robert quackenbush -- kc printmaker

Mineral spirits were causing light colored ink to drip across a wood plate covered with dark ink. Caught up in the moment, its creator invited attendees to take notice. Robert Quackenbush was giving an print demonstration for members of the Kansas City Print Society, in the studio of artist Jane Voorhees across from the Plaza (photos below). Voorhees had given permission to use her press for the demo.

Often in the world of prints, the final image can be seen as rigid, set in stone, a finite quantity, a collision of colors frozen in time. This print maker had the attitude of an explorer. To him the equation to a product had variables and his job was to try them all. Saturday he let us in on the wonder. That was what he intended when he inked his plate with a beige swath across the top and a black swath across the bottom.



By design he intentionally let a solvent mingle with both colors, letting gravity pull rivulets downward. Solvents that were used for cleaning up oil stains in a work room could very well destroy or wreck a carefully planned image. Who would ever risk losing such an image? To do so could be seen as a careless act. It was our teachable moment. Clearly, that gentleman wanted us to see what the chemical reaction would do and share in his excitement.





 

    Girded in an orange apron, Quackenbush explained how he once was doing an aquatint and how he wanted to block out a certain area, so he applied ground over the area. (Ground was used by etchers to keep portions of the plate from being eaten by the acid) He couldn't get the ground to work as it was leaking all over the place. So he streched some masking tape across instead, figuring if the acid ate up the tape, it was no big deal. It was a chance he was willing to take. When he took the plate out the the acid bath he noticed that the acid had no effect on the tape. He liked the way the taped area looked, so he printed it up. Through trial and error he came up with his wood plates (ABOVE) which are covered with tape patterns. Double click on images to see enlarged. He used a brayer to roll on the oil-based ink. The paper for his prints were 

soaked and blotted Arches or Stonehenge paper. He discovered that certain tapes are too slick and would not hold ink. Others had the right kind of tooth or grit to hold and transfer the ink, when he ran them through the press.

(CLICK ON VIDEOS BELOW)



A simple purchase of lotus leaves at the Asian Market inspired two artists. His friend, Reilly Hoffman, whom he shared a space with in the Kansas City Crossroad district, created a sculpture of a lotus leaf. Robert, in turn, used re-hydrated lotus leaves for printing. He sprayed shellac on the leaf to give it strength. Double click on ABOVE closeup to see enlarged. His techinque captured every crease and detail from the leaf. But it was a sacrificial thing, the leave was so fragile it distegrates after passed under the rolled pressure of his press. He mounted the leaf on a glass substrate and brushed the ink onto the leaf before printing it. It was labor intensive and used lots of ink, but the results were fantastic. He showed us a large leaf print done on a heavy black paper. He got the 40 by 60 inch sheet from Daniel Smith Art Supplies at fifteen bucks a page.

Her husband was a perpetual learner his wife Merry pointed out.



"Any place we have lived Robert has always found the best art school in town and taken classes, always wanting to try something new. Even at his age, he is still curious and willing to risk failure, because, usually, anytime you start something new you make mistakes."

You can watch her FULL INTERVIEW on the video below. She spoke in length about the lotus leaf project. Video is three minutes.

  

According to Merry Quackenbush, the white ink on black paper and black ink on white paper ABOVE were some of the first images Robert produced when he began using masking tape. After eight to ten prints, he has since learned, the tape on the plate would begin to fall apart.

Part 1. One minute video of the solvent drip demo.

Click on triangle.

Members study large leaf print.

Part 2. Solvent drip demo, six minutes.
Click on triangle.

RQ: I just want to let this rest another couple seconds. Can you all see how that is turning out?

MQ: What is that little block over there? Is that tape coming up a little?

RQ: Yes, that is a piece of tape coming up. Remember how we talked about this plate has been used before, it's been cleaned, and eventually the solvents will get under the tape and compromise the glue. Particularly where they have little points and what not. But I am going to let that go, We'll just see what happens. It was on the other plate too, and it did not seem to have a big negative effect. Still need to bounce this one a little more. (He lays plate on the newsprint on the press bed)

MQ: You can see where Robert has penciled in guidelines, so he knows where to place the plate. In this case he is centering this.

RQ: The last plate was a little bigger, that's why you see those lines. Now there is a chance that some of these lines may come off on the print. This is just an experiment for today.
A piece of paper coming up. I like to use paper that is a little wetter than most printmakers would recommend. I feel more comfortable about it, I think the ink takes better. (He blots the wetted paper with clean towel on work table. Husband and wife bring large paper over to the press bed) The paper is in place. I have added a couple sheets of newsprint. I am pretty sure that some of this ink will be coming through this paper, cause there is a lot of it. We can't soil these felts.

MQ: They would never have us back (in the Voorhees studio or use their press). We would never have another party here. (chuckles)

RQ: In the printmaking world, the biggest thing you can do wrong is mess up the felts. Frankly, art students are terrible human beings when it comes to being neat.

This is called a pusher, catcher rather. You will see a lot these with images off.

Now the experiment begins. (Robert rotates the big metal wheel next to the press bed, hand over hand, moving the pressbed under the steel roller, with even pressure)

Viewer: Does the speed of how you roll that affect any of the printing?

RQ: It can. Sometimes if you move too fast you can push the plate. If you are using multiple plates, it is important to have them angled a certain way,. For instances, if you are going to make a print that has three plates in it, you got to do it from the side, if you don't that third plate is going to move. It is one of the things you learn the hard way. If you move too fast you can move the plate, and some printers actually roll it back and run the plate through again. (Robert and Merry, on either side of the press, pull the layer of felt blankets back over the top of the roller).....OK, are you ready?? (ahhs and wows) (Robert gently pulls the paper off the plate to reveal the print BELOW) Double click on image to see enlarged.

Robert and his wife Merry, BELOW.



RQ:  We are going to run a ghost, which means I am not going to ink this plate again. I am just going to run another piece through. Sometimes they are very interesting, and like the other ghosts we ran in the first demo, they can be used in other ways. (Merry takes above print and lays it out on the table for the members to inspect up close. Husband and wife carry a second blotted sheet over to the press, carrying it by the edges with both hands. They carefully lay it on the taped plate, BELOW. They lay sheets of newsprints on top and felt blankets) 

Viewer: Some of us are going to be tempted to try the taped thing. Do you have a patent on it, Robert? (laughs and giggles)

RQ: I should. Although I can't be the first person to have tried this. (Robert rotates the big metal wheel next to the press bed, hand over hand, moving the pressbed under the steel roller. Felts are pulled back, newsprint rolled up, print it lifted up. Regarding the print: ) Not much, not much.

Viewer: No, but you could do something with it....

RQ: Absolutely!!

MQ: You could paint over it.

RQ: You could draw or paint over it. I could cut it up and collage it into something else.

Viewer: Could you print over it?

RQ: You could print over it. Sure, sure, absolutely!! Well, that's us. If you have any questions....(applause)

  

More on monotypes, click HERE.

(courtesy of Wikipedia, accessed September 16, 2012)

To view Robert's print page, click HERE 

(courtesy of Art By Q, http://www.artbyq.com/portfolio/prints,

accessed September 16, 2012

Robert is a member of the Hand Print Press
at the University of Missouri Kansas City.

To visit Hand Print Press, click HERE.
(courtesy of Hand Print Press, http://handprintpress.org/,
accessed September 16, 2012 )

A word to the Kansas City print community:



"Be prolific! Do a lot of work. Constantly improve your skills. One of the best lessons I ever learned is not to be afraid of my imagination. If making art is your passion, go after it. Don’t wait for anything. As Chuck Close once said, “Inspiration is for amateurs

…..Get to work!”

(courtesy of Art By Karena, http://artbykarena.blogspot.com/2012/01/artist-series-renowned-robert.html, accessed September 16, 2012)

submitted by Karl Marxhausen, September 22, 2012

miguel rivera - kcai printmaker

 "I was looking at this sense of expression. It fulfills me."    Miguel Rivera

This artist printed to INVENT SURFACES. 

Particles. The interface of materials on top of the next. What is below peeks through layers above. An inked impression from a routed woodcut with a specific design meshed with atmospheric elements. Karl Marxhausen

Rivera told me to look at Dr. Atl and David Alfaro Siqueros. I did. Each of these experimented with materials in order to invent the surface.

Look at the Mexican painter and writer Gerardo Murillo Cornado (1875-1964), who was known as Dr. Atl. He was the first to work with pigments. In the book of his 1914 Paris exhibit: Exposition Atl: les montagnes du Mexique, Atl introduced fellow artists to what he perfected in 1906, a solid material one could paint with. He named it Atlcolor. He had figured how to lay pigments on pigments. And how to keep them from falling apart. In his book The Landscape, an essay (El Paisaje, un ensayo), 1933, Atl described his solid resin-based pigments under the heading of  "Las inovaciones (The Innovations).     It was Atl's experimentation with wax, pigment, resin and gasoline that Rivera wanted me to find. 
[https://www.vialibri.net/years/items/348980/1933-atl-dr-pseudonym-of-gerardo-murillo-el-paisaje-un-ensayo-landscape-an and http://www.artnet.com/artists/dr-atl-gerardo-murillo/biography and http://inverarteartgallery.com/artist/dr-atl/ and  http://chnm.gmu.edu/transatlanticencounters/items/show/4639 (accessed July, 18, 2017]


Here is an entry I found about Atl's stencil prints: take note of the use of resin varnish - the experimentation - inventing of the surface.

"The two remaining stencil prints, here called Red Volcano and Erupting Volcano, are untitled, lack stenciled friezes, and have other characteristics that suggest they were both made as experimental proofs around 1921-23 (Erupting Volcano is printed on the same type of laid paper as the Philadelphia album cover) and may in fact be rare examples of the type of enameled Atl-color prints-- estampes émaillées (procédé special)-- he exhibited in Paris in 1914. In both prints the artist animated the surfaces of the stenciled images with a fine mist of spattered Atl-color pigments, which he most likely blew onto them through the twin pipes of the metal fixative applicator commonly used to stabilize powdery pastel and charcoal drawings. In both cases he also made use of the resin varnishes that he described under the heading "Las inovaciones" (Innovations) in his 1933 book El Paisaje - un ensayo." (18. Dr. Atl, El paisaje--un ensayo, p. 13.) 

"In Red Volcano he stenciled his colors on top of a ground of transparent varnish that covers the entire sheet of paper. In the more complex Erupting Volcano, the artist built up the composition in layers, first painting onto a sheet of gray paper a ground of zinc white mixed with casein the same size as his intended image, followed by stenciled colors, then spattered colors, and ending with a coat of transparent varnish over the entire image except for the cone of the volcano rising above the clouds, which he embellished with Atl-color crayon that extends the composition of the spewing volcano into the margin of the sheet. Like many graphic artists in the West during the late nineteenth and early twentieth centuries, Atl incorporated in his designs many features typical of the traditional Japanese color woodblock print --stark outlines, flat expanses of color, and the playful visual conceit of allowing an element of a composition to intrude into the otherwise empty enframing margin--and made them distinctively his own.      John Ittmann, Mexico and Modern Printmaking: A Revolution in the Graphic Arts, 1920 to 1950 (2006). 

Look up David Alfaro Siqueros. He used pumice powder with resins, mixing, to build surfaces. He used it for murals as long as a wall. He was working like a construction worker.      Miguel Rivera

 “Beginning in 1935, Siqueiros began using Duco, a nitrocellulose automobile lacquer developed by General Motors and DuPont in the 1920s. These tools and pigments countered what Siqueiros termed Mexico's "folk art for export," by which he referred to artists' proclivity to produce an art for tourists.(pg.77).. At the start of the 1930s, Siqueiros produced a series of crusty easel paintings made while under house arrest in Taxco, Mexico. In these works, he began experimenting with materials, as in the painting Proletarian Mother (1930) in which he combined local clays with resin, applying both to a fibrous jute surface (pg.81) …  the role of "accidents" --the spill, the stain was central to the experimental procedures of Siqueiros's workshop. While one handling of the spraygun could assure a quick-drying and slick surface unmatchable by oil paint applied by paintbrush, a more experimental approach to Duco led to unforeseen results.

As Siqueiros wrote in one letter to his friend and occasional benefactress Maria Asfinsulo

in 1936:

“I make use of a painting accident, through which two or more colours are sprayed on and as they become absorbed into each other produce the most fantastic and magical forms that can be imagined; it can only be compared to geological formations, to the multi-coloured and vari-shaped seams seen in mountains, to the cell-construction which can only be seen under a microscope. [...] a kind of tumultuous, stormy dynamism, a sort of physical and social revolution, which is quite frightening.” (pg.96)   
 ["IMPORT/EXPORT: RAW MATERIALS, HEMISPHERIC EXPERTISE AND THE MAKING OF LATIN AMERICA ART by Niko Vicario M.A. Curatorial Studies Bard College, 2008“,  http://dspace.mit.edu/bitstream/handle/1721.1/101545/940564400-MIT.pdf?sequence=1, accessed July 1, 2016]

This fascination for creating surfaces sounded more like what one did when painting. I shared with Rivera the delight I felt when I used crushed oyster shells, elmer's glue, and acrylic paint. The way the pigments separated and created spontaneous patterns which I enjoy. See next detail. More at  SEE 1 and  SEE 2.

As we sat chatting in Cafe Nerman Thursday afternoon, Rivera told me of the time he once baked a painting in an oven. It was while he was an exchange student at South Oregon University in Ashland. He had painted layers of gesso on masonite. He couldn't wait for it to dry, so he went next door into the ceramics room and set the masonite in a raku kiln that was still warm after a firing. He went on to say that he pressed objects into the wet gesso with his hands. When the masonite was completely dry he used oil paint on the hard surface, and then wiped it off in places with his hand. Just like an etcher wipes excess ink off the copper plate with the palm of his hand. Miguel Rivera said: "I was a pr-ainter. The cross between a printmaker and a painter." He had a smile in his eyes.

His most recent explorations on BFK paper employ drawing and layers like a painting but with the unfolding process of a print maker. One can dissect the components. There is a woodblock design. There is printers ink. There are tiny black particles. There is a manner of making. Miguel Rivera's way. But Rivera downplays the use of technology. Preferring the outcome. All methods were a means to an end. This is what he told me:

I had this concept of virus spreading through culture for a print. I designed the geometric of the virus. The woodblock plates were made with routers. But I did not want just the geometic. That would be boring by itself. I wanted to create “shadows of embossment.” As a resist for the next stage, I draw with toner powder. Using a magnet under the paper to move the toner around. I use a transparent base. This (work) is not process based. It is not a technical thing. It helps create this hidden metaphor.    Miguel Rivera

 

Three minutes. The first plate of his print was on cedar plywood. It had a vinyl stencil of a "retina" cut with a router. The second plate used in his print had the  of a bacteria virus scanned from Washington State University, a school  he attended. The second plate was tinted with toner powder instead of ink. That is, the toner particles sat in the grooves of the second plate and was run through the press. Together, the subtle layers of inked color, paper embossing, and particles of toner dust, created the qualities  that Rivera was after.

Two minutes. More interactions on paper that Rivera is fond of. Detail, above.

His wide triptych monoprint was pinned on the classroom wall with student help at the Kansas City Artist Institute. With many drawings and efforts leading up to this image, Rivera regards this image as mature.

I would call it a mono print. Because I'm using the matrix. The virus, in this case, conserves the matrix. I am using the matrix to do things it wasn't meant to do.   Rivera

Well, but you are, that's one way of framing it. You can say these are traditional materials, and I'm not using them the way you should. But on the other hand, you are using it for the purposes you as an artist come up with.   Marxhausen

It is like another drawing device. When you think of painting, it would be another layer of paint.  Rivera

Five minutes. Mono print.

Miguel Rivera was interviewed by Karl Marxhausen, Thursday March 3, 2016.
2 pm to 3:26 pm in Café Nerman  and on campus of the Kansas City Art Institute.

[Oyster shell surface treatment, courtesy of Karl Marxhausen,
http://www.karl.marxhausen.net/core.l.html and http://karl-marxhausen.blogspot.com/2008/11/karl-marxhausen-being-led-elsewhere.html accessed July 1, 2016]