Baren Digest Monday, 2 September 2002 Volume 20 : Number 1945 ---------------------------------------------------------------------- From: ArtfulCarol#aol.com Date: Sun, 1 Sep 2002 10:23:37 EDT Subject: [Baren 19029] Re: Baren Digest V20 #1943 About 2 cents Or you can call it Variant as I have seen in museums and galleries Carol L ------------------------------ From: "Lee and Barbara Mason" Date: Sun, 1 Sep 2002 07:32:45 -0700 Subject: [Baren 19030] Editioning prints > Variable edition and mono-type prints any one want to go into that kettle of fish? > What if the same key block is used but different secondary blocks how should that be defined? limited series, artist book if bound can a series be editioned? if so how close does it have to be? and how should they be numbered if you indeed to use the block again? > john center John, My understanding is if you print a second edition from the same blocks you number them in roman numerals and say second edition on the print and on the authenticity certificate. If you use the same key block and the other blocks change in carving then it is a new edition, if they change in color it is a second edition. This is up to the decision of the artist as to how much change there really is. Varied editions are when you are selectively hand wiping an area that is impossible to get the same, or when you change one small thing inside an edition, or when you use the same plates and change the colors....or when you do something obviously different on each print. Monoprints are just that, one print using a key plate or something that can be repeated within the print, say an etching plate in the corner of a larger print done with ink on a blank plate. Monotype is one print with no repeatable matrix, that is if you printed it a second time you would get no image that looks the same. I am unsure about ghost prints, I think they are numbered as A,B,C and so on if there are no alterations to the plate. Who really cares about all of this? Some far distant collector or museum curator???? I guess the thing is to be as honest as possible and give as much information as possible. I usually write stuff on the back of the print in pencil...you never know who may read it. Best to all, Barbara ------------------------------ From: "Lee and Barbara Mason" Date: Sun, 1 Sep 2002 07:52:39 -0700 Subject: [Baren 19031] write up of the baren show Hi all, We got a nice write up in the local paper on the baren show at the Beaverton City Hall here in Oregon. Because the paper is small they gave it almost the full page on the front of the happenings section. It is too big for my scanner, but I am sending it to Dave, so perhaps he can figure out how to get it online...maybe I can shrink it on the copy machine..I'll give it a try. They made me sound like a famous person....I love local papers! I didn't know the article was out or we could have found it online, they only go back a month and it came out July 23rd. Rats. Best to all, Barbara ------------------------------ From: "Bill H. Ritchie, Jr." Date: Sun, 1 Sep 2002 09:26:12 -0700 Subject: [Baren 19032] RE: Prints on eBay Linda, in her posting about someone named Kincade (probably that one I heard about whose gimmick is 'painter of light') and the difference between original prints and art, etc. is, as she says, an old debate. I don't have anything to add, but her disgustion (hey! that's a cool typo I'll just leave as is) except my memory of my college experience. There, I was asked about the difference numerous times. Even more exacting were questions regarding the true "inventor" of the collagraph. It happened I taught where a man had convinced the locals that he invented the collagraph. But in my work as a diligent scholar, I came up with answers closer to what I saw as the truth: Boris Margo, Rolf Nesch and Charles Smith were--chronologically--closer to the real inventors. My colleague was, however, merely trying to survive and thrive in the clandestine world of the US American university art school system. You know, publish or perish and all that dry rot of 20th Century art education. My answers to the students caused great ire. I became an irritant and eventually was encouraged to resign, which I did. I learned that it served my vision of art to avoid ANY technological discussion regarding what makes printmaking an art form, and why reproductions are a stretch. I'm not saying Linda is right or wrong. I think the discussion is interesting, even after many rounds. It's like watching a classic movie. It will always have high replay value. Therein lies part of the motivation for proving, proof after hand-printed proof, that the human is master of the machine. I prefer, on this Payne's gray day in Seattle, watching the trees moving slightly in the morning breeze, to compare to a book I've been reading about personality types. The author has a gimmick wherein she allocates personality types into four groups, giving them names like "bears, bees, otters and lions". People in the business of art might be compared in similar ways. For example, let's say this Kincade person is a "lion". Then you'd turn to a "Linda" and say she's, perhaps, a "bear". Put them in the same cage, with chains, and see what happens. No one is a 100% pure type, I think. What does this make me, I wonder? Someone wiser than I am might say I'm equal parts of all four. Can we control those extrinsic forces that are E-bay and -- name any association, club, society or whatever incorporated coven you like -- as well as we control our selves? Or THINK we are in control of our selves? I really like this "Linda" (one of my best friends, my wife, is named Lynda-with-a-Y) for having raised this discussion. Thanks for reading a long time. I love the Baren discussion forum, too. - - Billness in Seattle Professional Career Site: www.seanet.com/~ritchie First Emeralda Portal Site: www.artsport.com Bill's Virtual Art Gallery & e-commerce Site: www.myartpatron.com Snail Mail: 500 Aloha #105, Seattle 98109 e-mail: ritchie#seanet.com ------------------------------ From: Sharri LaPierre Date: Sun, 1 Sep 2002 20:28:26 -0700 Subject: [Baren 19034] LPE II Large Print Exchange II sign-up is now closed. Work will be due in Vancouver in March 2004. Thanks to everyone who signed up - we will all be anxious to see the work in about a year and a half! Sharri ------------------------------ From: FurryPressII#aol.com Date: Mon, 2 Sep 2002 01:05:45 EDT Subject: [Baren 19035] Re: LPE II i hope i signed up for it i think i did got the block cut for it at least john center ------------------------------ End of Baren Digest V20 #1945 *****************************