[Baren} the mailing list / discussion forum for woodblock printmaking Baren Digest Saturday, 10 June 2000 Volume 11 : Number1040 ---------------------------------------------------------------------- From: Cucamongie@aol.com Date: Fri, 9 Jun 2000 09:59:04 EDT Subject: [Baren 9994] Pete Congratulations Pete! The attention is well-deserved, and I know it sure helps to get the money (I usually put it directly into new art materials!) :) best wishes Sarah ------------------------------ From: LEAFRUTH@aol.com Date: Fri, 9 Jun 2000 11:01:35 EDT Subject: [Baren 9995] Re: Baren Digest V11 #1039 Roxanne, Yes I am doing a workshop for LAPS. However I like Maria am an oil only person. I would love to do hanga but I'm unequipped. Ruth ------------------------------ From: LEZLE WILLIAMS Date: 9 Jun 00 09:16:08 MDT Subject: [Baren 9996] Re: X-Mailer: USANET web-mailer (34FM1.4.02C) > Lezle, I lost your address! I wanted to talk to you about the Frogman April, I am at: laughingcrow@usa.net. > I don't know how I missed this last week, but Leonard Baskin has passed Gee... I missed that too. I went all the way to Italy last September to take a woodcut workshop with him and then he didn't make it due to his poor health. I really missed once-in-a-lifetime opportunity. Lezle ------------------------------ From: "Maria Arango" Date: Fri, 9 Jun 2000 08:22:03 -0700 Subject: [Baren 9997] Re: Big day for me. This is great news Pete! Even though we make art because of an unknown inner force sometimes called passion, it is always exciting to have others share for a moment by seeing what we saw, and rewarding the effort. Keep on printing, Maria PS. You can use plant fibers to make your own shoestrings and save the money for art supplies ;-) <><><><><><><><><><><><> Maria Arango, Printmaker Las Vegas Nevada USA http://www.printmakingstudio.com maria@mariarango.com mariten@lvcm.com <><><><><><><><><><><><> ------------------------------ From: LEAFRUTH@aol.com Date: Fri, 9 Jun 2000 11:23:38 EDT Subject: [Baren 9998] Re: Baren Digest V11 #1039 Josephine I've tried accessing your address and they keep telling me you moved or I don't have the right url. I wanted to tell you that I joined the egroup and changed my address but I can't access print Australia. If you could send me an e-mail to LEAFRUTH@aol.com I could reply. I'm still not getting mail from print Australia. Ruth ------------------------------ From: James G Mundie Date: Fri, 9 Jun 2000 12:03:09 -0400 Subject: [Baren 9999] VSC, Leonard Baskin, etc. Jaime, Although I have never been to the Vermont Studio Center, I have a good number of friends that have either taken a residency there or now work there full time. Most of my friends went up as painters, so their experiences will probably be a bit different than yours. Most of my friends found that the insolation of VSC was great as there were no distractions other than to paint, 'cause t'wer'n't nothin' else to do! Do give us a report of how you found the printmaking facilities, as some folks have been encoutaging me to apply for years now. And if you get the chance, say, "Hello!" for me to Meg McDevitt and Marjorie Portnow. Marjorie may not remember me, but she acted as one of my official studio critics back at the Pennsylvania Academy of the Fine Arts in '94/'95, and was the only one with anything helpful to say about my work. **** Walter wrote: > I don't know how I missed this last week, but Leonard Baskin has > passed away. First Edward Gorey and now Leonard Baskin. Sigh... I'll never get out of wearing black at this rate. I always had the greatest respect for Mr. Baskin's work. There was a certain charm and power to his mark that I found enchanting. Just two weeks ago I happened to pick up for free a few tomes of Baskin's paintings/drawings of birds of prey and mythical beings. Very energetic and slightly creepy figures, so in short -- wonderful stuff. He will be missed. Ag de/anamh bro/in, James Mundie, Philadelphia USA ------------------------------ From: Wanda Date: Fri, 09 Jun 2000 11:47:50 -0700 Subject: [Baren 10000] Something to think about While looking for sites with Japanese prints I stumbled apon this: http://www.soum.co.jp/mito/art/akira.html A workshop planned & taught by the artist, Noboru Tsubaki and Tsukasa Mori at the Contemporary Art Center, Art Tower Mito in Japan. (Feb 25 to 28, 1999 - darn, I missed it!) Scroll down to the bottom of the page & read "The Purport of the Workshop" Very interesting reading for *this* "old space geezer" :-) Sorry to hear of the passing of Leonard Baskin - he was truly "one of a kind". I very much admired his art. Wanda ------------------------------ From: "Maria Arango" Date: Fri, 9 Jun 2000 12:02:15 -0700 Subject: [Baren 10001] Re: Something to think about Wanda! That was [Baren 10000]!!!!!! Shouldn't we celebrate or something? Dave, does she get a prize? Oh forgot, Dave's not here, man... Apologies to those who thought this might have been baren business. }:-| Seriously! Maria <><><><><><><><><><><><> Maria Arango, Printmaker Las Vegas Nevada USA http://www.printmakingstudio.com maria@mariarango.com mariten@lvcm.com ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Fri, 9 Jun 2000 18:52:44 -0500 Subject: [Baren 10003] Book on Aussie printmaking For all my friends in the land downunder...there is a book on ebay on Australian Printmaking....hurry..only 2 hours left on the auction. CONTEMPORARY AUSTRALIAN PRINTMAKING - An Interpretive History. Sasha Grishin. New South Wales: Craftsman House, 1994. Hard cover with dust jacket. 10.25" x 11.5", 192 pages, color and black & white illustrations. Condition: Very Good+. A very minor bump to one corner of cover. Jacket is in a Brodart archival wrapper. Printmaking in Australia in the 1960s and 1970s came to a spectacular prominence. It was as if a new generation of artist printmakers suddenly appeared who produced work in a wide variety of print mediums, work which was fresh, original and has a creative vitality. Dr. Sasha Grishin's book is the first scholarly account of Australian printmaking of the past four decades. In this fully illustrated volume, containing 170 colour and black & white plates, Grishin traces the emergence of artist printmakers such as George Baldessin, Bea Maddock, Barbara Hanrahan, Martin Sharp and Brett Whitely. He presents a convincing case for the distinctive nature of Australian printmaking and for the unique role played by printmaking in contemporary art and visual communization. It is a pioneering book which offers a new interpretation to significant developments taking place in Australian visual culture. Includes a bibliography, list of artists. All of the works illustrated are identified with artist, title, date, size, etc. Other artists included - Alun Leach-Jones, Brian Seidel, John Olsen, Colin Lanceley, Bruno Leti, and others. http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=345957649 thanks...Julio ------------------------------ From: ArtfulCarol@aol.com Date: Fri, 9 Jun 2000 21:07:46 EDT Subject: [Baren 10004] Re: Big day for me. Congratulations to Pete!!! As "they" say- Cool. Carol ------------------------------ From: Artsmadis@aol.com Date: Fri, 9 Jun 2000 22:28:45 EDT Subject: [Baren 10006] A strategy to sell prints Congratulations, Horacio. I have not written to you before because I am new to the group. I think it is really wonderful you've had a book accepted for publication. I have visited your site and see no reason why people reading your book would not be greatly interested in your beautiful woodcuts , not necessarily prints illustrating the book, but all your prints. To be an author and an accomplished artist is not a common thing. Have you thought of having a brochure or catalog of your prints available? Or a small brochure to insert in each copy of the book? I love the title! Yours, Darrell ------------------------------ From: B Mason Date: Fri, 09 Jun 2000 21:18:21 -0700 Subject: [Baren 10007] Eric Gill I ended up buying the book Julio say on ebay about Australian printmakers, $22 well spent I am sure.I will let you know! I looked at this guys other auctions and he had a book of Eric Gill, I remember someone loving this work. Here is the address if you want to look at it: http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=349547304 Best to all, Barbara M ------------------------------ From: "Rudolf Stalder" Date: Sat, 10 Jun 2000 07:20:22 -0700 Subject: [Baren 10008] inserting wood to Maria you wrote : ÒOn the printmaking end of things, could someone elaborate on the practice of inserting a block of wood for detail work, such as boxwood into cherry? I have read some about it but any tips and tricks would be helpful.Ó The very critical thing are good tools and optimal installation To contact a cabinet-maker is probably the best thing you can do. It should not take him a lot of time to do it, and also, he can do it with a minimal waste of wood. For most of the repair work of my own plates I just used a jigsaw and it worked fine. But a jigsaw does not produce a smooth and straight cut and the blade bends easily. A scrollsaw is a better choice if the plate is rather small. Routers and sanders can be helpful. Gaps between the parts can be closed using a woodfiller. But as mentioned you best contact somebody who has the equipment at hand and knows how to do. Of much help is certainly clever planing. The less relief parts the pieces have as common boundaries the better. The boundaries should be planned in a way that they do not disrupt the design if they the fit is not perfect. It may be a good idea to insert the new piece before carving. If the pieces are rather large you may think to mount them on a third underlying plate using screws. This some ideas based on my limited experience. P.S. : I like very much your print ÔDale VueltaÕ in the barens print exchange #5. Rudolf Stalder (http://www.rst-art.com) ------------------------------ End of Baren Digest V11 #1040 *****************************