Items from two distinct collections; both are endless, at least to me. I see no ending.
They began in the film-age.
The wag in me says: am ever so glad I waited to do anything with these… about the snow&ice items, except, they don’t actually get better sitting in a drawer, or on a hard drive. Pictures rarely have an expiration, for me. They don’t change; I do.
Many artists early work is better than later; some make their early work later in life, giving the false starters false hope, extending the myth of late bloom genius. Early experiments, explorations, these things cost less in the course of a career, as long as they aren’t detours. Most detours are merely pencil sharpening; they produce shavings, only.
Every hack at a stone isn’t a worthwhile uncovering.
In new country may mean new clothes. Printing and printmaking are different. They began in different places, and diverged into different schools — education of the doers. Some of the words may sound the same. They aren’t.
Works on paper is the big arch. The base of the image is a paper, that very old fundamental object. It is quite nice on its own. So nice, that many are makers of paper; done. that is all that is needed. Make the paper. Show the paper.
Others, most of us, put something onto that paper. Photographic prints are on very limited range of papers. Hand-coated emulsions extend that range, as does digital printing. In fact, many digital printmakers chose that method because of the range of paper surfaces. Some of the most ardent devotees of the chemical cult do so because they dislike, disapprove of the paper surfacing above the plastic sheen of 20th Century Gloss.
my first paper for litho back in school. for alt prints requires acidification.
Fabriano Artistico
gum prints
requires acidification
Papers used for alt photo as well as printmaking
These are papers that are proven to work well across processes. find a vendor, then get samples to test in your work conditions. Your water, workroom conditions of temperature and humidity. How well they dry. How well they coat. How well, and comfortable you are in their use.
One size rarely suits all printmakers. Chemical Printers are confined to accepting that which is commercially, meaning widely acceptable. That is, the “classic” look of “air-dried” gelatin. Or, the commercial Glass Gloss display print. They don’t have much choice. As a printmaker, you do. Make the most of that …
Who do you envy? I can’t show you my work on the web because it is so fantastic ; simultaneously Making judgment of photographs I’ve only seen on the web. cake eat 2
Do they show or do they tell. Their perfect alibis for doing so much talking without any pictures is because only the print matters. That is the answer you are to see. See? Only see? It is so present, so magical, you must stand in awe before it. find a gallery to buy from; hunt but you will not find. The alibi set is so exclusive they have no gallery representation. The gallery wasn’t good enough.
finding gods to follow: repeating their phrases, singing seeking their praises.
Do you begin with answerable questions; do you permit answers other than yours. If you gave up by the 70s, do you have anything useful to say in your seventies?
you can buy the print, but only in person.
I have no prints for sale. (catch 22)
Like the old: we could have ham and eggs if we had ham and we had eggs.
he has to defend his commitment. maybe explain his stumble — potential in youth isn’t enough. knowing the weston’s isn’t enough. knowing isn’t enough.
Of course alternatives are okay, if they are “well printed” — and, anything other than silver-gelatin can’t be well printed. Unless it was sanctified in some way — like from my book publisher.
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