention was to present the entire Baren Exchange 5, that is, everybody producing on the 'Junin Toiro' theme. I still intend to do that, but I and the Gallery would welcome work from other Baren members (i.e., those not in X5) provided it's inspired by the same theme and (ideally) produced to the same dimensions. (Both the Gallery management and the artists I have talked to...as well as some of the viewing and art-buying public, at least in my circles ... are intrigued by the idea of this show and look forward to it eagerly.) 3. The six or seven active, Ugandan printmakers have been invited to present work inspired by this same theme. Some may select one of the many colorful proverbs expressing a nuance of this idea in any one of the Luo or Bantu languages spoken in Uganda. (I, for example, am using the well-known Lugisu saying, 'Matofu goesse kagaba goowo.' I hope I'm not duplicating anything any of you are doing...) We are also contacting the three university-level schools where printmaking is taught and inviting students and recent graduates to submit work -- although all such student work will be screened and selected and not automatically exhibited. I'm billing the show as 'a celebration of individual vision in the creative life, illustrating an insight about tolerance expressed in the idioms of many cultures.' (Gosh, I hope that's what junin toiro means!) 4. The Gallery would like as many of your prints as possible to be available for sale. The Gallery director knows that this is an exchange, and that I am a collector of, not a dealer in, Baren prints. In other words, I don't want to sell my own personal copies of X5. I hesitate to ask you participants to produce more than 30 (i.e., possibly an extra print or two for display and sale at the Nommo Gallery), because if you are like me, printing 30 of anything already resembles industry more than art. Producing 40 would be, for me, 'heavy industry,' and anything more than that is 'mass production,' and would force me to install a time-clock in my studio, harrass myself to greater heights of productivity like a rank shop foreman, etc. This is not why I got into art. But no doubt many of you are more efficient than I and would perhaps welcome the opportunity to make some of your work available for sale. 5. Participants in the show who are not involved in X5 would, of course, need only generate as many copies as they would like to send for the exhibition. It may even be possible to arrange for a private exchange with some of the Ugandan artists for these non-X5 prints, but this can be discussed later. 6. The earlier I receive the prints the better, of course. If you are not in X5, or if you are willing to print one or more 'hors-serie' prints and send them to me, your reward will be great in heaven. It would be awkward to have to force Enoch-the-framer, after having beaten him down on various line-items in his cost proposal, to frame thirty or forty prints in the eight hours before the show opens... But, I'll do what has to be done. The show must go on. We want to open on 1 May; X5 is due on 1 April. But reading the recent experience of "deadline-slip" on X4 makes me worried... 7. I would like to do a poster for this show. If you submit your work to me early enough and would like to be considered for the poster, let me know. 8. Management of the Nommo Gallery has said that they want all the proceeds from print sales connected with this show to go to equipping a small printmaking studio at the Gallery, as a venue for future demonstrations, workshops and where Ugandan artists can work. I am personally donating supplies and furniture (work benches, ink, brayers, ink knives, an apron, etc.) to this project. The Nommo Gallery normally takes a reasonable 25% commission on sales (compared to 40% at the commercial galleries in town) -- but of course I will beat this down, too. It is this commission which would be used to finance the printmaking studio. You are free to allow a higher percentage to go to the Gallery, if you like. By the way, I had two prints in the 'Millennium Show' at Nommo this month and one sold, to a Ugandan buyer, for 150,000 shillings -- about $100. So there's a market here. In the interests of keeping Baren litter-free and austere as a zen garden, please only respond in the Forum if you have general comments or questions concerning this exhibition. Otherwise, please contact me directly. I would be delighted to hear from any and all of you who may be working on the junin toiro theme, whether you're in X5 or not. Gregory Robison mailing address: American Embassy Kampala U. S. Department of State Washington, D.C. 20521-2190 ------------------------------ End of Baren Digest V10 #877 ****************************