[Baren] the mailing list / discussion forum for woodblock printmaking Baren Digest Sunday, 16 July 2000 Volume 12 : Number1078 ---------------------------------------------------------------------- From: B Mason Date: Sat, 15 Jul 2000 09:56:03 -0700 Subject: [Baren 10468] Bresdin > > > >http://www.bnf.fr/web-bnf/expos/bresdin/index.htm > > This was a fabulous exhibition, wish I lived closer to see them in person. Also wish I read French, but it was amazing how many words I did seem to know, of course the American translation may be far from the mark. Seems that if you are talking the same subject it is easier to read, we are used to seeing those same words in lots of other exhibitions we have seen. Thanks for posting this. Barbara M ------------------------------ From: "Jeanne Norman Chase" Date: Sat, 15 Jul 2000 14:10:20 -0400 Subject: [Baren 10469] Re: Bresdin Nothing like making us feel humble. Seeing the Bresdin exhibit only makes me want to be better and better at what I do. what a fabulous site! Thanks, thanks Jeanne N. http://www.bnf.fr/web-bnf/expos/bresdin/index.htm ------------------------------ From: Cucamongie@aol.com Date: Sat, 15 Jul 2000 14:36:25 EDT Subject: [Baren 10470] show in New Jersey Hi folks, thanks for all the info on transferring images! for those in or near New Jersey, I have three pieces up in a show opening tomorrow (Sunday) at the Hiram Blauvelt Museum, 705 Kinderkamack Road, Oradell, New Jersey. Phone no 201-261-0012. The opening is from 2-5 pm, then the normal museum hours are Mon-Friday 10am-4pm. I will be at the opening for a while tomorrow. Our wonderful Baren member Lynita used to live near this museum, and she has assured me it is an interesting & strange experience, sort of a funky little natural history-type museum. She has made mention of seeing a 2-headed cow there, so I'll give you a report as to a sighting of that item for sure. Of course, I'd also be delighted to meet any Baren members who are able to make the pilgrimage (tomorrow)! best wishes Sarah Hauser Cucamongie@aol.com ------------------------------ From: Artsmadis@aol.com Date: Sat, 15 Jul 2000 14:41:51 EDT Subject: [Baren 10471] Re: Bresdin In a message dated 7/15/00 1:09:07 PM Central Daylight Time, studiojnc@prodigy.net writes: << Nothing like making us feel humble. Seeing the Bresdin exhibit only makes me want to be better and better at what I do. what a fabulous site! Thanks, thanks Jeanne N. http://www.bnf.fr/web-bnf/expos/bresdin/index.htm >> For the non French readers among us you can translate web pages using Altavista's Babelfish http://babelfish.altavista.digital.com/translate.dyn ------------------------------ From: "Keri & Tom Marion" Date: Sat, 15 Jul 2000 12:22:53 -0700 Subject: [Baren 10473] Re: Reproductions > I must add my indignation to the discussion of reproductions. It is > especially disgusting when they dare to add edition numbers. After more it seems that i may have missed part of this conversation.. i've been having a (i think) similar conversation with a digital "printmaker" (i don't know what else to call it, so if you know, tell me :) ). she was trained as a classical printmaker, but moved to digital prints for some reason that i can't understand. what in this conversation is defined as "reproductions" and "multiples"? there's a guy up here who puts print numbers on offset "prints" and there's nothing to tell anyone that they're posters. it makes me so ill. km (spoken, washingtongue) http://kmarion.artistnation.com ------------------------------ From: Legreenart@cs.com Date: Sat, 15 Jul 2000 15:37:12 EDT Subject: [Baren 10474] Re: Baren Digest V12 #1077 gerald overcommitt Gerald, Ah, yes, I agree. That's what I was saying, My artwork was being stifled, choked. To set out with too much worry about product is crippling. But If one tends toward the compulsive, and has had unfortunately reinforcing artistic nurturing of a false belief system, one must find a way out. Like deprogramming from a cult. My way was to exaggerate the stumbling block to the point of absurdity in order to get over it. And that worked for me. Now working is once again as natural as conversation. The point of sharing the story was more to say that most artists that work in "themes" do so for personally compelling reasons, and it is silly for someone to suggest that there is only one motivation, and that the motivation is always financial gain. To feel like you Can't work in themes would be as bad as to feel you must work in themes. The artist simply need to be asking himself, "Why am I doing this?" and "Why am I not doing that?" and realize that they are allowed to change the rules, because the rules are theirs. That we enter art making with a sense of there being rules is part of culture. The need and ability to effectively examine our culture and selves improves as we mature. As Julio mentioned, he really didn't realize the idea that he had to be all over the map with subject matter wasn't true until someone else questioned him about it. I knew I had a false belief, but couldn't quite break its chains. So I set up an artistic sort of ritual that would help me do so. Yours. Le ------------------------------ From: "Keri & Tom Marion" Date: Sat, 15 Jul 2000 16:30:59 -0700 Subject: [Baren 10476] Sharpening I am having a hell of a time sharpening my tools. I read up on Graham's entry (very informative) but the tool i'm having the most trouble with is my "V" gouge. I've got the stone that takes oil. thanks in advance. keri http://kmarion.artistnation.com ------------------------------ From: Artsmadis@aol.com Date: Sat, 15 Jul 2000 21:25:22 EDT Subject: [Baren 10477] Re: Sharpening It's a delicate job at which I also have trouble. The main thing you have to have is the "wings" of the gouge extending further than the point, otherwise the tool digs in Like this [side view of your v gouge] \___________________TOOL HANDLE not like this /____________________TOOL HANDLE or like this l_____________________TOOL HANDLE I believe you have to first form the angle like in the top picture, then sharpen the 2 sides. When forming the initial angle like at the top, do not grind any further than you have to so you don't get back to the thicker part of the metal. Hope this helps. Darrell ------------------------------ From: Juan Guerrero Date: Sat, 15 Jul 2000 22:05:38 -0500 Subject: [Baren 10478] Re: on black paper >I recently finished a print on black paper and recorded the process for >those interested: >http://www.printmakingstudio.com/Studionotes/blackpaper/blackpaper.html Maria: I really enjoyed your demostration about printing in reductive method on black paper. The explanation and pictures are really clear. For those ones that have not seen it yet, go to: Juan Guerrero Lago de Cuitzeo 165 V. Puente. Morelia 58020. MEXICO Tel/Ph. (52) (4) 312 6827 Fax: (52) (4) 313 0881 http://go.to/2ojos Email: 2ojos@usa.net ------------------------------ From: Andrea Cuchetto (Dega) Date: Sun, 16 Jul 2000 02:06:10 -0400 Subject: [Baren 10479] Re: on black paper #1072 Yes, I concur. I wanted to say so earlier, but felt too shy and too much the novice. Brief introduction: My name is Andrea Dega and I hail from Little Rock, Arkansas. I am an art student at the University of Arkansas at Little Rock. I am a beginning printer, and my academic emphasis is sculpture. I have been lurking for a number of weeks now, and have really enjoyed the range of dialogue. I have been learning all I can about Ukiyo-e, and am most fascinated. I look forward to contributing some time in the future, when I have more experience. Again, great site, Maria! best, Andrea. ------------------------------ End of Baren Digest V12 #1078 *****************************