Baren Digest            Wednesday, 18 September 2002    Volume 20 : Number 1962


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From: Shireen Holman <shireenh#earthlink.net>
Date: Tue, 17 Sep 2002 09:06:14 -0400
Subject: [Baren 19214] Re: new stuff 

Beautiful prints, Maria. I especially like Timberline Traveler.
Shireen

At 05:10 PM 9/16/02 -0700, you wrote:

>Completed 3 new prints of late:
>An engraving,
>http://www.1000woodcuts.com/fullsize/timberlinetraveler.html
>And two puzzle woodcuts,
>http://www.1000woodcuts.com/fullsize/bebiendolaluna.html
>http://www.1000woodcuts.com/fullsize/bajolasombra.html


***********************************************
Shireen Holman, Printmaker and Book Artist
email: shireenh#earthlink.net
http://www.shireenholman.com
***********************************************



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From: Shireen Holman <shireenh#earthlink.net>
Date: Tue, 17 Sep 2002 09:17:38 -0400
Subject: [Baren 19215] Re: Interesting Hasui watercolour and print ... 

This is very interesting. The watercolour has more of a sense of space than 
the print does. It looks as though in the watercolour there is more 
variation in the detail and the shading of the leaves in the foreground 
compared with the ones in the background. In the print it looks as though 
the colour just gradually lightens from foreground to background, without 
being specific to the leaves. Maybe, though, it's just hard to tell on a 
scanned version of the print.
Shireen

At 11:18 PM 9/14/02 +0900, you wrote:

>I suppose most of the people on this list won't be closely watching 
>Japanese auction sites, so wouldn't have seen this item:
>
>http://page4.auctions.yahoo.co.jp/jp/auction/d21151680
>
>It's a rare chance to compare a Hasui watercolour with the resulting print.
>
>Your English browsers probably won't show the Japanese text on the page, 
>but the three images should still come through.
>
>Three items in the auction:
>- the print
>- the original watercolour
>- a 'kyogo-zuri' (impression from the key block)
>
>Dave


***********************************************
Shireen Holman, Printmaker and Book Artist
email: shireenh#earthlink.net
http://www.shireenholman.com
***********************************************



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From: "Maria Arango" <maria#mariarango.com>
Date: Tue, 17 Sep 2002 08:27:18 -0700
Subject: [Baren 19216] RE: pieces pieces 

Bajo la Sombra is only 2 pieces, I must have said it wrong. One piece
contains the woman and the foreground, follow the line of the fingers one
way and the toes the other. The other contains the bush and above. I use a
scroll saw, a cheapie thing with (lots of) thin blades. The wood is 3/4"
cherry, so it's tough to make tight curves and the wood has a tendency to
burn a little, partly because cherry burns a little when cut (so I'm told)
and partly due to my own inexperience with the scroll saw.
Scroll saw can be had for around $80 or less, the main pain being that it
has to be bolted down to some bench and therefore makes a permanent somewhat
bulky addition to a small studio. I've been looking at deep throated hand
fret saws and found one that I like but it's a wee bit pricey for now. The
advantage of a hand saw that I would see is more control, but experienced
scroll saw users tell me that more control will come with practice, even on
thick cherry! A scroll saw artist at an art festival also told me not to be
afraid to snap those blades on tight curves, they are pretty cheap and "they
do that."
Here is a page I wrote a while back:
http://www.1000woodcuts.com/Studionotes/scroll/scrollsaw.html

Happy to hear you are giving art festivals a try, they are a good venue for
the printmaker. We have the advantage of creating affordable multiples,
perfectly suited to the festival audience. Don't be afraid to take expensive
stuff either, it sells.

Maria
<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria#mariarango.com
<><><><><><><><><><><><><><>




>    http://www.1000woodcuts.com/fullsize/bajolasombra.html
>
>
>
>  maria
>     these are wonderful!!!   i especially like "bajo la sombra"  you said
>you cut the block into 3 pieces    can you elaborate?   im assuming you cut
>around the figure   but where else did you cut?   what kind of saw do you
>need to do this?    you are amazing!!!
>  georga
>  ps
>     im going to do my second small festival this saturday
>
>-


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From: G Wohlken <blueman#pantek.com>
Date: Tue, 17 Sep 2002 12:25:28 +0000
Subject: [Baren 19217] The Desert Alive and thanks for Carol and Roberta 

Maria, the organic shapes in your prints, alive with the motion of your 
cuts, your choice of paper and color  keep our eyes stunned as we 
penetrate the mystery of your deserts.   The Timberline Traveler reaches 
for us.

Carol, thank you and Roberta Waddell for the opportunity none of us ever 
dreamed!    

Gayle  


------------------------------

From: jimandkatemundie#juno.com
Date: Tue, 17 Sep 2002 12:36:37 -0500
Subject: [Baren 19218] Re: large prints by Munakata 

Myron wrote: 


>  From what you report, these large prints have a relatively uniform 
> density, so as to insure that the many pieces fit together visually 
> as a single unit.  But from what I can recall and what I've seen in 
> reproductions, this seems to be unlike many of his smaller prints.  
> Whereas we often admire black blacks,  Munakata's designs seem to

transcend 

> (or reject) uniformity of color and impression.  The emphasis is on the


> image and not on the printing, or not on the mechanical quality of the 
> printing.  Sometimes the lack of uniformity of surface seems to be a 
> result of printing from a rough block.  The irregularities of printing 
> surface are no doubt intentional since the prints are so beautiful. 


The large assemblages are uniform to the extent that there is a
substantial amount of pigment on each sheet -- enough to make my arm ache
just looking at it.  The effect is generally balanced from one sheet to
the next so that one block doesn't visually leap out at the viewer. 
However, when one looks more closely there is a great deal of variety
within each print where one can pick out varying layers of pigment
density or the odd mark of the baren.  

There is a very large piece in the exhibition depicting swans - if memory
serves - in which both the cutting and the printing is so energetic that
the whole piece is suffused with a lively 'bounce'.  This is partly
achieved through the balance of light and dark spaces in the design, of
course, but there is a touch of black in the whites and vice versa that
makes the whole piece sparkle.  People often of talk about Munakata's
quick cutting, but rarely discuss the nuances of his printing technique. 
Truly he knew how to translate textures so that both the wood and the ink
speak together in the final print.

It would be interesting to compare multiple prints from the same block --
as with Munch -- to see to which degree each print was very much an
individual work created as Munakata's whim dictated.

Regards,
James Mundie, Philadelphia PA, USA
http://www.missioncreep.com/mundie/index.htm

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From: Aqua4tis#aol.com
Date: Tue, 17 Sep 2002 13:25:26 EDT
Subject: [Baren 19219] Re: pieces pieces 

maria
   i think you should put all of this information into a book!!!   youre a 
wonderful writer
georga

------------------------------

From: Charles Morgan <cmorgan#uvic.ca>
Date: Tue, 17 Sep 2002 11:59:51 -0700
Subject: [Baren 19220] Court Decision 

Thought some of you might be interested in a decision by the Canadian 
Supreme Court. An artist gave a gallery the right to make some posters 
advertising his show. The gallery used some weird process to strip the 
images from the posters and put them on canvas. It then was selling the 
canvas images for big bucks. The artist sued, but the Supreme Court ruled 
against him !!! Here is a link to the decision. It is long, but makes for 
interesting reading.

http://www.lexum.umontreal.ca/csc-scc/en/rec/html/laroche.en.html

Cheers ...... Charles


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From: legreenart#cs.com
Date: Tue, 17 Sep 2002 16:02:45 -0400
Subject: [Baren 19221] RE: Baren Digest V20 #1960 

I had to take a break from keeping up with Baren, so I don't 
understand exactly how you are selling the the Firemans portfolio, 
but I would like to point out that libraries and museums have purchasing 
funds and endowments, and it would be appropriate to sell, not donate the 
prints portfoliio. I think one donation for achival purposes to NYC Library, 
because that is giving them back to all the neighbors, friends and families 
of the fireman, and is appropriate, but additional ones should have a price tag. 
I was just at Louisiana State University, and was surprised to find out that 
they have a large purchasing endowment. Thay had just paid $1500 for a woodblock 
printed book made by two artists I know. 

Forgive typos, gotta run. 
Le Green 
StoneMetal Press
p.s. We need participants in our Bare Bones show, 
http://www.stonemetal-press.com/exhbition_opportunities.htm

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From: "pwalls1234" <pwalls1234#i-55.com>
Date: Tue, 17 Sep 2002 15:56:32 -0500
Subject: [Baren 19222] stronemetal 

le Green,

Were you visiting the School of Art at LSU?  Wish I could have run into you!
I am not teaching this semester but am surprised Lesie did not mention you
coming to town.

take care,

Peter Walls
LSU  -Baton Rouge


From: legreenart#cs.com <legreenart#cs.com>


>>I had to take a break from keeping up with Baren, so I don't understand
>
>exactly how you are selling the the Firemans portfolio, but I would like to
>point out that libraries and museums have purchasing funds and endowments,
>and it would be appropriate to sell, not donate the prints portfoliio. I
>think one donation for achival purposes to NYC Library, because that is
>giving them back to all the neighbors, friends and families of the fireman,
>and is appropriate, but additional ones should have a price tag. I was just
>at Louisiana State University, and was surprised to find out that they have
>a large purchasing endowment. Thay had just paid $1500 for a woodblock
>printed book made by two artists I know.

>
>Forgive typos, gotta run.
>Le Green
>StoneMetal Press
>p.s. We need participants in our Bare Bones show,
>http://www.stonemetal-press.com/exhbition_opportunities.htm
>



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From: "Maria Arango" <maria#mariarango.com>
Date: Tue, 17 Sep 2002 15:02:15 -0700
Subject: [Baren 19223] endorphins and fun project proposal  

Went for a bike ride this morning, this being relevant only because the ride
sent endorphins flying all over my brain. Endorphins, as you may know, are
natural opiates which produce a gentle high (although in my case, not so
gentle) and unbound amounts of energy.

SO! I've been thinking about a collaboration project for a while and I think
it's about time we do something extraordinarily fun. This shouldn't
interfere with our regular schedule of exchanges, since this is a relatively
small and easy project spread over a long period of time. Here is my
proposed proposal for a potentially pfun project:

OFFSHOOT COLLABORATION PROJECT heretofore referred to as:
"WHAT IS BAREN?" A PUZZLE BY ITS MEMBERS (or perhaps simply nicknamed: The
Puzzle Project)

SUMMARY:
Each participant designs and carves a piece of a large block. Coordinator
prints. Participants get back prints of the whole block.

COORDINATOR:
Maria Arango, contact me here: puzzle#mariarango.com

THEME:
"What is Baren?" the question posed by one of our members a while back and
really makes you think about who we are, what we do and why we do it.
The question can be "answered" with complete freedom by participants.
Discussion in the forum may bring up some ideas.
Moderator will NOT refuse any print on the basis of anything, we're artists
for crying out loud.

SIGN UP:
Sign up will be handled by email cuz I don't feel like making up a sign up
page.
After sign up starts, the first 16 Baren members will be "in". As you will
see below, we will really need COMMITTED folks because of the craziness of
the project. Should we get a large number of sign ups, I will do my best to
accommodate all by liberal use of the jig-saw. Should 32 participants sign
up, I will simply chop two blocks (keep reading).
Sign up will commence as soon as I get enough interest off list and/or on
list. I will repost this again early next week and begin taking sign ups
then.

DEADLINE:
Approximately 7-8 months from completion of sign up. I will print the entire
project in the summer of 2003.

FORMAT/DETAILS:
Your insane coordinator will purchase a wood block approximately 20" x 28"
(50.8 x 71 cm) in size; probably birch, perhaps maple plywood to keep easy
to carve. She will then proceed to draw a very simple design on the block
with a fine marker. The design will be in the spirit of the question "What
is Baren?" and will simply serve as an underlying "binding" for
participant's designs.
The block will then be sawn in as many pieces as there are participants; I'm
shooting for 16. The pieces will be irregular, not exactly in the
traditional "puzzle" shapes but something similar. Consequently, each piece
will have a portion of the drawn design, the identity of which will remain a
mystery until all the pieces are printed. I am also hoping that the
underlying design will become completely irrelevant except in its "binding"
role of the whole.

Upon sign up completion:
- - Each participant receives a pre-cut block, approximately 5" x 7" (12.7 x
17.8 cm) in size and of an irregular shape. The block will contain some
predrawn lines and whatever design each participant invents must somehow
"work with" those lines.
- - Design and carving starts in the privacy of everyone's homes and at
whatever pace you should like to work as long as the deadline is met, a
generous 7-8 months after sign up. Don't worry, I will remind you. Any
carving/gouging/sanding/injuring method may be used on the block; final
block will be printed relief.
- - Participants mail the blocks to the coordinator.

After all the blocks are received by the coordinator:
- - The individual pieces will be re-assembled and printed in BLACK on WHITE
paper, so keep that in mind when designing.
- - Any drop-outs will result in a missing puzzle piece, which would be an
interesting statement of what someone thinks of Baren. I will substitute the
missing piece with a block that contains only the underlying design lines.
- - Ink will be oil-based BLACK and I will most likely use a heavy printmaking
off-white paper such as BFK buff or similar.
- - Each participant gets 2 prints of the entire puzzle. A total of:
participants x 2 (+1 archive) prints will be pulled. The future of the block
is to be decided later by the group involved (each gets tiny block back,
entire block mounted and kept in some gallows for posterity, ???).
- - Web exposure, participants names and process pics will be provided in my
website, linked from the Baren site.
- - Participants pay only postage to get the prints. Block, ink, paper, elbow
grease and mailing tubes provided by coordinator.

Don't it sound like fun?

Maria

<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria#mariarango.com
<><><><><><><><><><><><><><>


------------------------------

From: "Maria Arango" <maria#mariarango.com>
Date: Tue, 17 Sep 2002 18:23:07 -0700
Subject: [Baren 19224] cheateeeers! 

Okay, regarding my previous post,
SIGN UP for the Puzzle Project is officially open NOW: email
puzzle#mariarango.com
(people are already sneaking in...;-)

Maria

<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria#mariarango.com
<><><><><><><><><><><><><><>


------------------------------

From: "Jean Womack" <jeaneger#jeaneger.com>
Date: Tue, 17 Sep 2002 20:59:46 -0700
Subject: [Baren 19225] Re:   Baren Digest V20 #1961 

Maria,
You have really hit your stride with Timberline Traveler.  However, I could
not access your puzzle print pages.
Jean Womack
http://www.jeaneger.com

------------------------------

From: ArtfulCarol#aol.com
Date: Wed, 18 Sep 2002 08:55:00 EDT
Subject: [Baren 19226] Firemen Portfolio Participants 

Hi,
Will the folowing please send me their e-mail address:

Tyrus Clutter
Akemi Ohira
Mary Kuster
Marilyn Smith

Thank you
Carol

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End of Baren Digest V20 #1962
*****************************