kc print crawl

"This was my first one....although I've been a member for a couple years, this was the first time I've been to the crawl.  I've been to a luncheon, the most recent Christmas open house (fantastic!), the Benton print discussion at NAMA, and a few others.  I live a couple blocks from the American Legacy gallery, but this is the first time I've been inside.  It's been a self-protection ploy as I knew that once I was inside I would be in trouble!  I enjoyed seeing all the prints available, but found those at the final gallery to be of no interest at all....and too expensive to boot.  Different tastes I guess....." Dinah Henderson

 
 

Dr. William Eickhorst "Bill" has collected prints over the last 50 years and shared some of his collection with us this morning. To reach him and view his Manet, Bonnard, Cezanne and others you can reach him at (816) 587-1986 or email him  eickhorst@missouriwestern.edu

 

"I was remembering the Print Crawls of the early years of the Print Society.  A handful of people... It's just great to see all the new faces and enjoy the lively discussions, with the common thread of love of prints tying all these diverse people together."  Catherine Vesce, Kansas City

There was talk about the works of Gene Kloss, her figurative drypoints and more obscure landscapes.  Elizabeth Carroll asked how one determines which work to purchase. Melissa Behravesh gave this summation. If you are buying for financial reasons look for signature work. What you would recognize as a well known Gene Kloss. Say, her figurative work. If you are buying for personal reasons, go with work that resonates with you. Maybe the landscape.

Left, Jane and Eric Piper from Hyde Park said they were long time collectors. They said this was their first print crawl. Karl Marxhausen

Tim Reimer from Wichita, Kansas said he's been a member for two years. He has wanted to come in for the print crawl, but other things were going on. He decided to check it out. Karl Marxhausen

Two chine colle color lithographs by Hung Liu. Three minutes.

"Where else do you have the power to select a print that will go into the collection of an internationally recognized institution." John Mallery, Program Director 

Members create a buzz over the optical activity
of the Strandell work. Six minutes.

"I enjoyed the day.  We saw quite a range of prints. Seems like we are pushing the boundaries of the definition of 'print'. Welcome to the 21st Century. Remember when photography was on the cutting edge? Now it is is digital and lenticular! It is all very interesting and exciting.  The Print Society continues to get better and better." Susan Lawrence, Susan Lawrence Fine Art, Kansas City, MO

"I think the Print Crawl was a huge success!  Lots of new members attended who had not been to any of the planned events!  It was wonderful to see such a large turnout."  Brucie Hopkins, Better Homes & Gardens Real Estate Kansas City Homes

More discussion and interest generated at Todd Weiner Gallery. Seven minutes. Works of Heinrich Toh.

"Karl it is always a pleasure to talk to members of the Society.  I always get to know different members just a little better at each event.  I hope this experience continues.  Just like you - I would have voted for the Mary Strandell without any further ado." Richard Hamilton

"big change from just a few years ago - so many people it was hard to move around & get a good view of all the prints! always enjoy this program & the resulting purchase for the museum." greg schieszer

thanks for all who contributed their comments.
video and photos from karl marxhausen, print society member.

the crawl

It was an icy start, coming in on highway 210 east, where my wife and I passed a rolled off vehicle in a corn field, its owner standing beside it, talking on a cellphone, waiting for the wrecker to arrive.


The house gallery was full of print society members and non-members, sipping orange juice and nibbling baked goodies.


Each time I attend a PS function I seek out people I've met and meet new ones.


That day Mark Jeske told me about an art appreciation class he took and the color theory talk with Margie Kuhn he attended. He had read about both events and the print crawl in the bi-monthly brochure that Nelson museum sent out. That was what brought him to Kathy Ashen- brenner's house that morning.


Finally, we squeezed around the dining room table and listened as each print was presented. People glanced back and forth from the handout sheets, leaning forward to inspect the inked impression, and make mental notes for themselves.

Then, it was gathering coats and hats and heading of in carpools to the next location.
     Karl Marxhausen

Photos left,

taken by PS member Elizabeth Carroll.


Hi Karl. Thanks for asking.  We enjoyed visiting with Jan and you. Besides the art, we were

and continue to be delighted by the large turnout of PS members and their strong interest in supporting the Nelson.   Jane and Jack Coakley

Kathy Ashenbrenner of Gallery Karl Oskar presents selected prints by Robert Motherwell and Richard Diebenkorn. Three minutes.

Jack Olson of the American Legacy Gallery on Claire Leighton:
   "She actually became a citizen in 1945. But she is known for her book illustrations and for her rural America-type prints. Where we got involved with carrying her work was, she did a gift print for the Prairie Print Makers. The Prairie Print Makers, as you probably all know, is a group that started in Kansas in 1931. And every year, from 1931 to 1964, printed a gift print. If you were a patron of the Prairie Print Makers, and paid your $5.00 a year dues, you got a gift print. So, it was a pretty good deal for a long time."
   "This is a big wood engraving. This is the first time I've had . I suspect it has never been framed."
   "I'm going to do the ones I think are the coolest. (group laughter)"
    Double click on images to enlarge.

Olson went on to discuss the Jackson Lee Nesbitt, a student of Thomas Benton, and a rare etching by John Sloan.

  
Three minutes. See transcription excerpts above.

    "I love the idea of a print crawl to examine prints that Beth has hand selected for us, and talking with people who have special interest in the art of the print.  For example, Ruthie showed me the business card she designed for Doug.   I was especially glad to visit the new Haw Gallery and see how the Dolphin has successfully transitioned.  It was also a pleasure to review the Thomas Moran chromolithograph in Jack's office after learning about this print technique on our road trip to the Gilcrease Museum in Tulsa."    Curtis V. Smith

     I enjoyed the annual Print Society print crawl once again.  It is always good to get together with fellow print enthusiasts, to socialize and look at art.  Once again, the first stop at Galerie Karl Oscar (Kathy Ashenbrenner's home) was warm and welcoming with good coffee and treats. I enjoyed meeting some new members, and catching up with others.  At our second stop, American Legacy Gallery, it was a treat to see the wonderful etchings that Jack Olsen showed us. Then on to Haw Gallery for more art treats, and also to see what Bill Haw had done with the old Dolphin Gallery space.     Susan Lawrence

Emily Eddins of the Haw Contemporary Gallery introduced us to belgium prints by Michael Krueger (pronounced kree-ger), a unique relief print by Laura Berman, and a set of lithographs by Peregrine Honig. Six minutes.

Our final stop was Lawrence Lithography Workshop, where our host, Mike Sims, explained the prints that he was offering for our consideration.  He is keeping his holiday sale going through the end of January, and several of us took advantage of the opportunity to purchase prints for our own collections.        
Susan Lawrence


Mike Sims of The Lawrence Lithography Workshop introduces a set of lithographs by Susan Davidoff. Five minutes.

 





We then adjourned for lunch at the Bull Dog pub (we had the back room to ourselves) where we engaged in lively conversation, marked our ballots, and enjoyed good bar food.  susan lawrence




Our goal is to buy prints with the intention that the public will be able to view them in a Print Study Room. Two minutes.

The Print room was located on the Mezzanine. It was a good size room and could house different exhibitions. It is really too bad that it has been discontinued.  Last Fall several members of the Print Society (including me) wrote to the director requesting a new Print room. So far nothing new has happened.   Jean Howard

 
Concern was raised: were frames included in the purchasing price?
No, they were not. Discussion before casting vote. Four minutes.

 I am looking forward to the next step in our print selection process, the Love of Art luncheon on February 15 when we will vote on the print that we will donate to the museum.    susan lawrence


photos by elizabeth carroll and karl marxhausen
comments from jack and jane coakley, curtis v. smith, karl marxhausen, susan lawrence and jean howard

heavy stones - two kc litho workshops

Participant grinds down litho stone with another litho stone. To see video, click Post by Kansas City Print Society.

Welcome to Lawrence Lithography workshop. Walk in video, click Post by Kansas City Print Society.

  

Jacqueline Lichty spins circular steel tool with carbide powdered grit and water to grind off residual grease image. Sims said it usually takes one to two hours of grinding to completely remove a previous drawing on a limestone block.

"The thing that really struck me was how physical the printer's job can be! Mike Sims said, "There are no overweight Lithographers! Maybe hunchbacked with hernias - but none out of shape!"   Ruthie Osa 

"I became familiar with the technique of copper plate etching while selling prints to area art galleries in the 1980s. I always wanted to observe the art of lithography.  Mike's workshop at Lawrence Lithography provided an excellent survey of the technique, business, and history of lithography. I especially enjoyed his discussion about the chemistry of lithography."

Curtis V. Smith, Professor of Biological Sciences, Kansas City Kansas Community College

"We normally don't associate the term etching with lithograph. But it was the term selected for the step that chemically bonds or stabilizes the grease to the lithographic stone. As Mike said, it molecularly changes the composition of the stone."  Robin Gross

See five people making marks on prepared litho stone, two minute video, click Post by Kansas City Print Society.

 

Many specific steps take place, including twirling a leather flap to air dry the damp stone, using clean sponges to wet the stone, roll up black ink front ways and side ways, a blur of activity to be sure. Each one necessary to ensure the inked impression be a successful one.

"In the pulling of each print the relationship of water and ink and the building up of the ink helps one see how mastery of printing is developed over time."  Robin Gross

2nd close up of details on group impression.

"Only through hands-on experience can one come to this knowledge. Mike Sims shared a glimpse of the adeptness required for the lithographic process."    Robin Gross



Mike Sims helped our group understand the science of grease, and how one learns by experimenting and following charts for etching time.



"Got to learn more about Mr. Sims & how he first came into lithography- His first try at working with the stone came from the tail end of his education in Western Michigan- I see Mr. Sims as a master in his craft- (He would not admit to it http://www.wmich.edu/news/2013/02/1637 "   Eric Lehnert

More photos can be seen on Facebook page https://www.facebook.com/kansascityprintsociety/photos_stream#!/kansascityprintsociety/photos
Click on comments to see videos from workshop https://www.facebook.com/kansascityprintsociety/photos_stream#!/photo.php?v=490192084373352&set=vb.246977312092367&type=3&theater

My own notes from workshop follow--

The magic of lithography can happen when a limestone block is chemically altered to hold both grease and water.

Removing the previous grease image can take several hours of grueling grinding and wrist motion. Stone blocks are heavy.

Once the stone is prepared it can receive grease. Grease can be applied in various forms. Waxy pencils, fine tipped pens, bars of grease, and in a liquid form called tusche.

The liquid form can be brushed on in a wash. The trick is to lay it down and not rework it. Scumbling or mushing repeatedly with the brush makes its presentation unpredictable. Best to be direct. And then LEAVE IT ALONE!!!

Two open stones were ready for mark making. Participants played with chunks of grease, pencils of grease, and brushfuls of grease. The group of nine collaborated on each stone. Embellishing it with swoops, swiggles, and if you wrote letters it had to be written down BACKWARDS.     Karl Marxhausen

print crawl - kc

"Attending the Print Crawl is like.....hunting for Easter eggs filled with candy."     paula winchester

 "We were given the itinerary and list and descriptions of the prints that had been selected by the curator for us to look at, as well as a checklist to aid in our decision making."    susan lawrence 

IN ALL thirty-three 33 ink impressions were studied. We viewed works by Luis Jimenez-- Roberto Juarez -- Joseph Raffael -- Hugh Merrill-- David Root -- Norman Akers -- Jacqueline Bishop -- Karsten Creightney -- Emmi Whitehorse -- Robert Sudlow -- John Newman -- Laura Berman -- Michael Krueger -- Andrzej Zielinski -- Paul Gentry --Larry Welo

"The print crawl is like a marathon tour....we had to rush through to get everything in."   susan lawrence

 "This year the print crawl covered SIX galleries instead of FOUR."  paul sokoloff

who?

"About 25 members of the Print Society met Saturday morning. Our first stop was Kathy Ashenbrenner's house to view selections from Gallery Karl Oskar. We were greeted by lively dogs and a lovely spread of cakes and beverages. We then all piled into cars, some people carpooling for convenience, and drove to Todd Weiner Gallery in the Crossroads district, where we were treated to a lively exhibition and discussion by the gallery owner. Some other people joined the tour at this point. The third gallery was Sherry Leedy Gallery, and the fourth gallery was Lawrence Lithography Workshop. After that we went to Dolphin Gallery in the West Bottoms, and ended the tour at American Legacy Gallery."     susan lawrence

"This is my 3rd one as a very new member of the Print Society.          I love these. First of all I am in a relatively small group of passionate persons – some collectors, some artists, some print makers, wow!     I get to go to places I normally probably wouldn’t go to, and then a selection has been made for us to ponder."   paula winchester

what?

the business of picking

"Looking at prints on the Print Crawl is like... getting to be a judge at the "Miss America" contest. It's all delicious and wonderful." r hudson

"We generally know if the Nelson (gallery) has one by this artist or does not. I think about a lot of things when looking. First my reaction do I like it for whatever that all encompasses, but then I also think that art should tell future viewers of what is happening during our times like the Luis Jimenez Snake and Hawk #2."    paula winchester

What condition is it in?  Will it need repair or conservation prior to being exhibited?  Is it artistically relevant, meaningful or important? Is it an exceptional use of the medium?  Is there technical quality? Is it pleasing to the eye?  Is it a keeper?  How significant is the artist, which created the piece?  Does it complement or support other ink impressions in the Nelson Atkins Museum of Fine Art collection, be it contemporary, Asian, Native American, European, and other?  What makes this a "museum quality" work?  Does it warrant genuine consideration?  Does it help us further our Mission? Does it support local artists and the Kansas City art community?    Do I like it of not? Hmmm...

"I learned by listening to everyone." paula winchester

Melissa Rountree (center at Gallery Karl Oskar)

"While at the Sherry Leedy, Joe Zanatta, of Zanatta Editions (above) was present to discuss a number of prints published by his company. We looked at prints by Karsten Creightney, Emmi Whitehorse, and New Orleans artist Jacqueline Bishop."        paul sokoloff

"Todd Weiner (above) pointed out the new body of work by Hugh Merrill was inspired by a recent 6 week residency program in China. These were complex prints incorporating a variety asian motifs."      paul sokoloff

 "It is always a pleasure to visit Mike Sim's workshop and gallery. There are few places where one can see so many prints as well as talk with the master printer who has worked with the artist to produce them."    paul sokoloff

 "I have signed up for Mike’s print making class mid-March to help me better understand the process. I am really beginning to love these things. I even took Picasso and More class at the Nelson where I got to make a monotype print and an intaglio print. By my doing it even makes me appreciate more that which I see."   paula winchester

"A drive down to the West Bottoms brought us to the Dolphin Gallery, where prints by Laura Berman, Andzej Zielinski and Michael Krueger would be considered."     paul sokoloff

Jack Olson of the American Legacy (below) spoke on wood engravings by Paul Gentry. 

"Inspite of the rushing, still there was time for some people to buy some prints at several of the galleries."   susan lawrence

"Everyone enjoyed the opportunity to socialize with members and to visit so many galleries at one time." susan lawrence

 

"By 2:30 in the afternoon it was time for lunch and discussion. Our lunch was at Bella Napoli restaurant at 63^rdand Brookside, where we enjoyed Italian food, good conversation, and cast our votes."      susan lawrence                            "Our group selected 8 ink impressions for the luncheon in February.
Double click on images to enlarge.

"Mountain Spirits/ Nuclear Rods" by Luis Jimenez, lithograph, 1994, 47-5/8 X 33-1/2” from Gallery Carl Oscar -- Kathryn Ashenbrenner --  (kashenbrenner@kc.rr.com)  More on Jimenez (courtesy of Mati.Eas Asu Edu, http://mati.eas.asu.edu/ChicanArte/html_pages/JimenezIssOutl.html, accessed Feb 3, 2013)

 "Made In China" by Hugh Merrill  from The Todd Weiner Gallery, 115 W. 18th St., Kansas City, MO 64108 (816-984-8538)

Sonatina by Jacqueline Bishop, 2010, lithograph in black over color archival pigment print, edition 22, image 18 ¼ x 60” on 22 x 64” sheet Sherry-Leedy Gallery, 2004 Baltimore, Kansas City, MO 64108 (816-221-2626)

"Eagle and Snake by Luis Jimenez,  ’08, litho, 33-3/4”X 43”, Ed. 40 YES from Lawrence Lithography, 2011 Tracy, Kansas City, MO 64108, (816-471-4848) (image courtesy of Lawrence Litho, accessed Feb 2, 2013)

"Changing Of The Guards" by Michael Krueger, lithograph, 2012, ed. of 45, litho, 46” X 36”  from the Dolphin Gallery, 1600 Liberty, Kansas City, MO 64102 (816-842-5877)(image courtesy of Davidson Galleries http://www.davidsongalleries.com/artists/krueger/krueger.php, accessed Feb 2, 2013)

"We will have a really good selection to see at our luncheon in February. Thanks to Beth Lurey for making her initial selections and to all the galleries that participated. It was a really fun and educational day. And I would say that a good time was had by all."                       susan lawrence

Contributors Susan Lawrence, Paula Winchester, Paul Sokoloff
Photos by Robin Gross and John Mallery
Layout and editting by Karl Marxhausen

IN ALL thirty-three 33 ink impressions were scrutinized. We viewed Luis Jimenez (1940-2006) Heron Skull, lithograph, 12/20, 21” X 21" -- Two Horses Skulls, lithograph, 11/20, 21” X 21” --- Mountain Spirits/Nuclear Rods lithograph, 1994, 47-5/8 X 33-1/2” -- Radioactive Skull, 20/20, lithograph ’1994, 32” X 31-7/8”-- Roberto Juarez (b. 1952, Chicago, IL) Portfolio of Seven Prints, no date, 3/20, 21-1/2” X 15-3/4" -- Joseph Raffael (b. 1933, Brooklyn, NY) Autumn Fish, ’98, 18/40, 31-1/2” X 24-1/4” -- Hugh Merrill, Kabwash, 2012, mixed media on paper, 12” x 16” -- Made In China, 2012, mixed media on paper 12” X 16” --Guanlan Days, mixed media on paper, 40”X 48 ¾” -- David Root, Icarus at Countdown, 2011, woodblock print, 24”X 24” -- The Log Roll, 2011, woodblock print , 21-1/2 X 8-1/2” --Norman Akers (b.1958, Fairfax, OK) The Gathering, 2012, color lithograph, edition 20, image 22 ¼ x 16 ¼” on 29 ½ x 21 ¼” sheet, printed and published by Mitchell Marty Studio (Santa Fe, NM) -- Jacqueline Bishop (b. 1955, Long Beach, CA) Sonatina, 2010, lithograph in black over color archival pigment print, edition 22, image 18 ¼ x 60” on 22 x 64” sheet, printed by Neal Ambrose-Smith and Karsten Creightney at Hand Graphics (Santa Fe, NM), published by Zanatta Editions (Shawnee, KS) -- Karsten Creightney (b. 1976, Albuquerque, NM) Untitled , 2009, suite of nine lithographs in black, edition 13, 10 x 10" each image/sheet, printed at Tamarind Institute (Albuquerque, NM), published by Zanatta Editions -- Emmi Whitehorse (b. 1957, Crownpoint, NM) Pollination, 2011, color monotype with collage elements (rice paper and sheets with monotype) and extensive hand drawn additions (pencil, color pencil, chalk and oil stick), unique from series, image/sheet 29 ¾ x 22 ¼”, printed by Michael Costello at Hand Graphics, Santa Fe, published by Zanatta Editions.Signed on front with artist’s mark in oil crayon; signed and dated on reverse in pencil -- Luis Jimenez, Eagle & Snake, ’08, litho, 32-1/4 X 43-1/4, Ed.44 -- Eagle and Snake II, ’08, litho, 33-3/4”X 43”, Ed. 40 -- War Horse, ’01, litho, 22-1/4” X 42”, Ed. 50 -- Robert Sudlow (1920-2010) From Markleys Hill, 1995, chine colle -- John Newman (b. 1952, in Flushing, NY) Unraveling and an endless Loop -- Three categories: Black, White, & Lying -- Laura Berman, Assistant Professor of Printmaking at the Kansas City Art Institute, Umbra Home, 2012, Suite of three, unique relief prints 20” X 15” -- Michael Krueger (b. 1967, Kenosha, Wisconsin) Changing of the Guards, 2012, ed. of 45, litho, 46” X 36” -- Drifter’s Escape, 2012, ed. of 45 litho, 46” X 36” -- Andrzej Zielinski, (b. 1976, Kansas City, MO) Orange Paper Shredder, 2009, 7/20, 7-color litho, 28-3/4” X 21-3/4”, printed at Lawrence Lithography, Kansas City, MO -- Robert Sudlow, Near Ottowa, lithograph, 27/60, 16” X 22-1/2” -- Winter. Baldwin, lithograph, 7/54, 22-1/2” X 30” -- Maple Hill,’87, lithograph, 20/35 -- Paul Gentry (b. 1954, Independence, OR) Quiet Land, wood engraving, 15/25, 5-3/8 X 7-1/4” -- Big Sky, wood engraving, 7/30, 6-1/4” X 9-3/8” -- Shadows and Steel, wood engraving, 7/35, 9-1/4” X 7” -- Larry Welo, Cotton wood Falls, etching, 20 X 14 -- Duluth, etching, 38/100, 17-3/4” X 12”