Baren Digest Sunday, 30 June 2002 Volume 19 : Number 1881 ---------------------------------------------------------------------- From: Milky Scarabs Date: Sat, 29 Jun 2002 07:21:01 -0700 Subject: [Baren 18539] 14a and Dan Dew too >There is still space, so come join if you want to try an exchange. > Marilynn, I would like in please. I plan to print a whole new edition for 14a, so there won't be any repeats for the official exchange 14 folks. And by the way, didn't I see that Dan Dew would like to be added to the 14a list earlier on the baren digest??? Love <3 & Lint * ! Kat Pukas ------------------------------ From: Dan Dew Date: Sat, 29 Jun 2002 12:43:23 -0400 Subject: [Baren 18540] Re: 14a and Dan Dew too Yeah, what did I do wrong? dan dew > From: Milky Scarabs >> updated list 14a, hope I spelled all names right this time: >> 1. Marilynn Smith, coordinator >> 2. Mike Lyon >> 3. Frank trueba >> 4. Gilda Zimmerling >> 5. Barbara Mason >> 6. John Center >> 7. Kat Pukas-undecided >> 8. Sharon Linder >> 9. Monica Bright >> 10. Charles Morgan >> 11. Eli Griggs >> 12. Julio Rodriquez >> There is still space, so come join if you want to try an exchange. >> I see that Dan Dew would like to be added to the > 14a list earlier on the baren digest??? > Love <3 & Lint * ! > Kat Pukas > > ------------------------------ From: "Linda" Date: Sat, 29 Jun 2002 10:21:12 -0700 Subject: [Baren 18541] Exchange rules To the great and powerful exchange gods/goddesses: I have a question or two about what is and isn't allowed in exchanges. The rules read: "If prints other than woodcut or linocut are received the print package will be returned using the enclosed return postage." Do you define woodcut/linocut printing as being only relief printing? Or could a woodcut/linocut include blocks printed as an engraving? Or embossment? And what about monotypes which use relief woodcuts as a significant element? I'm not trying to be difficult here (just stop laughing Maria!), I just would like your definitions clearly explained to this overly literal person. Linda ------------------------------ From: "Lee and Barbara Mason" Date: Sat, 29 Jun 2002 10:28:27 -0700 Subject: [Baren 18542] Exchange rules Linda, I think it is relief printing only...monotypes would never work as it would be impossible to get them the same..that is sometimes impossible with plates for me! Ha. Wood engravings would qualify for sure, as they are printed the same as any relief print. I have tried to print woodcuts as intaglio and not been successful, although I think others have had success with this. I think it is in wiping the ink off the wood that is the problem, not getting it in the lines. I just could not get the wood clean enough to get a print that satisfied me. Maybe with the corian.....I hadn't thought of that. Someday when I have time I might try that. Chine colle is ok and you can use as many colors and plates as you wish and probably mix woodblock plates and lino plates...that would be interesting. Printmaking is so much fun, never ending possibilities. Best to you, Barbara > I have a question or two about what is and isn't allowed in exchanges. ." Do you define > woodcut/linocut printing as being only relief printing? Or could a > woodcut/linocut include blocks printed as an engraving? Or embossment? And > what about monotypes which use relief woodcuts as a significant element? > Linda ------------------------------ From: "Linda" Date: Sat, 29 Jun 2002 11:38:55 -0700 Subject: [Baren 18543] Re: Exchange rules Barbara, > I think it is relief printing only...monotypes would never work as it would > be impossible to get them the same..that is sometimes impossible with plates > for me! Ha. You mean they are suppose to look the same from one print to another?! hahaha. (Sorry, I shouldn't eat poptarts, drink coffee, and write emails.) > I have tried to print woodcuts as intaglio and not been > successful, although I think others have had success with this. I think it > is in wiping the ink off the wood that is the problem, not getting it in the > lines. I just could not get the wood clean enough to get a print that > satisfied me. Did you put something like glossy polyurethane on the block before printing? It does help in wiping the ink off, as long as you don't put too much on and fill in the lines. > Maybe with the corian.....I hadn't thought of that. Someday > when I have time I might try that. See, now this is where I go from overly literal to down-right pedantic. If you used corian, wouldn't than be a coriancut? The rules specifically said woodcut and linocut, and corian isn't either one. But if corian is allowable, then shouldn't plexiglass be? Oh the problems I can think up!!! Linda, off to pound on some stone to wear off the coffee and poptarts!!! ------------------------------ From: Mike Lyon Date: Sat, 29 Jun 2002 13:37:19 -0500 Subject: [Baren 18544] Re: Exchange rules Dear Linda, What a good question! The topic of the BarenForum is wood block printing. I don't want to draw too clear a "line", but our intention is that exchange submissions be "wood block prints". Each exchange participant should read and make an honest effort to follow the exchange guidelines. As a practical matter, ANY relief printed edition of wood block prints is acceptable. We accept relief printed editions pulled from other materials than wood, linoleum being second most popular. Personally, I LOVE making monotypes, but I discourage their submission to a Baren exchange, as our intent is to assemble 31 identical suites of prints. A recent exchange included a beautiful print in which the relief-printed component of the image was subordinate to the "giclee" printed digital image and text. I think that printer crossed too far over the "line". The bottom line: I don't believe we've EVER rejected a print from ANY exchange for ANY reason... so far! Sincerely, Mike Lyon, BarenForum coordinator of exchange coordinators (great and powerful TITLE, anyway!) At 10:21 AM 6/29/2002 -0700, "Linda" wrote: >To the great and powerful exchange gods/goddesses: > >I have a question or two about what is and isn't allowed in exchanges. The >rules read: "If prints other than woodcut or linocut are received the print >package will be returned using the enclosed return postage." Do you define >woodcut/linocut printing as being only relief printing? Or could a >woodcut/linocut include blocks printed as an engraving? Or embossment? And >what about monotypes which use relief woodcuts as a significant element? > >I'm not trying to be difficult here (just stop laughing Maria!), I just >would like your definitions clearly explained to this overly literal person. > >Linda Mike Lyon mailto:mikelyon@mlyon.com http://www.mlyon.com ------------------------------ From: "Jean Womack" Date: Sat, 29 Jun 2002 13:14:18 -0700 Subject: [Baren 18545] Re: Baren Digest V19 #1880 Congratulations on your show, Sarah! Jean Eger Womack ------------------------------ From: Minna Sora Date: Sat, 29 Jun 2002 23:43:44 +0300 (EEST) Subject: [Baren 18546] Re: Exchange rules I've also pondered if i can chine collee the woodcuts, and, maybe use some other kind of relief print, for example metal plates relief printed. That's maybe because the print should be quite small. (For some time I've looked for a work i could send to swapshop, but, my st andard size is 24 x 30 inches, and swapshop works should be really tiny) Talking about materials, it could be nice to arrange on exhange with only w oodcuts, using natural wood. Or even restrict it to linden, birch, pine or some other special wood. Minna Sora ------------------------------ From: "Lee and Barbara Mason" Date: Sat, 29 Jun 2002 14:16:34 -0700 Subject: [Baren 18547] wood Minna, the next exchange (#15) will be all moku hanga, so that means all wood. I am not sure we should limit the type of wood....as not all wood is available in all parts of the world, too bad as it would be wonderful but expensive to try that Japanese cherry wood. best to all, Barbara Talking about materials, it could be nice to arrange on exhange with only woodcuts, using natural wood. Or even restrict it to linden, birch, pine or some other special wood. Minna Sora ------------------------------ From: "Linda" Date: Sat, 29 Jun 2002 15:50:24 -0700 Subject: [Baren 18548] Re: Exchange rules Hi Mike, the great and powerful BarenForum coordinator of exchange coordinators, > What a good question! Are you trying to butter me up?! Hahaha -- and it'll work everytime. > As a practical matter, ANY relief printed edition of wood block prints is > acceptable. We accept relief printed editions pulled from other materials > than wood, linoleum being second most popular. > The bottom line: I don't believe we've EVER rejected a print from ANY > exchange for ANY reason... so far! Gotcha. Relief printing in editions. Thanks for the clarification. I would hate to be the first one who had prints rejected. My sensative little ego would be crushed! Linda ------------------------------ From: =?iso-8859-1?Q?Hor=E1cio_Soares?= Date: Sat, 29 Jun 2002 22:27:00 -0300 Subject: [Baren 18549] Re: Sarah Hauser in Works on Paper Exhibition Sarah Now I have two very strong reasons to visit NY. Paul Gauguin at Metropolitan Museum and you at Woodward Gallery. Unfortunately I cannot afford. Congratulations from the South Hemisphere. Hor‡cio. PS At www.metmuseum.org there is a photo of one of the exhibited paintings entitled "Still life with onions, beetroots and a Japanese print". Very interesting. By the way, is there any Gauguin«s woodblock print in the NY exhibition? - ----- Original Message ----- From: To: Sent: Friday, June 28, 2002 10:09 PM Subject: [Baren 18534] Sarah Hauser in Works on Paper Exhibition > Hi all, just wanted to let you know that I will have several recent works (solarplate prints & a woodblock rubbing) in "Paper V Invitational", a works on paper show at Woodward Gallery at 476 Broome Street in the Soho area of New York City. Phone number of the gallery is 212-966-3411. The show runs from July 2nd through July 31st. There's no opening for the show, but the gallery is open Tuesday - Saturday 11 am til 6 pm. John and Kristine Woodward are very friendly, nice people, as is their gallery assistant Tom, and their dog Rinki is often on the premises and loves to show people around the gallery (I'm serious, she happily gave me a tour!). I'm fortunate to have my work included among the likes of such greats as Willem de Kooning, Roy Lichtenstein, George Grosz, Frank Stella, Ben Shahn, Andy Warhol, etc! > Enjoy... > best wishes > Sarah Hauser > ------------------------------ From: "marilynn smih" Date: Sat, 29 Jun 2002 18:55:55 -0700 Subject: [Baren 18550] Re: Baren Digest V19 #1880 I am so impressed by the enthusiasm of those wanting in an exchange. I did not think we would come to this number, 20??? Well maybe we might goodness. So glad I took this on, we have a good number here: 1. Marilynn Smith, coordinator 2. Mike Lyon 3. Frank Trueba 4. Gilda Zimmerling 5. Barbara Masom 6. John Center 7. Kat Pukas - undecided 8. Sharen Linder (gads one day I will spell all your name right (O:) 9. Monica Bright 10. Charles Morgan 11 Eli Griggs 12. Julio Rodriquez 13. George Jarvis 14. Minna Sora 15. Danile L. Dew 16 Barbara Patera 17. Jean Womack Are we amazing or just crazy??? Let me know if you want in, and oops I will have to recheck the order recieved and what is what if we get over 20. WOW!! ------------------------------ From: =?iso-8859-1?Q?Hor=E1cio_Soares?= Date: Sat, 29 Jun 2002 23:37:21 -0300 Subject: [Baren 18551] Re: Baren Digest V19 #1880 Marilynn I would like to participate of the 14a Baren Exchange. Thanks. Hor‡cio Rio / Brazil ------------------------------ From: "Maria Arango" Date: Sat, 29 Jun 2002 19:55:33 -0700 Subject: [Baren 18552] FW: My First Solo Art Show Had to toot someone else's horn, member Pete White is having a solo. I know we have many members in Southern Cal, so if you can attend, Pete's prints are full of energy and verve. The L.A. Chapter had the pleasure of meeting Pete a year back or so. Good luck! - -----Original Message----- From: Pedrobot@aol.com [mailto:Pedrobot@aol.com] Sent: Saturday, June 29, 2002 7:21 PM Pete White Woodcut Exhibition: The Pasadena Borders bookstore has selected me as the Artist of the Month for the month of July. I will be showing eleven woodcuts, including eight from my recent Hawaiiana series. The show will run from Monday, July 1st until Wednesday, July 31st. There will be a reception held at the store on Sunday, July 7th at 4:00pm. Light refreshments will be provided. This is my first solo exhibition, and I would love it if you could come out and see it. Obviously, you live way out of town, so that isn't going to happen. But I wanted to tell you about it anyway. For more information or directions to the store, please check out my website at: http://www.geocities.com/pedrobot2000 Thanks. - --Pete ------------------------------ From: "M. Pereira" Date: Sun, 30 Jun 2002 00:22:13 -0300 Subject: [Baren 18553] Re: Sarah Hauser in Works on Paper Exhibition Ol‡, Hor‡cio, obrigado pela "dica" do Gauguin no Metropolitan . Fui atˇ l‡, rapidamente, e terei que voltar muitas vezes pq ele ˇ um real deslumbramento. Eu estava olhando, e pensava com meus bot›es - (comentei atˇ com minha mulher, que chegou aqui um instante) - n‹o s‹o as cores, n‹o ˇ o assunto, nem o desenho ou a composi¨‹o, mas ao mesmo tempo ˇ tudo isso e muito mais, as obras s‹o maravilhosas, sou apaiixonado por Gauguin desde sempre, desde que vi as reprodu¨›es das obras dele. Me lembro que vi "Lost for Life" nos anos 50, com o Kirk Douglas como Van Gogh e o Anthony Quinn fazia o Gauguin. Mr. Quinn atˇ ganhou um Oscar por esse trabalho. Seu segundo. (O primeiro foi pelo tb —timo "Viva Zapata!" com o Brando no papel t’tulo). Gra¨as a Deus, tive o grande prazer intelectual de ver a entrevista do Anthony Quinn no programa do nosso querido J™ Soares, agora um pouco antes do Quinn falecer. Mais uma vez, te agrade¨o essa informa¨‹o. Eu lia muito aqui na net o NYTimes, mas depois a ‡rea foi restringida a assinantes e/ou inscri¨›es , e eu n‹o topo ficar me inscrevendo ‡-toa, deixo isso para os sites sobre Educa¨‹o e Cultura e Arte, pq s‹o meus objetos de estudo. Dear SARAH, congratulations for your show. You are really in a very pleasent company. I also LOVE DeKooning, and Grosz, both are the "supra-sumo", and the others , too, I have never left my country, I'm too poor in this quesito , but I have seen so many artists and expositions here in Brazil, the Museums of Rio de Janeiro and S‹o Paulo... and even in my city ...that I forgot what artist I know from live and what I know from reproductions. Best wishes for both of you Sarah and Horacio. Forgive me for being extensive. ------------------------------ From: "Tyrus Clutter" Date: Sat, 29 Jun 2002 22:09:35 -0600 Subject: [Baren 18554] Munch... Gauguin I believe I inadvertently introduced Munch's "Kiss" into our discussion awhile back. I'm glad I did as that provided a great thread of conversation. While looking through a book the other day I was reminded of another great painter, who is not as know by his prints, but the prints may allow a new interesting discussion. Gauguin's woodcuts seem quite unique to me. His Tahitian style shows through, but these are so tonal in a very western way. I'm not looking at any specific piece right now, but it seems like he was using a wire brush not just to bring up grain, but to create tonal changes and value. I suppose it could just come from scratching with a knife too, I'm not sure what he did. Who wants to get the ball rolling on this? I think we may come up with just as many guesses at process as we had with Munch. TyRuS ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Sun, 30 Jun 2002 00:38:43 -0500 Subject: [Baren 18555] Re: Munch... Gauguin 06/30/2002 12:40:36 AM HI Tyrus, very stimulating post about Gaugin woodcuts. There is a book at my local library that deals in depth on the woodblocks done by Gaugin. I posted about it here on Baren about three years ago. It is actually more like a thesis ! It goes into great detail on the history of the blocks, their current condition, their reprinting, etc. It then compares new prints taken from the still existing blocks against the originals done by Gaugin or others shortly after his death. A great read for any Gaugin aficionado ! It also has photos of all the blocks side by side with the resulting print. There is a lot of text comparing his painting style to his woodblocks. I will try to dig up the title and the ISBN for anyone interested.... regards...Julio ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Sun, 30 Jun 2002 00:49:03 -0500 Subject: [Baren 18556] Re: More on Gaugin's blocks !!!! 06/30/2002 12:50:57 AM Ha! That Google search on the archives is a beauty, less than a second it took to find my old post from 1999!!!! Here it is in it's entirety: From: Julio.Rodriguez@walgreens.com Date: Sun, 28 Nov 1999 15:23:46 -0600 Subject: [Baren 6873] re: Woodcuts by Gaugin Just picked up a book on woodcuts by french artist Paul GAUGIN. The book is tittled "Gaugin Woodcuts" by Dr. Libuse Sykorova ( London,1963). The book is quite a detailed history of 11 of Gaugin's woodblocks created during his second visit to Oceania (1895-1903). Carved on misc. pieces of soft wood extracted from furniture & crates; the woodcuts were salvaged by an admiring young Slovak astronomer visiting the islands in 1910 and found among natives still holding some of Gaugin's artifacts sold at public auction after his death (Gaugin died destitute, alone and forsaken by family and friends and his possesions were sold at public auction to pay a fine to which the artist had been sentenced prior to his death in 1903). The blocks became part of the Czechoslvak state in 1951 after the owners death and were re-printed in 1961 ( by artist Janus Kubicek) in an effort to document Gaugin's work before further damage to the woodcuts would make reprints impossible. The soft wood was greatly damaged by insects, careless printing and time itself. Only a handful of original prints exist from these blocks, mostly in private collections. If you are interested in woodcuts, I encourage to try to get a look at this book. Not only the "new" prints are full-size and expertly made (considering the sad condition of the cuts), but also fine "full-sized" detailed photographs of each of the eleven blocks (some double-sided) are included which show the artists unique handprint and style. The author goes on great detail as far as woodblock condition, crude tools used for carving and exisitng wood damage. It is more of a book about the blocks themselves than about the artist. Julio ------------------------------ End of Baren Digest V19 #1881 *****************************