
Woodcut Publisher's Journal



The publisher produces the bases for Living Prints with support for all the players and keeps communications clear and on course.
9804241622
His idea of a woodcut party was quite hilarious. He seemed to think people would come. He's crazy! He wanted me to help, but I was supposed to be going to the Chicago Art Fair in a week and I figured I'd be too busy. Anyway, get this: He said he'd get a plank of pine and cut it into 21 pieces--little squares, you know.
Then he's going to send these to 21 people and ask them to carve the design on the block--and of course they wouldn't know for what. Then they all come to this dinner, he locks the blocks back into a frame, and then prints them. Can you imagine? This guy seems to forget what serious fine art is all about!
I can think of a million reasons not to get involved with this--but Chicago will do.
9705020622
"Why do you call yourself the fourth sister?"
"Well, think you can take a little history lesson?" I nodded. "Think about France half-way through the last half of the second millennium."
"Seventeen-fifties?"
"'Course." she acknowledged, and went on. "There were three estates: the church, the nobility and the people. The printing press created a fourth that you might say was somewhere above or outside." Here she paused and her gaze (that had been intently fixed on mine) shifted as if she was looking for the right expression. "My sisters are like those others. The three have those properties. I'm Media, like the fourth estate.
"Well," I said. "I'm glad we ran into each other.
 | Curator's Log | The curator is seldom seen but is always seeing to it that the living prints' records are correct and rules followed. |
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| The artist provides the vision and imagery of the living print, laboring after the compelling image. |
 | Printer's Notes | The printer performs many tasks to keep prints alive, crafting and designing solutions to problems the artist, curator and publisher propose. |
 | Professor's Papers | The professor explains the living print, the history of printmaking, and keeps the academic community informed. | |
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©1999 Bill H. Ritchie, Jr. ritchie@seanet.com