Thursday, April 7, 2016


(Above) The guy behind Mike Sims, that was Hudson. Some knew him as Bob. His full name was Robert Hudson. I knew him as the tall guy with gray hair. Last Saturday Jan and I drove over to the Plaza in Kansas City to hear stories about Hudson and family photos. There he was standing on the snow slope with skis, grinning. In the next slide he was stretched out in a hospital bed in traction with a leg cast and that same grin.    Karl

I didn't recognize anyone at the funeral service, but here and there were friends of ours from the Nelson Atkins Print Society. After the funeral service and reception, a number of us met over at Ric's place. At some point, after all the chit chat, milling around his place, and munching on goodies, we gathered in the living room. The softness came out of us. I was afraid I was going to cry, one said. I did during the service, another admitted. Timid. Frail. Touched by the care he gave us. Karl
From Day One I would get LITTLE NOTES: “You are so wonderful." “Thank you for being here.” And I still have some of them. Some of them I just crunched when I left. But one of the sweetest men in the world. Most generous spirit. And that is why I say, if someone needed something he could be helpful. He was always signing people up and paying their dues (to the Society) He would get them started. He would find prints to give to other people. Sometimes he gave it to them, sometimes they never left the studio. That’s my story. And I will miss him.  Beth

    Jack: Bob was the president of the Print society, and I think he set a very good example for me   
    Paula: When was Jack President? 
   Jack: I don’t remember the dates.   
   Jane: You were sort of, it was right at the time George died. 
   Jack: Yes.   
   Beth: Well George passed in '07.
   Ruthie: The print society, honest to goodness, used to be twelve of us around the table. 
   Beth: I know there weren’t very many of you. 
   Ruthie: And Jack and I used to sit at the same table, where we met in the room that had the real shiny table and I used to love throwing the papers across to people, because it would SLIDE. There were about twelve of us, and this is the way elections went. And Jack, correct me if I’m wrong, but everybody had a TITLE and when there was an election year you moved your title ONE SPACE to the LEFT.   
   Jack: I never had been to an art museum until after I start associating with Jane.   
   Jane: He went off to print society meetings for ten years or something like that.     
   Eileen: I was before Jack    
   Ruthie: That’s right    
   Eileen: And Mike was before me. Mike Gross, my husband.    
   Ruthie: The original crowd that I remember was Mike and Eileen (Gross), Greg Schiezer, Jack and Jane (Coakley). Now I was in the late 80s, about ‘88, ‘89 and ‘91. Jean Levi, Leo Goertz, Richard Coleman, Mary and Curt Cutting, and Barbara Mueller for a short time. And George and Jan (McKenna) and Jean Howard.

    Karl: We were going to one of the clinics in the city and in the waiting room there he was and he was waiting and we talked.                      
    Jan: One of the first times my blood pressure wasn’t so high, because we spent time talking to him.             
    Ruthie: He never seemed old to me.                 
    Jan: No, he didn’t.                      
    Ruthie: He always seemed like he was fourteen.
    Ric: Mentally that is true, but boy that cancer took him down. It was so sad.                                       
    Ruthie: He lost a lot of weight.   
    Ric: He fought so hard. I mean, I think if he hadn’t tried with that chemo aggressively he would have died a couple years ago. But he basically did it so he could stay alive as long as he could.
    Ruthie: And that was for Sharon.     
    Ric: I think so.
As the Print Society we gave the, I delivered a big fruit basket. I asked Sharon: what can we do for you? We want to do something. It was actually Susan who could give her the fruit basket. Sharon said: I don’t know what to do. I can’t, I can’t, hoping to make it through. So I said, okay. So I got the fruit basket. When I saw here today she gave me a HUGE HUG and said THANK YOU!! It was perfect, we tore into it. So she was really thrilled and that was exactly what it was supposed to be. It isn’t all fruit, you know there was salami, cheese and crackers.    Beth   
Sometime this last year we were having a committee meeting at our house and he brings this little wrapped up painting to give to me. So I opened it up and it’s this sort of perfectly awful like Western oil, you know, something like a cowboy or Indian or something, and it’s pretty awful, but it was done by someone named SOKOLOFF. So he felt that I should have it. And the irony is that my son Adam is over, and I said: "Hey look, look at this."  And my son said: “My friend just found one of these at a garage sale and gave it to me too.” So now he’s got two! It’s the same artist, the same sort of genre.  Paul
   Beth: He did talk to me about the plumber company. 
   Karl: Why did they have the caption of "The Plumber" on that slide? I didn’t get that.                                           
   Jan: Because of the Roto-Rooter.       
   Paula: He owned the Rotor-Rooter franchise. 
   Ruthie: He never was a plumber. He just owned the company.
   Paula: (on the program) he said, well you know “due to his wonderful employees.”
   Karl: Yeah, yeah. So that was with the Roto-Rooter. 

Conversation audio. Six minutes. Its dialogue follows, next.

   Ruthie: I got a kick out of the fellow he had co- pastored with, saying that Bob worked on his OWN TIME CLOCK. I’m sure, just like all of you, Bob came over, you know, he came over to see what Doug was working on, and he’d call and say, well. This is a man who has been physically inside our house (in Olathe) probably no fewer than fifty times. On Time Fifty-One he’d call and say: "Well, I am somewhere near Paola. Where did I miss my turn?" And, you know, he was coming at two and at four he arrived after calling three times for directions. But, talk about a love-of-a-guy. I’m not sure if we’ve known him longer than anyone, we have known him a long time. Aside from me, Bob Hudson owns the largest single collection of Doug Osa’s anywhere in the world.     
   Ric: He was a huge fan of Doug’s. 
   Ruthie: He was very supportive. So AMAZINGLY supportive of Doug. You know as an artist, you have your good years and you have years that you think, I’m just going to shoot myself in the basement and no one will miss me. And Bob never forgot to call Doug, just, just to check up on.    
   Doug: Most of the time he’d come out just to sit and talk. We’d sit down there and look at a few things. He’d, he’d just sit and talk, we’d cover the last three months. And, he, uh, was a REAL ENCOURAGER. That is the best way I can describe Bob. He just, I don’t think he had, uh, anything but encouragement for me. We’ve known him, I’d say, for over twenty years. It had to have got back to the early 90s.           
   Ric: How did that happen?   
   Doug: We met, we were down in the, when the print society had their meetings, uh, somewhere down there where the kids’ stuff is, the classrooms are, in the basement (of the Nelson Atkins Museum), back in there and Bob came one evening for an event of some sort. And he showed up and somehow we struck up a conversation outside the door in the hall, and one thing lead to another, and the next thing I knew he was calling to come out to the house. And he made regular trips out there. He’d be getting his car worked on, and he said: “Well, I’ve got two hours. Why don’t we get together and have some coffee” or something like that. 
   Ruthie: When our youngest son was home and had just crashed and burned, uh, Bob showed up with two tickets to a baseball game. He said, why don’t you find a buddy and go to a baseball game. He was the most generous soul. Um, I’m going to MISS HIM. He was my evil twin at the board meetings. I agreed to be president only because he agreed to be the vice-president. If I promised that I would never quit being president, so he wouldn’t have to be. I reneged on that, and he forgave me. We pretty much sat together and would write somewhat obscure notes to one another that seldom had anything to do with the meeting. Sometimes he would laugh inappropriate times. But he made the meetings tolerable. And he, oh gosh, he made them TOLERABLE FOR EVERYBODY. Whenever we had a meal, he and I had an incurable sweet tooth and a guilt complex over it, we always split a dessert. And I’m pretty sure he picked desserts based on what he thought I would eat. And he would shove the plate, just like his friend at the funeral said, he would show the plate over. He would have a little bit and then shove the plate. “Here, here’s another fork.” There is a lot less guilt involved if you are eating half a dessert. 
   Beth: It’s SHARING.   
   Ruthie: It’s sharing the guilt. 
   Paula: Ruthie, do you know how Bob got started collecting prints. I mean, how did that all begin?  
   Ruthie: He saw a print back in the 80s. He saw a print, I want to say there was a little gallery in Westport. There was someplace around there. 
   Paula: Oh there was a gallery on Westport Road.    
   Ruthie: Somewhere in there that he liked.  
   Kathy: I think it was in the article that you wrote about.   
   Karl: That Ruthie wrote about it and I posted it. 
   (Click on
   Kathy: And it had the name of the gallery that was in there, his first gallery. 
   Ruthie: And he just kind of fell in love. Bob was a very passionate guy. And pretty much given to go off on a whim. And he saw a print and connected with it. And he always said, he would never buy something because it was a “smart buy.” He would buy a painting or a print because he fell in love with it. And, he even returned a painting to Doug once because he said, you know, I thought I was in love with it. And I fell out of love. So Doug actually literally still owes him one more painting. But that is how he got started. He just saw a print that he fell in love with and he realized there was an emotional connection with art. And he was not artistic in a visual way. Uh, and it really touched him in a place, it took him some place beyond himself.   
   Paula: Well, did he collect a certain topic?  
   Ruthie: No. He just had to fall in love with it. If it touched his soul in somehow, uh, that is what he would collect. He just bought what he liked.    
   Jane: Bob Farmer, is that his name?    
   Ric: Wayne Farmer. He (Hudson) bought a lot of stuff from Wayne. And I invited Wayne over here. They got to be very close the last couple years. And he said he couldn’t make it. But Wayne gave that amazing speech about Hudson at the Love of Art luncheon. And then they were very close. And Bob kept Wayne going for the last couple years anyway.    
   Ruthie: He kept a lot of people going.  


Double click on bio to see it enlarged.

   Paula: I thought that was a really nice TOUCH, you know. 
   Beth: That he wrote it himself. 
   Tanya: I know people do that, but that was the first one I ever read.
   Paula: That he took care of all that.                             
   Person: I thought that was great. I thought Oh Bob, do you mind if I use that?       
   Karl: Borrow?  
   Rick: Yeah, we could all use that.   

Friends: Ric, Elizabeth, Ruthie, Doug

Group shot. Video. One minute. Present were: Jack, Jane, Paul, David, Marilyn, Tanya, Paula, Kathy, Debbie, Judith, Jan, Eileen, Ruthie, Doug, Ric, Elizabeth, Karl and Beth.

Hudson at Print Share salon in January of 2015

Kathy with Hudson at 2015 Print Crawl

posted by Karl Marxhausen
April 2nd, 2016

Monday, January 25, 2016

Gallery Crawl

    On Saturday, January 16th, our group visited two iconic print dealers in Kansas City to learn about prints and printmaking. We met down in Brookside, near 59th and Main, and listened to the St. Louis artist, Bryan Haynes. He told us his plans to create a new lithograph. While at the American Legacy we looked at previous ones he had completed.

 Post Fence Builders by Bryan Haynes, 9 x 12 (courtesy of American Legacy Gallery,, accessed February 15, 2016)

Lithograph by Byran Haynes (courtesy of,, accessed February 15, 2016)

Haynes discussed the creation of a new lithograph. There was much planning that went into creating a new print.

    By 2:45 pm our group had driven over to 2011 Tracy Street, up on a bluff overlooking the east side. Some climbed the stairs, and others enjoyed riding up the old wooden shipping elevator. In the Lawrence Lithography Workshop, Michael Sims showed us Haynes newest print in process. It was quite an ordeal to get the image off the lithographic stone. Wow.

Check out the 2013 group lithograph creation:   AND

You can learn more about Bryan's work here:

American Legacy Gallery:
Lawrence Lithography Workshop:

Group photos at Lawrence Lithography taken by Print Society member Elizabeth Carroll. Thanks Elizabeth.

Spotlight KC Print requests Nelson Print Society members to send their camera and cellphone photos to: karl @ marxhausen. net

Also, send your take on the event and what struck you as a lover of ink on paper. KM

Friday, January 1, 2016

emmett merrill - kcai printmaker

After viewing the ink and paper exhibit at KCAI, sophomore printmaker Emmett Merrill gave me an interview. The first of many kcai print interviews to come.  He was working on a triptych piece for his final project. The board roughly measured 18 by 36 inches, and about 3/4 to 1 inch thick.

Merrill worked on a MDF board, which is basically compressed sawdust. and can be found at Home Depot in large sheets. It was really easy to carve into. Unfortunately like most things in printmaking, over time it might give you cancer. He also recommended Cherry wood as MDF has a pretty salty texture when being printed (unless you shellac it first)

Four minute interview at the East Building on the KCAI campus.
Karl Marxhausen (KM) and Emmett Merrill (EM) dialogue follows below.
KM: I have not seen one of those before.
EM: This is a V-gouge and it is real good steel. It is from China I want to say. And so you can order them online. They are more expensive then Speedball tools. But when you get them you can just send them back to China and they will sharpen them for you and bring them back.
KM: And what is your name?
EM: Emmett Merrill.
KM: Are you a student here?
EM: Yes.
KM: What year are you?
EM: I am going to be a Junior I guess in a week.
KM: So what is some of the process that goes into this piece here, that you had to do before you actually got to cutting it?
EM: It goes back a long ways. I used to do photography, especially portraits. A lot of my work is based on the portraits I took when I was doing that. So, I redraw them on to the block. I stain (the block) pink.
KM: Why do you stain it?
EM: Because otherwise you cannot see much difference in color (between the cut marks and the surface of the board).
KM: Oh.,,
EM: So you can see where you are carving and you can get texture if you know where you are going. And once it is all carved I will ink it up and print it and have an edition. 

KM: That is sort of a large block, isn't it? 
EM: Yeh, I got a few bigger ones. 
KM: Bigger??? What is this "bigger" stuff? I am used to little, dinky woodcuts. All my art is small. These are HUGE. I walked in, there was one over there, and I commented and (they said to me) "Oh, that is a SMALL one." (chuckles)
EM: I have been working pretty big lately. That is because the graphic style looks pretty nice. This is my "Patron Saint of Fast Stop."
KM: Whoa. Awesome. Look at that!
EM: The background is based on work by Richard Mock and Tom Huck and a lot of the Outlaws. I'm going to go to his workshop in a few weeks. 
KM: Where is that?
EM: It's in St. Louis.
KM: You are going to go down to St. Louis just for his workshop?
EM: Yeah. I'm going to go up there and carve a block up there for a week..
KM: Do you have to bring your own supplies?
EM: I think so, and that is how I prefer it. My favourite thing about the tools for carving a relief is that they definitely form to your hand.

KM: Now, I have seen someone else do it, but don't you have to sharpen that?
EM: Yeh, you want to see that?
KM: Yeh, I'm curious.
EM: I can never sharpen on a stone. It just didn't make much sense it me. I got this handy little tool (yellow bar and flat wood block-- strop block).  
KM: You put rosin on or something like that? 
EM: Yeh, it's just rosin. And then, you have to find the edge (under side of V-gouge) 
KM: You just pull it toward yourself.
EM: Right. I notice that a lot of people do back and forth. That just dulls it (the blade).
KM: Pull it one direction.
EM: And bring it back.
KM: Is that a sharpening stone right there?
EM: Yeh, I'm not sure. I think it's just wood. The ideal way to sharpen is, when you first get your tool, have a sheet of MDF and carve a straight line, and then you can meld some of this rosin or sharpening whatever (aluminium/titanium oxide), and put it in there. When you want to sharpen, you run it back thru. And it will take the shape it was when you first got it.
KM: Well, I've got the Speedball linocut. I done it on wood( chuckles), but I just keep on changing out new tips and IT WORKS. But I have seen that (V-gouge), I just haven't sprung for it yet.
EM: Yeh, I'd say it is worth it. I mean, the Speedball works well though. It's nice and cheap.
KM: Yeh, cheap helps. 
EM: ..when you get a new one..
KM: When you are starting, cheap helps.
EM: But I definitely took longer to was hard.

KM: So, what kind of ink are you going to use on that when you finally roll that up? Is it oil-base or acrylic?
EM: It's going to be oil-base. I think, it is just the shop ink we have right now. It is pretty basic we think and we use it on the Vanderhook for letterpress. 
KM: So, with this kind of material do you have to put down lots of ink before you get it to the place where you want it to be?  Can you print it pretty instant?   
EM: It's kind of a process, because what you want to do is, when I first started, I was thinking all you had to do was (roll it back and forth over plate).  
KM: Right, right.
EM: But then you fill in the cracks with INK. So, what you really want to do is roll over it GENTLY and then re-ink your...
KM: ..thing
EM: ..roller (arm motions rolling across the plate)
KM: (laughter)
EM: And like, SLOWLY BUILD UP a few layers of ink and then print it and do test prints until you can figure out. Because every print seems to be individual.
KM: Thank you Emmett.

Merrill plans to attend the Tom Huck's Boot Camp Workshop in St. Louis, from June 16th to the 23rd. According to the website, participants will learn the traditional techniques of drawing and carving used by masters such as Albrecht Durer, Lucas Cranach, and Hans Baldung Grien.  Each will carve and edition on LARGE scale woodcut, using the company facilities and equipment. For an inside look to their downtown location, read post by Josh Dannin for Printeresting. Click HERE.

This interview took place Saturday afternoon, May 11th, 2013.

Fast Stop display in print room
(MDF link courtesy of Inside Woodworking,, Home Depot panels,, Richard Mock link courtesy of Wikipedia, Tom Huck, Wikipedia,, Outlaws, Wikipedia,, Strop block, Flexcut,, titanium oxide, MF Crafters,,
Vanderhook timeline, Vanderhook Press,,
Boot Camp Workshop link, Evil Prints,, Albrecht Durer, Bing Images,, Lucas Cranach, Bing Images,, Hans Baldung Grien, Bing Images,, accessed May 25, 2013. Josh Dannin post courtesy of Printeresting,, accessed June 2, 2013)

The KCAI printmaking department is located in East Building,
345 E. 44th Street, Kansas City, Missouri, USA