Thursday, November 21, 2013

margie kuhn - color theory 101

Margie Kuhn talks about the physics of color, the science of color, the pigments of color, a variety of color systems, the process color used in commercial printing, the color cones in animals, the three color cones of humans, the five color cones of hummingbirds--in the first 30 minutes of her lecture.


1 of 3 videos  30 minutes

Margie Kuhn, Lecturer & Artist,
School of Architecture Design & Planning, KU
Color Theory 101

Click next photo, Margie Kuhn to right.




2 of 3 videos  Twenty-five minutes



3 of 3 videos  15 minutes  
I am still baffled by color. Margie Kuhn

Videos and photos courtesy of Eric Lehnert


++++++++++++++++++++++++++++++

Robin Gross did a shout out for Aesthetic Preference for Colors

Dr. Stephen Palmer,
Professor of Psychology and Cognitive Science, University of California, Berkeley
Thu Nov 21, 2013 8:00pm at Linda Hall, UMKC



One hour presentation (courtesy of Linda Hall Library, http://new.livestream.com/lindahall/events/2540083/videos/35352382, accessed Nov 21, 2013)

Saturday, November 16, 2013

print week - lawrence art center

The KC Print Society continues to participate in "ink on paper" venues to support this community, make the community aware of us, and to reach out to new potential members.   Robin Gross

Farm Barge (above), 16" x 20"
Color Woodcut on Ivory Somerset Paper,    
Valerie Lueth + Paul Roden, 2012. 
 
Artists Paul Roden & Valerie Lueth are TUGBOAT PRINTSHOP, a creative partnership producing hand-carved woodcut prints from their Pittsburgh, Pennsylvania studio. Wonder Fair has long liked the cut of Tugboat’s jib, admiring from afar their dedication to masterful craftsmanship and their unreserved enthusiasm for socially-minded printmaking.  (courtesy of  Lawrence Arts Center, http://lawrenceartscenter.org/print-week/ and
accessed Nov 17, 2013) 


Groups featured at LAWRENCE PRINT WEEK:
Lawrence Lithography 
Vahalla Studios 
Evil Prints  
Midwest Pressed 
Field Trip Publishing 
Tugboat Printshop
The Print Society of the Nelson-Atkins Museum of Art
click for PHOTOS,
https://plus.google.com/photos/108107771240908087427/albums/5928013955699360977?authkey=CJzN7c2m3u_2_wE, accessed Nov 17, 2013)

Vermillion Press 
Justin Marable 
Laura Berman 
James Ehlers 
LFK Press (Leslie Kay)
Sally Piller
Andy Burkitt
Clint Ricketts
Yoonmi Nam
Eliza Bullock

More on LAWRENCE PRINT WEEK, click
http://lawrenceartscenter.org/print-week/
(courtesy of Robin Gross, via email Fri, 27 Sep 2013)

More on LAWRENCE PRINT WEEK, click
http://www.printeresting.org/2013/09/23/lawrence-print-week/


(links courtesy of Lawrence Lithography Workshop, https://www.facebook.com/pages/The-Lawrence-Lithography-Workshop/175198685964549, Vahalla Studios, http://www.vahallastudios.com/blog/, Midwest Pressed, http://lawrenceartscenter.org/midwest-pressed/, Field Trip Publishing, http://rocketgrants.org/rocket-grants-projects/the-projects-2011-2012/field-trip-publishing/, Eliza Bullock, https://www.facebook.com/pages/Eliza-Bullock-Artwork/115227531877341
,Yoomi Nam, http://www.yoonminam.com/, Clint Ricketts, http://clintonricketts.com/ABOUT, Andy Burkitt, http://www.andrewburkitt.com/leftoverheaven, Sally Piller, http://sallyfpiller.com/section/361129_Fine_Art_Prints.html, James Ehlers, http://jamesehlers.wordpress.com/,  Printeresting, http://www.printeresting.org/2013/09/23/lawrence-print-week/, Laura Berman, http://www.linkedin.com/pub/laura-berman/16/B33/710, Justin Marable, http://blog.designojek.com/2008/02/13/justin-marable/, Evil Prints, https://www.facebook.com/theevilhead, accessed Nov 17, 2013)
 

Friday, November 15, 2013

kc print society is 1 of 9

To produce Zebra with Cherry and Fava Bean  Sherrie Wolf began with a reproduction of the Stubbs painting and placed real objects in front of it. She digitally photographed the composition which she then manipulated on a computer changing some colors. The new image was used to produce a photogravure plate which was printed in black ink. The artist made two aquatint plates from which the seven other colors were printed. Wolf likes aquatint because it provides the range and nuances of tone required for the polychromatic effects she desires. (courtesy of The Print Club of Cleveland, http://www.printclubcleveland.org/prints/sherrie-wolf/, accessed Nov 17, 2013)


The Kansas City Print Society is 1 of 9 societies across Canada and the United States.

You can view those organizations and visit their links BELOW

The Print Club of Cleveland
http://www.printclubcleveland.org/

The Print Club of New York
http://www.printclubofnewyork.org/

Montreal Print Collectors' Society 
http://www.mpcsscem.com/index.html

The Master Print and Drawing Society of Ontario

Forum for Prints, Drawings, and Photographs (Detroit)
http://www.dia.org/

Washington Print Club
http://www.washingtonprintclub.org/
                                             
Achenbach Graphic Arts Council (San Francisco)
http://www.achenbach.org/

Rocky Mountain Print Collectors (Denver)

The Print Society of the Nelson-Atkins Museum of Art (Kansas City)
http://www.nelson-atkins.org/

Read can read the MORE IPCS newsletters, click
http://www.mpcsscem.com/newsletters.html

(courtesy of the Montreal Print Collectors' Society, http://www.mpcsscem.com/newsletters.html, accessed Nov 17, 2013)


Sunday, October 6, 2013

john mallery - kc collector

    Print society member John Mallery, a self-described new collector, although he’s already amassed @ 80 prints in the short time he’s been collecting, gave a spirited talk to society members describing how he discovered the Print Society and the world of print collecting. He has particularly become interested in early 20th century American print artists including the Prairie Print Makers.                
John talked about the evolving nature of being a collector and how his son has joined him in this collecting passion. He talked about how being a member of the Print Society has opened up a new world of interest which he pursues through Society events, visiting museums throughout the country and all the books he has purchased to research his areas of interest.  paul sokoloff
Just do it!!  Jump right in. Many misconceptions will be shattered. Love what you collect -- "it's all personal." Learn as you collect; ask questions; you will be surprised how many will help you along the way.   paula winchester 
Everyone enjoyed John’s presentation which was both humorous and informative, and less anxiety provoking than a knife throwing demonstration (which is a professional side line of his).  paul sokoloff


1 of 2 videos  24 minutes.   It is standing room only in the Nelson Atkins training room Thursday evening. Justin Rogers speaks on the Diego Rivera lithograph commissioned by the Nelson Atkins Print Society.
Program coordinator Robin Gross introduces John Mallery as a husband, a father, a grandfather, an art historian in training. A man of a thousand faces. Also professional knife thrower and comedian on Youtube. Today, though, he is founder of a computer forensics company. His world is very technically-oriented. Some of the professional training he does for his peers include: Surviving Mobile Forensics, System Administration for SQL Servers 7.0, and Marsware Basic Computer Forensic Analysis. He is a new print collector and tonight he wants to talk about NUDES, COWS AND CLOWNS, adventures in print collecting.  24 minutes


2 of 2 videos        24 minutes

According to Mallery, his talk describes the "birth of a collector" from the very first impulsive purchase and on to more informed and personal collecting choices.

The presenter will share how his experiences as a marine biologist, traveling entertainer, and move to the Midwest influenced his collection. (courtesy of John Mallery)

 

Comments provided by Paul Sokoloff and Paula Winchester.
Video taping and uploading to Youtube format provided by Eric Lehnert.

print study - member's choice

 
 
Our journey to the Viewing Room.
 
 
 Welcome all.
What I have tried to do today is pull together a series of prints with different techniques through different time frames. So you have some older things, some newer things, and at some point you will notice the difference. beth lurey
 
 
Interim Print Curator Lisbeth Lurey coaxes members of Nelson Atkins Print Society to look close. Four minutes.
What I want you to do is really use the magnifying glasses and look at the lines. And see whether you can tell the difference. Because some are etched out. Some are woodblocks that are carved away. And visually they are very different. So, go look.  beth lurey


John Laney speaks on View Room at Nelson Atkins Museum
Four minutes.
We have a friend here for the weekend that studied with Talleur.
The print seems to be inspired by a poetic fragment by Sappho, a 7th c. BC poetess who lived on the Isle of Lesbos with a group of young women in praise of the Muses and Aphrodite:

FRAGMENT 47 Evening star who gathers everything shining dawn scattered  you bring the sheep and the goats, you bring the child back to its mother. (translated by Diane Rayor. We used to teach a course together on the classical world, and she has translated a lot of Sappho and other Greek poets) It would be interesting to know, if the poem had any special or particular significance for Talleur?         David/Roxie Mc Gee  (via email August 10, 2013) 


 Four minutes.
This Birger Sandzen woodcut I'm looking at reminds me of the art that hung on the walls of the Wyandotte High School back in the 1920s. I know the Unified School District of Kansas City Kansas (USD 500)has two Birger Sandzen oil paintings worth a reputed $250,000 in their main offices in downtown Kansas City, Kansas. They were purchased from the artist in the 1920s by Wyandotte High School. My thinking was that if KCKCC, where I work, would purchase a few of his prints, and American Legacy Gallery would provide a few insured pieces to exhibit, we could do a Birger Sandzen show at our planned for KCKCC Art Gallery opening sometime next year. (via email Tueday, September 10, 2013)
Curtis V. Smith, Ph.D., Professor of Biological Sciences, Kansas City Kansas Community College, 7250 State Avenue, Kansas City, Kansas.



This event took place August 10, 2013

Friday, October 4, 2013

jan schall - nelson atkins print tour

Curator Jan Schall described "Lipstick (Ascending) On Caterpillar Tracks"
 as the second version drawing of the first monument that Claus Oldenberg did.
 
Members inspect the Oldenburg work close up Thursday night.
 
 
       Twenty members learned that "thematic exhibitions" are assembled from the large print collection at the museum. Viewers can see new print exhibits EVERY TWO MONTHS, as prints are rotated throughout the building.

 
 
       In the older portion of the Nelson Atkins Museum there are three locations to view works on paper, according to Jan Schall, Sanders Sosland Curator of Modern and Contemporary Art, and our tour guide Thursday night.


       The European prints are always on display on the first floor in the back by the doorway to the park. This is in the southeast section of the building. This was where we viewed the Mythological Subjects. Also on that floor but around the corner in the very corner is the small gallery, where we viewed Feminine Mystique. The American wing is on the second floor in the northeast corner. In that hallway we viewed the Impressions of the Southwest and Mexico. 

 
        In regard to the European exhibit, Schall explained that engravings of that day were how information got spread around. People would learn from the subject of the prints. Architecture, animals, plant life, and events were depicted in the etched or engraved scenes. Those ink impressions were from the 16th and 17th centuries.



 
Schall explained the Feminine Mystique as a theme for a variety
of lithographs, etchings, and other ink impression on paper to be shown.
 
 
Double click to enlarge images.
  
 
      The American Southwest and Mexico have long enchanted artists. In the early 20th century, this region of the United States as well as our neighbor to the south became particularly popular among American artists. A growing tourism industry, a burgeoning field of anthropology and the Arts and Crafts Movement combined to find interest in the Southwest and Mexico. Many of the artists whose work appears in this rotation travelled to New Mexico, Arizona, California, and Mexico in search of inspiration. Through lithographs, woodcuts, etchings, and photographs their impressions highlight scenes of everyday life, ritual, traditions and popular entertainment, in addition to iconic architecture, varied landscapes, and diverse people.
      The Nelson Atkins' American art collection has some 600 works on paper by many of the country's most revered artists. Installations in this gallery rotate every six months in order to display the variety of the collection and to protect it from overexposure to damaging light. Showcasing the breadth of media, techniques, styles and themes, these rotating installations convey the engaging possibilities of art on paper.  (Introduction, courtesy of Museum)
My excitement was high. I was face to face with nuggets I had been searching for. Missing pieces to an ongoing puzzle. My interest is in Alfred Fowler. In 1932 he selected contemporary woodcuts for a unique traveling exhibit. Ray Bethers, Jessiejo Eckford, Ruth Saunders, and Fred Geary  were in his first annual exhibit. You can view that exhibit, click HERE and HERE.. It was the Clairece Black, Betty Stoner, and John Lawrence Stoner woodcuts that raised one question: which year did their work tour? Was it 1933, 1935, or 1939?   karl marxhausen

 
        Due to the delicate nature of the paper that ink impressions are on, works are exhibited for limited amounts of time. Works can deteriorate when exposed to too much light. As it is, works may be seen for up to six months. They spend five years in storage.

 
        With such a large collection, one wonders how often the unknown prints are rotated out to be viewed.

 

Jan Schall, Sanders Sosland Curator of Modern and Contemporary Art, holds a doctorate in art history from the University of Texas at Austin and a master’s degree in art history from Washington University in St. Louis.  She led the group through the existing exhibitions through out the museum to view prints currently on display. (courtesy of Nelson Atkins Museum of Art, http://www.nelson-atkins.org/welcome/PressRoom_CuratorBio.cfm, accessed Sept. 29, 2013)

More on Print Collection at http://www.nelson-atkins.org/collections/collection-history-Prints.cfm
(accessed Sept.29, 2013)

Tour took place July 11th, 2013.
 

Friday, September 27, 2013

tulsa wichita road trip


Ten members visited the Gilgrease Museum in Tulsa, Oklahoma on June 22 this past summer. They listened to Joni Kinsey PhD, Professor of American art history from the University of Iowa. She presented "Thomas Moran, Louis Prang and the Chromo Controversy." She was the author of Thomas Moran's West: Chromolithography, High Art, and Popular Taste (2006, University Press of Kansas).  Some points from the talk follow.
  
     Chromolithography was originally developed to enable printmakers to produce images of the texture and richness of oil paintings. Some of the most important artists of the period, including Jasper Cropsey, William Harnett, and Frederick Church, had their paintings reproduced using this complex medium. This is one of the most successful such projects, with chromolithographer William Dreser, using many layers of color, being able to closely follow the appearance of the original painting. (Joni Kinsey
 
Yellowstone, Tower Falls
(double click on images to see enlarged)

      “Thomas Moran, Louis Prang and the Chromo Controversy” explores a fascinating series of fifteen color reproductions of Moran’s watercolors that L. Prang and Co. of Boston published in 1876. Renowned today as the finest examples of chromolithography ever produced, in the 1870s these prints were at the center of a heated controversy about the impact of reproductions on popular taste.  This lecture explored the origins, marketing, reception, and ultimately tragic fate of these remarkable pictures. (Joni Kinsey)
       These are considered the finest example of Chromolithographs. They were the first full-color images of the west in their time. They combined book art and commercial work. Chromo – the ability to produce a print with “natural colors” was a revolution in the printing process. They were four color (red, yellow, blue, black). A “Chromist”  was the person who used their eye to separate the four colors and plan the number of litho stones that were needed to render the final print. From 44 to 60 stones PER PRINT were used to produce the final print. Prang produced “progressive proof print” books to educate the public regarding this process. Over time, it should be noted, blues fade and whites yellow.  (Joni Kinsey)
 
Yellowstone, Gardiners River
Now to the conflict....  The art critics of the time (Clarence Cook in particular) claimed the “democratization of art” eroded the 'proper right taste in art.' Class conflict ensued in that 'elites' saw Prang's operation as “making mere reproductions, fakes, this was a 'sham' on the public, that these successful illusions were a threat to real art.” The word “Chromo” became synonymous with: tasteless, false, reproduced, lacking in high moral value, society on the road to ruin. Like false diamonds, fake hair or false teeth, they were but an attempt to make something disgusting 'pretty.' [Keep in mind the 'Ash Can School of the time and its controversy.] (Joni Kinsey)


It is always informative to see field work next to final works. Seeing the commissioned watercolors next to the field work and the final chromo made the trip well worth it!!  robin gross

The exhibit certainly helped underscore the fact that Moran was busy and did much more than large Western Landscapes. For those of us that are Hudson River School fans the museum also had on display paintings by Albert Bierstadt, Thomas Hill and Moran's monumental "Shoshone Falls on the Snake River."  john mallery


More thoughts on reproductions and modern day Giclee prints-----
Ruthie Osa: I heard this concern at the lecture and thought it was still compelling. I sell Giclees of my work and occasionally so has Doug. We NEVER sell them as anything but reproductions - like a poster. The quality is very good and somewhat lightfast and long lasting. That makes them a lovely and desirable print to put on the wall - but NOT a collector item. We price them accordingly. 
         A multi-color litho is quite an undertaking for a master print maker. The quality is very important and in the right hands is an amazing work of craftsmanship. But in the situation they were describing in Tusla, the original painting is the work of art - the litho a tremendous work of a team of craftsmen. From the artist's experience, no new creative process is happening - it is skillful reproduction.
Karl Marxhausen: So, if I understand you correctly, Ruthie, the multi-color litho, the chromolitho, was produced by a team of craftsmen, to create a skillful reproduction, but that does not make it an "original work of art."

In your opinion, do you think the craftsmen were trying to "cash in" on Thomas Moran's success? Creating a hype around the value of the reproduction?
 
Ruthie Osa: Absolutely. These craftsmen were amazing at their craft! But it was the POPULARITY OF THE PAINTING that created any market for the lithos. Reproductions play a very important part in art appreciation and education. They are valuable. Have you ever seen the original Mona Lisa? - I haven't seen the originals of many of my favorite paintings - but still have "experienced" them through the gift of reproductions. However, when I do get the chance to see the original, the reproductions always pale by comparison.
Karl Marxhausen: Are you also saying that the value of the reproduction could never be as great as the original painting? Not the same sum of money?
Ruthie Osa:  Again, that is exactly what I am saying. Reproductions are important - but not of great monetary value. Without them, the masses would miss the experience of fine art at large. And when reproductions are affordable, the masses can "own" the pictures they love. Unfortunately, this hurts the lower end original art market. The public tends to buy reproductions at a very low cost rather than supporting the lesser known artists by buying their lower cost artwork. (email Sept 7, 2013)
Curtis Smith: I was amazed how much work went into making a chromolithograph. 
My impression is that Giclee is best quality of mass production/a high quality poster arena. A strange range to be sure. Cost fits in this same range. Double the cost of a cheap poster but half the cost of signed numbered litho or etching by the same artist. (email Sept 5, 2013)
The Gilcrease Museum did not allow photography any kind, so no pics from within. Here is a pic of the group trying to figure out where to eat.   
Good eats at Caz's Chowhouse
This was the Print Society's first road trip with an overnighter. We set the bar high. Two spectacular exhibits taken in. And executed without a hitch.    robin gross
 
     On Sunday the group drove up from Oklahoma to Kansas to view Prints and Print Makers in Wichita, 1916-1946: C.A. Seward and Friends" at the Wichita Art Museum. That exhibition gave tribute to Wichita artist C.A. Seward (1884-1939). Seward helped establish Wichita as an important national center for print making in the 1920s through 1940s. The exhibition was guest curated by Barbara Thompson, granddaughter of C.A. Seward.

 
Annette LeZotte was our museum contact.
She gave us a 'high lights' of the
Barbara Thompson presentation. 

     In her book, "In the Middle of America: Printmaking & Print Exhibitions," Thompson provides a visual history of printmaking in Wichita, which began with Walter Vincent and C.A. Seward in the early 20th century. Individually, they created print advertising and logo design for local businesses, including Coleman and Mentholatum. The two commercial art innovators joined forces when Seward became the art director at Western Lithograph, allowing him to pursue printmaking as his life's work.

     Seward's prints were accepted nationally, and even internationally, in exhibits in Paris, London and Florence. The Smithsonian selected 60 of his prints for a solo exhibition in 1931, and he was honored with a dozen solo exhibits over the next 10 years.

     Seward was a gifted artist, but it was his work as an advocate for the arts that set him apart from other artists of the time. He organized a Wichita-based print exhibition that became recognized nationally, and he formed the beloved Prairie Print Makers.

    This full-color exhibition catalog is very well done. It not only provides education on the printmaking history of our town, but it also honors Wichita's supportive arts community through their art of print collecting. (Review by Beth Golay, courtesy of Watermark Books,
http://www.watermarkbooks.com/middle-america-printmaking-print-exhibitions-ca-seward-friends, and Wichita Art Museum Store, http://wichitaartmuseum.org/catalog/index.php?p=7597-01, accessed Sept. 27, 2013)
  
 

The prints on display at the Wichita Art Museum were wonderful. Learning more about the "network" of print makers was exciting. Seeing Prairie Print Makers that were also members of other societies in other geographic locations was intriguing.  john mallery
 
(To see list of Prairie Print Maker members CLICK on http://casewardprintmaker.com/Prairie_Print_Makers/Artists_Member_2_2.html, accessed Sept 12, 2013) 
It underscored the fact that even with good photographs - even of black and white art, the camera cannot capture the true "look and feel" of the original work. john mallery 
I could barely take my eyes off of the John Taylor work. It was technically amazing.  robin gross 
 
Gene Kloss -- her dry points are better than warm dark chocolate. robin gross
 
    At WAM we were treated like Royalty - a private room for lunch, a private presentation and an opportunity to see the Herschel Logan works. Very fun.   john mallery   
  
    In the non public area of the museum, we were taken to view their expensive Herschel Logan collection that hangs in their office area.  robin gross

 
Also having the opportunity to see works from the Museum's permanent collection was an added bonus - there were works by Thomas Eakins, George Bellows, Walt Kuhn, John Stuart Curry, Winslow Homer, Arthur Dove, George Grosz, Childe Hassam, Mary Cassatt - to name a few.   john mallery



The group drove back to Kansas City, Missouri later that Sunday, June 23. Home sweet home.

Photos by John Mallery and Robin Gross.Thanks to Ruthie and Doug Osa, David & Roxie McGee, John and Paula Mallery, Beth Lurey, Curtis and Judy Smith, and Robin Gross for their comments.