Today's postings

  1. [Baren 35961] Exchange 36 (Eileen Corder)
  2. [Baren 35962] Martucci Galllery/Carol Lyons (ArtfulCarol #
  3. [Baren 35963] opportunity for printmakers (Barbara Mason)
  4. [Baren 35964] Difficulty with new photocopy transfers (Jan Telfer)
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Message 1
From: Eileen Corder
Date: Fri, 13 Jun 2008 08:00:08 -0700
Subject: [Baren 35961] Exchange 36
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Hi Bareners, everyone in Exchange 36, Maria, Carole Baker and Marilynn

I received my prints a few days ago and was overwhelmed by the variety of
styles and materials, and by the individual perfection of each one. I have
so many "favorites" but I want to let Marilynn know that I thought her print
was most lovely for its composition and colors. I am about to try moku hanga
and only wish I could do anything so exquisite as hers. Thank you, Marilynn,
for your model of excellence. Thanks to Carole for all her work,
correspondence, encouragement and coordination. It is great to know someone
in Alaska! Finally, I would like to invite each one of you to my house for a

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Message 2
From: ArtfulCarol #
Date: Fri, 13 Jun 2008 14:46:37 EDT
Subject: [Baren 35962] Martucci Galllery/Carol Lyons
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More about exhibiting woodblock prints---
Bareners , I don't remember if i sent this at the time. If not:
This exhibit was in the Gallery in our Irvington Library, the same room as
the Baren
prints, Remembering the Firemen of 9/11


As part of my Retrospective Exhibit , I showed 10 woodblock prints and
gave a talk to a group of about 25. I told about Baren, gave out our
brochure, and answered questions about the prints. They are the 10 works
behind me. They were intrigued about Baren, especially enjoying Dave's
quote "If you like
doing something isn't it good if it takes a long time"

It was interesting because the chairperson of the hanging committee
suggested that I have 2 very large paintings behind me, instead of the 10
woodblock prints.

Knowing that I would want to
turn around and speak about the woodblock prints I stuck to my original
and that worked out very well.
If this were a commercial gallery I would have had no say in the placement
of the work.

I called the Lecture an Art Gig, an idea I got from my L.A. friend. At the
end the group understood the title because of the humorous art anecdotes.
I spoke, they listened, learned, laughed, were entertained and applauded.

I'm nervous and excited when I talk in front of a group, but I enjoy it in
a masochistic sort of way, kind of like starting a new woodblock print
process and not knowing how it will turn out. Besides,I always want to
spread information about Baren Did you ever have such art

In the "you never know who you will meet category": At the opening
reception I
got to talking to a man who had a video and interviewing business. I
him who he last interviewed----Ahmadinejad (sp?)--yes that Ahmadinejad,
he was at the UN.
I said I was about ready to have a video of my exhibit and Gig. And so
we arranged to have a disc made.. What does that mean? Nothing much,
except you never know
who you will meet when you scratch the surface. ( A....'s. video was not
revealing.) I'm happy to have a record of my Retrospective.

The longer you are in the art game and are open to experiences, the more
surprises and experiments .I hope they are happy ones!!!
Carol Lyons

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Message 3
From: Barbara Mason
Date: Fri, 13 Jun 2008 13:19:42 -0700 (PDT)
Subject: [Baren 35963] opportunity for printmakers
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Baren is a member of the Print Alliance so do not forget your discount if you decide to enter this show
My best to all

The American Print Alliance is a non-profit consortium of printmakers’ councils, serving about 6,000 artists across the United States and Canada. The Alliance promotes traditional and experimental printmaking by sponsoring national and international projects including Print Dialogue Days, traveling exhibitions, our beautifully-designed website and provocative journal.

Enter your prints, paperworks and artists' books in our new traveling exhibition, Soap Box Prints 2: Prints, Politics & Democracy. Show how prints express the rights and responsibilities of democracy and inspire people to defend freedoms, serve in elected office, vote, demonstrate and take part in political life. The exhibition itself will demonstrate that prints can be an influential part of the democratic process. Read the prospectus (there’s a click-on from our home page, and plan to show your work — and show the world how printmakers advocate for democracy.

The Alliance has so far organized eight exhibitions, showing a total of 824 different prints, paperworks and artists’ books at 57 venues. Our Memorial Portfolio has had a tremendous effect on thousands and thousands of people, and our first Soap Box portfolio (currently traveling) is extraordinary, an outpouring of concern for our environment. Besides colleges, universities and museums, we are pleased to have shown at places naturally welcoming to the general public: neighborhood centers, arts councils, a city hall, shopping mall, magnet high school, book store and even a winery.

Soap Box Prints 2 will travel for two to three years after opening during our 2008 Print Dialogue Days, so save the dates September 25-27 to join us at the Atlanta campus of SCAD (Savannah College of Art & Design). There will be student participatory events on Thursday and an open house at the Atlanta Printmakers Studio. Friday includes behind-the-scenes at the High Museum's Print Room, technical demonstrations and gallery receptions. Then on Saturday we'll have our speakers, panel discussions and open portfolios. Everyone is invited to help create a closer sense of community.

Meanwhile, you can take part in the dialogue by subscribing to our journal and receiving all the benefits that the Alliance offers. Contemporary IMPRESSIONS, now in our 16th year of publication, is the only American journal devoted entirely to critical writing about contemporary print arts; it’s not a newsletter or art market report. We are proud to count hundreds of schools, museums and libraries among our subscribers. The journal emphasizes printmaking’s conceptual role in contemporary art. You'll get two inspiring issues devoted entirely (32 pages without advertising) to idea-filled essays and articles, interviews, exhibition and book reviews. We talk about the content and context that make print arts the most exciting contemporary expression. The Spring 2008 issue is running very late, but will include articles by Althea Murphy-Price, Bob Tomolillo, Peter MacWhirter, Bill Hosterman and a special surprise political print by Art Hazelwood. The gift
print for 2008, an etching by Yuji Hiratsuka, will be mailed with the Fall issue.

The journal itself serves a major function in our goal of promoting printmaking by talking about the most significant ideas in art and society, and it is our major source of funding. Our website at has online exhibits, information on copyright and print disclosure law, print study rooms, a bibliography, index to our journal & more. Most of the site is available to everyone, but some sections require a subscriber’s password. One of the best benefits for getting your own work "out there," your password opens the popular online list of Competitive Print Exhibitions. Subscribers are also invited to show a print, paperwork or artist's book in our online Print Bin for free.

And the Alliance has just become a Benefits Affiliate with Freelancers Union, providing access to group-rate and individual health, dental, life and disability insurance -- with a waiver of the $40 insurance application fee, thanks to this new partnership! (Note: You must be a current subscriber to Contemporary Impressions or member of an allied council for your insurance application fee to be waived.) Look for the link on our homepage.

We’re working hard to strengthen our community and show the world the diversity and extraordinary quality of original prints. You can help printmaking and yourself! A subscription to Contemporary IMPRESSIONS is still only about a dime a day, even less if you’re a member of one of our Alliance councils (and only about four cents a day for full-time students). Here is a direct link to the subscription form:

We look forward to providing even more resources and exhibition opportunities in 2008, to help you bring your artwork to its fullest potential.

Carol Pulin, director
American Print Alliance
non-profit consortium of printmakers' councils
302 Larkspur Turn, Peachtree City GA 30269,

Please forgive us if you get multiple copies of this announcement.

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Message 4
From: Jan Telfer
Date: Sat, 14 Jun 2008 19:19:12 +0800
Subject: [Baren 35964] Difficulty with new photocopy transfers
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Thank you Charles for your expertise in regard to transferring
photocopies on to my woodblocks...... up to now this has been no
problem, but the local Library had installed a new photocopier which
now produces bright solid black images that would not transfer with
mineral turpentine as the previous copier did.

I tried acetone, acetate, white spirit, orange spirit, elbow greece,
swear words, pressure of hand foot and telephone books but nothing
would budge the new black printing ink.

Along came Charles with his expertise and yes, heat did it.... I ironed
the photocopy onto one of my old woodblock strips and voila..... before
the paper burnt and the woodblock caught alight the image melted enough
to transfer to the wood.

It doesn't seemed to have affected the wood or the wood surface.

So thank you Charles you are again my lifesaver.

West Aussie