Thursday, October 24, 2013

letter press studios crawl - kc

Food brings us together. Eighteen of us start our letterpress excursion with brunch upstairs above the Blue Bird Bistro on Summit (left) At one table a member ponders which future prints he will purchase for the dining room at JUCO. Another member talks about the Photoshop class she is taking. Her art making has been in studio spaces away from her home. Now she wants to combine her art training in one location at home on her computer with her photographs.                  One member tells about her art students squeezing clay with their hands. In the next room new members chat with others who love ink on paper. Our president Justin Rogers tells us the Print Society has grown to a hundred members. The program director lays out the itinerary. We exit to our cars and begin across the river. Our first stop is the Print Factory, 738 Armstrong Avenue, in Kansas City, KANSAS (below, left) Craft & Concept.(double click on images to enlarge) Jan and Karl Marxhausen (above right)
 


   
 
 
 
 
 
 
      From the street level, we climb a flight of wooden steps to the large studio level. We listen to Jesse Mc Afee. He believes that the printing press helped build the middle class and made education possible for those who were able to access it. The Print Factory funds itself by building printing presses for artists and print shops, as well as backpack proof presses. (For more on Self Contained Outdoor Printing Equipment, click http://craftandconcept.com/?page_id=1594&fb_ref=wp and http://craftandconcept.com/?page_id=742&fb_ref=wp (courtesy of Craft and Concept, accessed Oct 13, 2013)

 
Cast type letters set in tray (BELOW), when rolled with ink, makes impression (ABOVE)
 
     The Nelson Atkins Museum has paid them come in to do thematic workshops. Last year participants created prints for the Day of the Dead celebration at the Nelson, through the live demos by the Print Factory (next photos of 2013 Nelson day of dead). 


"Recently, we've been making wooden type. You will see some examples on the table, along with artist blocks and plates, to help fund ourselves and make on-site demonstrations possible. (To help people to look at a movable type printing press) and understand that THIS WAS HOW NEWSPAPERS USED TO HAVE TO BE PRINTED EVERY DAY. I think it is something that has been lost. To think about a whole newspaper, every twenty-four hours, being printed in this manner. The way information was been distributed.... When we set up at the Nelson, we tie clothes lines to whatever we can and that kind of became the drying racks. There is wax paper that people can use to make an envelope with to take their print home. On the back of each print there is a stamp that has the artist's name. And they can go to our website, Craft and Concept, and find out more about that artist."    Jesse Mc Afee

I think that what the Print Factory is doing is very exciting, in that their mission includes bringing printing to the people --- whether in the form of building backpack presses, travelling to do on-site printing, or their efforts to get kids excited about printing.  Paul Sokoloff

Print Factory artist, David Grime from South Carolina, discusses the control he has working with zinc when etching. When he engraves he prefers to use copper. Aluminum holds up better for doing a series of prints. Blue and orange stripes on top are done with a mylar transparency, after the etched plate has been inked and wiped, prior to printing. Print Society members look at prints from his flat file. Lithographs done in Tasmania by a friend of his. One is a a large drypoint and an etching. His friend Will Burnip was influenced by Whistler, says Grime. Four minutes video, next.  

We trek from the Kansas side of the river to the Missouri side in Mid town. The caravan parks and we walk a city block to 3121 Gillham Road.  Music greets us as we enter the renovated office space.








     With training from the Kansas City Art Institute and experience from working at Hammarpress, Michelle Dreher began her studio in the West Bottoms in a Warehouse Loft. She had room there to acquire the equipment she needed. Two years ago her sister and her purchased an office building. They stepped away from the Crossroads area to a place that has potential. This area is being revitalized.

    She likes the idea of becoming an anchor to a community. They gutted the entire building and started over. The second floor is being converted to an apartment. Most of their efforts are going towards that. By next fall they are planning a grand opening, a store front space, window displays, a studio, a wood shop. The final goal is to have workshops there. She also teaches part time at the Nelson doing workshops. She want to bring that over to her studio. Four minutes.

Flying saucer abducting cows, four color block print, linocut letterpress, now in Etsy shop
http://www.etsy.com/listing/127048740/the-strangers-letterpress-linocut-ufo?


The Dreher sisters in action making linocut designs, click http://vimeo.com/65990847
(courtesy of Blue Coffee Pictures, accessed Oct 25, 2013)

More of their studio history, click http://twotonepress.yolasite.com/about.php

 
 
The proof presses used by Two Tone Press are named after 80s rock stars. Such as, Bowie (her favourite), Lennox, Boss, and Lauper. Michelle Dreher explains the role of the machine to members of the Nelson Atkins Print Society  Six minutes.

Michelle likes to convert hand drawn elements into carved blocks. Above,
linocut blocks used for poster for Nelson Atkins museum event.


Cast iron presses are both strong and fragile at the same time, explains Michelle Dreher. She uses her clam-shell platen for die cutting and         scoring. Networks help keep her hundred year old machine in shape.    Two minutes.


Michelle can usually figure out what is going on with her clam-shell platen. Parts are available for her Vandercook proof presses through NA Graphic in Colorado. The clam-shell platen is simple in design and easier to fix. 1 minute.
Follow the sisters at http://www.facebook.com/twotonepress 

It is so wonderful to see and meet these young artists who are taking control of their lives and careers in such meaningful and productive ways. It is a fantastic endorsement for their mentor the KC Art Institute as well.    david n roxie mc gee
 
      Down Linwood and right on Troost, at 3319 Troost we find Winka Press and the Telephonebooth Gallery, run by Cecilia Bakker (CB) and Tim Brown (TB). We step into an intimate gallery to find walls covered with the huge graphite drawings of Russell Fergason (next image).


Bakker was a graduate of the Kansas City Art Institute, from the printmaking department in 2002, and has worked for Mike Sims at the Lawrence Lithography Workshop for two years.  From that experience the two of them do editions for artists on their letterpress equipment.
Artistic development is a different mind set which Winka Press prides itself in. It sees its contribution as a hybrid one. Something that artists would be drawn to. An advocate for the inked impression both printer and artist seek to achieve.    Tim Brown


Tim Brown and Cecilia Bakker discuss their role when working with artists. Four minutes.
TB:  As a part of building artist careers, it is useful to have the ability to do an edition using our press. 
CB: We mostly do relief printing.
TB: Just a part of working with the gallery, there is development process when an artist does an edition. It is a lot different from doing a commercial job. Professional designers usually are very clear about what they want. And that is a very different kind of conversation than when an artist has an image and they are not really sure how to get to an end to it. Usually there is a lot of proofing, a lot of looking at color, and all of that changes the image. So, realistically that is a much longer development process.

TB: So, it's not about cash and trying to make money quickly. It's more about artistic development, and a different mind set. Part of the press is, we try to carefully, thoughtfully segment our jobs in that regard. You know, there is artistic activity and there is commercial activity, and that is how it generally breaks down.


CB: Around the corner you will see a print from Saskia Lehnert (above image). It was probably a two year project developing the image, working with the artist, and creating an edition. Those are long view projects.

CB: At Winka Press we have design print services, like wedding invitations, custom holiday cards. We also offer print services to other designers in the Kansas City area. Letterpress printing, and we do offer some retail goods, holiday cards and thank you cards, things like that.

TB: Cecilia makes art too.
CB: So I use the same equipment to make a hybrid litho method. And this brings us to our motivation for doing this. We both like ink on paper. We both have hybrid backgrounds, both have commercial art and fine art.


Look at recent work by Cecilia Bakker, above http://ceciliab.com/Fresh-Prints.html
 


Both continue to talk about movable type and pin registration used on the letterpress beds. The use of a fine art process that Mike Sims would use. Where the paper is hole punched along the edge of the plate to create precise registration in this process. Whereas in letterpress that does not happen, and you can get pretty good registration if you have a Heidelberg or high end equipment. Typically pin registration is not really possible.  This is a great example of the hybrid process with both of our backgrounds. Five minutes.



Above, metal plate used for Saskia Lehnert (sister to Cecilia) 




CB: The way is used to be made and now how it is made. They are able translate a digital file into an etched plate.
Visitor: Using a laser cutter?
CB: I think they use etching baths.
TB: You know the traditional way of a plate that gets exposed, you print it on a high quality piece of foam, and then it gets exposed photographically, and then it gets etched away chemically.
Visitor: Hmm.
TB: So, you are left with this piece of magnesium, and it is mounted on a very specific piece of probably Russian plywood. So that is the kind of sequence it takes to make it.

CB: But then, just like letterpress we lock it into a shape, put it on the press, and run it through.




Submitted by Karl Marxhausen
Videos shot with Luminx DMC-FZ7 camera
 Additional photos by Robin Gross
Way to go Team !!!!

 


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.