Wednesday, December 26, 2018

bill goldson - daum museum at sedalia

This time the road trip was to Sedalia, Missouri, about a one hour drive east of Kansas City. The group started at the Sedalia Country Club for lunch.

At the luncheon, Barbara Cooney (on left) met and listened to members of the Nelson Atkins Print Society. Catherine Vesce (on right) was her cousin. Cooney talked about Dr. Harold Daum. He was a doctor of Radiology, who had his life changed after buying a piece of art. Daum went on trips with his friend and artist Doug Freed, and soon bought other art pieces. When he needed a place to house his acquisitions, he worked with the State Fair Community College in Sedalia, Missouri. His collection worth several million dollars helped the Daum Museum to become a reality. Building began in 1995 and the gallery opened in 2003. This was the gallery whose print collection we were going to see today. Cooney was an artist herself. She made collage and found art assemblages. She was a member of the Kansas City Artist Coalition in 2000.

Members in attendance: Barbara Cooney, Catherine Vesce, Paul and Debbie Sokoloff, Kathy Ashenbrenner, Karl and Jan Marxhausen, Robin Gross, Suzanne Geringer, and Beth Lurey. Daum Museum, below.

Director for the Daum Museum, Thomas Piche Jr. introduced today's speaker, the importance of the ULAE, and the New York artist names whose printmaking was featured in the Daum's current show, Fit To Print: Contemporary American Graphics. Three minutes

Detail of line etching by James Siena, above,
Untitled (Blue-Black)(from suite of 5), 2000 

Detail of Ukiyo-e style woodcut in 23 colors
by Helen Frankenthaler, above,
Geisha, 2003

Bill Goldston gave a one-hour talk on the history of ULAE and explained the printmaking techniques.

As a master print Goldston discusses the collaboration between himself and the artists he works with in New York. Responding to questions at Daum Museum of Contemporary Art in Sedalia, Missouri. Three minutes.

Bill and his crew at ULAE in Bay Shore, New York.

Detail of photoengravure image by Tom Friedman,  
Vanishing Point, 2006, above

To do photengravure one must have the understanding of a chemist. It is a science. Goldston shares some of that process. Four minutes
More about ULAE at

Detail of relief print from rubber band matrix by Tara Donovan, above,
Untitled, 2006

Detail of color woodcut by Karen Kunc, above,
New Elemental Dawn, 1991

Detail of woodcut by Tom Huck, above,
The Transformation of Brandy Baghead, 2008
More on exhibit at and
and (accessed Oct 26, 2013)

Curator of Education Victoria Weaver described the layout of the Contemporary American Graphics exhibit to the Nelson Atkins Print Society. Seventy-five works at the Daum Museum of Contemporary Art, include those by James Rosenquist, Jasper Johns, Andy Warhol, Phillip Pearlstein, Terry Winters, Eric Fischl, David Salle, Chuck Close, Alex Katz, Tara Donovan and others. Eight minutes.

(All links accessed Oct 24, 2013)
Submitted by Karl Marxhausen
Comments by David and Roxie Mc Gee

Sunday, December 23, 2018

tArvis - kc printmaker

in the midst of the viewer stream, tArvis took a moment to talk with me friday night. He told me about the Vanderhook press that he pulls with both hands when he proofs his linocuts. Something like the next photo.

He agreed to be spontaneous and say a few words for this post.

tArvis porter (TP) and karl marxhausen (KM) exchange. Two minutes.
tArvis points to photos of his blog from his smartphone. His PROCESS is deliberate, precise, and manual.
TP: All right, so here is my sketch. Which is drawn out on graph paper. That is how I kind of lay out the design --- And then, here it is, basically drawn out on a grid. --- Then, penciled in. --- Then I go through and actually carve it out. --- That is the finished plate right there. A couple little versions of it. ---
With this particular print, the red goes first. And you can see with my print that everything is really manual. You know, roll out the ink by hand, roll it on the press by hand, and then you actually pull the press, you pull every print by hand.
This is the black screen, so if you look at it there (both screens at the same time) you can see the red goes first, then black. And then hopefully that is the finished product.
TP: Of course, even the registration with this is manual, so --- You just LEARN to EMBRACE the imperfections with it.

KM: So which piece is that in this room?

TP: This one over here (pointing to the wall)

KM: point it out to us? Can you stand by it?

TP: Sure. There it is ! !  Fire 2012 (ChimĂș)

KM: What is your name?

TP: Travis Porter.

KM: And so, how many prints can you do of that?

TP: Oh. I do a lot of small runs. Like ten to twelve. This particular one I left open, because the red and black is so popular that I figure I can come back to a lot. But some of the more colorful ones, they are pretty small editions.

KM: And you were saying just a few minutes ago how, this is not typical of linocuts. So, what difficulties do you have with this particular challenge?
TP: Registering colors!! Typically with linocuts I feel like it is a little freer process, and not so graphic and built on a grid. So..

KM: Is it labor intensive??

TP: Yes. Very much !!! But the thing is, once you CARVE the BLOCK, you got it forever. Cause I spent many a-night carving. And I thought to myself, 'do it right, and you'll have this block and print on it forever.'
KM:  Of course, you are proud of it.

TP: Sure. Why wouldn't I?

KM: Who does your framing?

TP: I did. Because I have too.

The interview took place June 6, 2014 
at the Opie Gallery in the Leedy Voulkos Art Center, Kansas City, Missouri. Syncretized Patterns ran May 2nd to June 6th, 2014.

More deliberate precision cuts by tAvis at

(Hand-pulled vanderhook proof press courtesy of Briar Press,, The Porterhaus,, Fire 2012 image,,
Fire process, June 18, 2014)

Sunday, December 2, 2018

terri wheeler - kc printmaker

It's a challenge. It takes you outside of what you are normally going to do.    Terri Wheeler
Photo from previous print exchange.
There was this print exchange. And I was, I CAN DO that, I can do THAT!. And they had this theme, it was like "Just A Second." And so I was like, well, you can do JUST ABOUT ANYTHING with that!! I mean, that is, what is that? I mean, it took me longer to figure out the concept  (laughs) than what I am going to DO. So I did a LEAF that is FALLING. And it turned out really good.  Terri Wheeler
The submission deadline for "Print Exchange -
Just a Second" was December 15, 2014.
Double click images to enlarge.
Terri's print exchange entry, next.

falling by terri wheeler

After I started dating my boyfriend Oscar, he brought me on our first date, these really pretty yellow lillies. And I just loved them. It inspired me to do some drawings and then some prints.          Terri Wheeler
Above, hand-made folio
Next, a suite is a group of prints that go together.
Below, yellow lillies, three-color linocut, artist's proof.

Whether she does a linocut, a painting, or sculpture,
her image is found through drawing. Two minutes.

Ms. Wheeler walks me through her studio. 
She uses her sun porch for drawing overlays.
A block from 2010 reveals her layout execution. Many patient cuts.
Two blocks are used to produce one image.
Video runs two minutes. Click on

Ms. Wheeler and her expensive table top press. The advantage of a mechanical press over hand-burnishing is having impressions that are even and consistent. She knows what it is like to have burnished areas of the block with a doorknob. It can be difficult to get the right pressure over the whole plate. She uses felt blankets for her linoleum blocks. She likes the embossing that it produces.
She dries her prints on a clothesline she pins up within her space.
To bring the press up to their second story apartment, Wheeler and her boyfriend took the press apart, carried the pieces upstairs and re-assembled the press without instructions. Setting the pressure is different for each block, depending on the humidity, according to Wheeler. Video runs five minutes. Click on

Artists Terri Wheeler and Karl Marxhausen talk about the importance of setting a routine in the studio. Three minutes. Click on

"You HAVE TO SET that LITTLE ROUTINE. I'll come in, I'll sit down, either something will come to me or it won't, I'll think about something and sketch in my book, I'll paint on this or that, until something starts to click, and then by the time something has clicked it's already dark and I'll have been up here for several hours." Terri Wheeler

"It's also WITH EXPECTATION, you don't go up and say fatalistic: "I'm never going to get anything done. It's a waste of time, why am I even bothering?" Some days CAN be like that. But sometimes it's like I'm just HOPEFUL. I just think: "I'm just going to TRY."  Karl Marxhausen

"And I find, you know, it's just THE TRYING. Art is three letters, T - R - Y. Try. Try something." Karl Marxhausen

"Yep. Yep. EXPERIMENT. CREATE. Just DO IT. If it fails, you have learned know, it could be a happy accident. Like all of a sudden, it could be "WOW, OK, that really WORKS!!" Terri Wheeler
A suite of work. Video runs six minutes.
Her process, linked video runs ten minutes, click on

Wheeler is excited about the Sketchbook Project and Print Exchange. Video runs two minutes.
For more on this, click

A final word to fellow printmakers. One minute.
Don't give up. There is room for everybody. Terri Wheeler

Terri Wheeler is a member of the Kansas City Artists Coalition. Her print studio is in Kansas City, Missouri. Her website is
This interview took place Sunday, December 14, 2014.

(Sketchbook Project images, courtesy of Flickr,, accessed Jan. 4, 2015)

Monday, November 12, 2018

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. 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 and (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. 

"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. 

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

The Dreher sisters in action making linocut designs, click
(courtesy of Blue Coffee Pictures, accessed Oct 25, 2013)

More of their studio history, click

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 

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

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
October 24, 2013
Videos shot with Luminx DMC-FZ7 camera
 Additional photos by Robin Gross
Way to go Team !!!!