wood engravers’ network triennial exhibitionthe wood engravers’ network’s triennial exhibit is...

WOOD ENGRAVERS’ NETWORK

TRIENNIAL EXHIBITION

WOOD ENGRAVERS’ NETWORKTRIENNIAL EXHIBITION

INTRODUCTION

The Wood Engravers’ Network’s Triennial Exhibit is an exciting new tradition that I am happy to facilitate. As the organizer of the juried exhibits and Vice President of the Wood Engravers’ Network (WEN), it is my hope that the traveling exhibit introduces, re-acquaints or refreshes wood engraving for visitors. There is such a diverse approach to the medium and we are all so happy to share our enthusiasm and knowledge of wood engraving with patrons, peers, friends, family and our local arts communities.

The exhibit was juried by Joan Boudreau from an open submission of WEN members and non-members, allowing all forms of relief engraving to include wood end grain and alternative materials that contemporary artists now employ. Eligibility guidelines required works to be original (not reproductions) and created primarily with burins rather than woodcut tools like u-gouges and v-gouges. Sixty engravings by forty-seven artists from the United States, Canada, Great Britain, Ireland and Belgium are presented in the traveling exhibit.

Wood engraving’s intimate scale, minute detail and fine textured grays are emblematic of this graphic medium. America’s wood engraving traditions are rooted in education and communication through the earliest print history, integrated as an industrial reproductive process and later adopted as a medium for artists and illustrators. American artists such as Timothy Cole, Lynd Ward, John DePol and Leonard Baskin exemplified the mastery and artistry of the medium in their times. WEN’s traveling exhibit connects the tradition of the medium with a contemporary context, continuing a celebration of the medium today.

WEN members help promote our traveling exhibit, pitching the concept to their local galleries, colleges or art centers. Promotion and installation is often facilitated or carried out by WEN members. I would like to thank all the members who helped make the last exhibit possible: Thank you Laurie Corral, Laura Ladendorf, John McWilliams, Nancy Darrell, William Myers, Joel Moline, Josh Capistrant, Cindy Koopman, Jim Horton, Allan Greenier and Carl Montford. We are so grateful for our volunteers who share their enthusiasm for wood engraving and give so generously of their time and energy. A special thank you to our last venue hosts also: Asheville BookWorks, Art Center of St. Peter, Minnesota Center for Book Arts, DaSilva Gallery, School of Visual Concepts and the Randolph County Community Art Center.

I have been encouraged by the recent surge in independent wood engraving exhibits. Two successful wood engraving exhibitions include “International Wood Engraving Invitational” at the Davidson Galleries in Seattle, Washington in December 2013, encouraged by WEN member Carl Montford and “A Wood Engraver’s Menagerie” at Zygote Press in Cleveland, Ohio in January 2014, organized by WEN member Eric Gulliver.

Established in 1994, the Wood Engravers’ Network is a group of primarily North American individual artists, hobbyists and professionals who pursue communication, encouragement, and education in wood engraving’s historic and contemporary use. A very inclusive group, WEN encourages anyone interested in wood engraving to join - you do not need

Published by the Wood Engravers’ Network, 2014All rights reservedCover art: Bees in Bluebells by Mirka Hokkanen

WOOD ENGRAVER’S NETWORKJuror’s Statement - 2014Joan Boudreau

Wood engraving is an art of the ages. With early roots in and associations with its relief printing cousin, the woodcut, and uses in Eastern cultures and later with the printed word and moveable type, it has an impressive and important past and a very strong call for a flourishing future.

As late as the mid-19th century imagery was used only sparingly and was many times used more as decoration than for specific meaning. Imagine though the importance of these occasional illustrations to related products of early cultures and the early printed word. The mere possibility of such an inspirational addition to a text, for example, must have been thrilling, and must have engaged the viewer for a very long period. An early, simple, religious engraving of an important figure, such as the Buddha or the Virgin Mary, could have established a lifelong spiritual understanding of either of those figures. The rare decorative addition to the word probably motivated some resolutions, as well as questions, and even controversies.

The work of the wood engraver has long been celebrated for its representation of religious figures, flora, fauna, landscape, portraiture, architecture, and abstraction. Artists’ representations of these subjects have continued to enable a deeper understanding of the world and a glimpse into the thoughts of the artists themselves.

My work with wood engravings began as a “keeper” of engraved blocks and prints, along with other process equipment and prints, in our

repository celebrating the international technology of printmaking. This work enabled me to work with engraved wood blocks and prints, and to appreciate the quality and precision of the engraved line, on both block and print, prepared through time during the history of the process. I also developed an appreciation for the wood block itself, its manufacture and quality, and the derivation of the block, from different species of trees. Our collection includes examples of different species of wood in different states of preparation for the wood engraving trade. Interestingly the collection, established in 1886, was created initially and primarily as a teaching collection with much of our then much smaller holdings remaining on display in a “permanent” exhibit; some of these block and print examples were among the holdings displayed. We assisted and continue to assist our public with information about the technologies of printing and printmaking.

As an aficionado of the history of wood engraving I consider the opportunity to be a juror for your breathtaking, inventive, and joyous works to be a particularly exciting task with many thanks to you also for opening my eyes to new works, and new styles.

The following are among the artists whose works I admire the most. I have judged all the works with the understanding that they should represent the diversity and excellence of the medium. These works are among the pieces which speak to me personally. I have listed the following artists in alphabetical order:Leslie Evans’ wood engravings, especially her “Surf

to be an artist to enjoy the benefits: A bi-annual journal called Block & Burin, features articles pertaining to the practice of wood engraving, historical research, events, news, reviews and announcements. A nice feature of our newly redesigned website includes a blog with news, musings and relevant content added daily or weekly. Along with the journal and blog, participating members enjoy an exchange of original prints by members (participation is optional) - a great way to build or start a print collection. WEN has a lending library and publishes a resource guide, which can give members the best places to find wood engraving specific service, tools and materials. WEN plans yearly workshops as well as a traveling juried triennial exhibit. There are currently about 200 WEN members from the United States, Canada, Europe and Asia.Find out more at www.woodengravers.net

Joanne Price, WEN Vice President & Exhibit Organizer

All listed prices are for unmatted, unframed individual prints. Contact Joanne Price for sales inquires: [email protected]

with the Sea Dog,” bring me joy and laughter. Her fine line and type-composed combination defy the standard usage of same and elicit the fresh breath of the sea with their off-centered and stacked composition. Evans’ Stubborn Stout also brings a smile in response to her use of line and graver and subject, presumably to promote a lucky product.Andy Farkas’ wood engravings and handset type pieces took my breath away at first view. The fine line, off-centered engravings allow the viewer a lens through which we see another world of anthropomorphized animals adrift and in movement on the page. His work combines endearment and imagination in such a magical way that the imagery seems to be describing traditional prose or poetry such as Peter Pan or Stevenson’s The Land of Counterpane. I hope there is or will be an attempt to describe them more fully in a compendium of his works.R. P. Hale’s wood engravings are reminiscent of works of the late 19th century golden age of wood engraving. The use of an overlaid image with a close-up or second view, such as those used in “Flume Gorge, Franconia, NH” and “Paul Revere Museum, Boston, MA,” which explain the subject more fully, is time-honored and adds to the traditional flavor of the pieces. Hale should be applauded for his fine work and mastery of the traditional engraved line.Jon Hinkel’s wood engraving “Geese” is an imaginative use of color and silhouette. His well-defined and focused landscape includes manmade structures and agricultural fields. His use of large dark figures on an otherwise light background assists his creation of another “higher” point of view perhaps even above the geese. His “They Had Made the Woods” describes the main characters with the same

silhouette on colored background and offers us another kind of endearing mystery.Anna Hogan’s wood engraving offerings use different line styles, composition, and subject matter. Her “El Amigo de los Niños” is a coarse-lined engraving reminiscent of a wood cut. Its subject matter shows a quiet street scene with a path through the neighborhood of [a Central or South American town]; a gem. Hogan’s “Night Light” has been prepared with fine lines to impress us with the ephemeral quality of the scene. The trees have prepared their own campfire and are consulting amongst themselves with their own stunning magic.Mirka Hokkanen’s resingrave prints bring me cheer. The use of traditional children’s book alphabet animals is a time-honored one. How could you not want to learn the alphabet with such enjoyable components? Hokkanen uses fine lines to represent her “Cats.” Her imagery of ants parading up the right arm of the “A” in “Anteaters” is almost invisible and exciting to discover. Her “Bees in Bluebells” is also endearing and wonderful.Richard Wagener’s wood engravings are spectacular. His “Beyond the Rain” offers a glorious representation of an evergreen tree against the sky in two parts, live and remaining. Wagener’s use of line to represent the tree, its needles, the sky and foreground has the strong traditional flavor of the late 19th century golden age of wood engravings. His “Hetch Hetchy” offers the outreaching call of a grand and awe-inspiring three dimensional view of two mountain ridges in the distance. The products here representing the works of the Wood Engravers Network offer a strong confirmation that the fine art tradition of wood engraving is being carried on, and with the Network’s efforts is stimulating a

new generation of future artists and community. The opportunities for many styles of wood engraving clearly also exist and are being promoted. The represented artists bring a variety of individual line styles, composition, and sentiment to the viewer. All the works represented have their own distinctions and merits and I hope will continue to charm your public of which I am now one. I wish you all much luck and many creative hours!

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SHIRLEY BERNSTEINConnecticut

MARIA ARANGO DIENERNevada

Clouding Up

Wood engraving, watercolor Size: 4.5 x 6 Price: $350

Desert Rooster

Wood engraving on handmade paperSize: 7 x 5 Price: $35

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DAVE BRUNER Florida

Ton of Tarpon

Resingrave Size: 4 x 11 Price: $55

JOHN CENTERIllinois

Art Attack

Wood engraving, letterpressSize: 7 x 10 Price: $200

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EVAN CHARNEYMassachusetts

Wild Turkeys II

Wood engraving Size: 3.25 x 6.5 Price: $80

PAUL CONSTANCEVirginia

Delightful Dagger Moth


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LAURIE CORRALNorth Carolina

Bathing

Wood engravingSize: 9 x 4.75 Price: $55

NANCY DARRELLNorth Carolina

Feeding the Birds II


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JEREMY DEJIACOMOGeorgia

Let it all fall

HIPS plasticSize: 9 x 4 Price: $55

TONY DREHFALWisconsin

Woodland Reflection

Wood engraving, maple Size: 3 x 4 Price: $50

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COLLEEN DWIRECalifornia

Beer Label

Wood engraving, maple, resingrave, linocut Size: 3.75 x 2.5 Price: $50

ANDY ENGLISHCambridgeshire, United Kingdom

The Old Winter


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LESLIE EVANSMassachusetts

LESLIE EVANSMassachusetts

Surf with the sea dog...

Wood engraving, handset type Size: 5.5 x 4

Stubborn Stout

Wood engravingSize: 2.5 x 3.75 Price: $50

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ANDY FARKASNorth Carolina


Of course there’s still room

Wood engraving, handset type Size: 14 x 9 Price: $175

Something different


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Their boat


ALLAN GREENIERConnecticut

Aldous

Corian Size: 3.75 x 3 Price: $30


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R.P. HALENew Hampshire

R.P. HALENew Hampshire

Paul Revere Museum, Boston, MA

Wood engravingSize: 5.75 x 7 Price: $350

Flume Gorge, Franconia NH

Wood engraving Size: 5.75 x 4 Price: $75

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JOHN HANEYOntario, Canada

The Trees Are Coming Into Leaf

Wood engraving Size: 2 x 3 Price: $40

JON HINKELMinnesota

They had made the woods


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Geese

Wood engraving Size: 5 x 7.75 Price: $90

ERIC HOFFMANRhode Island

Jimmy Smith

ResingraveSize: 5 x 5 Price: $40

JON HINKELMinnesota

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ANNA HOGANMassachusetts

ANNA HOGANMassachusetts

Night Light


El Amigo de los Niños


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MIRKA HOKKANENFinland


Cats


Anteater

ResingraveSize: 3 x 5 Price: $40

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Bees in Bluebells


JUDITH JAIDINGERIllinois

Spirit of Place



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DALE KENNEDYMinnesota

Dark Angel


CINDY KOOPMANMinnesota

Untitled

Wood engraving (scissors) Size: 10 x 8 Price: $200

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DIRK E. LEEMontana

The Rabbit


CHANNING LEFEBVRENew York

World Snarl

Wood engravingSize: 4 x 4 Price: $100

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MIRIAM MACGREGORCheltenham, United Kingdom

Thorn in August


SUSAN MANNIONIreland

Botanic Reflections


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MICHAEL MCGARVEYNew Jersey

The Runaway


JOHN MCWILLIAMSSouth Carolina

“Early Plat-eye” from Island Pigs

Wood engraving Size: 8.5 x 8

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JOEL MOLINEMinnesota

Blue Flag and Sun IV

Wood engraving, monotype Size: 7 x 5

CARL MONTFORDWashington

Hawk

Wood engraving, box wood Size: 5.25 x 2.5 Price: $100

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JAMESON MOORENew Jersey

St. Thomas, NYC


DAVID MOYERPennsylvania

Musca


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WILLIAM MYERSMinnesota

Machinescape II


JENNIFER O’KEEFEMassachusetts

Spring Alewives


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SYLVIA PIXLEYMichigan

Oak Leaves and Acorns #2

Wood engraving, watercolor Size: 4 x 4 Price: $65

SYLVIA PORTILLOWashington

Midnight Snack


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JOANNE PRICEKentucky

Untitled

HIPS plasticSize: 2.25 x 3.25 Price: $60

CHRISTOPHER M. REGISTERVirginia

Mask of Indifference

Relief engraving Size: 4 x 5 Price: $200

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ABIGAIL RORERMassachusetts

Dodo

Relief engraving Size: 4.626 x 3.375 Price: $85

ANDERS SANDSTROMIndiana

Mouser

Wood engraving, maple Size: 2 x 2.5 Price: $100

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JOHN STEINSYukon, Canada

Eliza


MARSHA SWEETOhio

Divine

Wood engraving Size: 4.25” x 2.5” Price: $150

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JAMES G. TODDMontana

Touring China

Wood engraving, maple Size: 13 x 15.25 Price: $500

NIKKI VAHLE-SCHNEIDERMinnesota

The Hunt


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MANUEL VERMEIREBrussels, Belgium

Anicka


RICHARD WAGENERCalifornia

Hetch Hetchy


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Beyond the Rain


RICHARD WAGENERCalifornia

JIM WESTERGARDAlberta, Canada

José Can You See?


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DONNA WESTERMANCalifornia

Ch’anel

Wood engraving, letterpress Size: 6 x 24 Price: $400

DEBORAH WOODQuébec, Canada

Tattoo

Wood engraving, woodcut Size: 4 x 5 Price: $150

ACKNOWLEDGEMENTS

A huge “THANK YOU” to all the supporters and organizers of the Wood Engravers’ Network’s Triennial Exhibition, the second juried, traveling show of relief engraving talent.

With special thanks to WEN members, WEN officers, exhibitors and engraving enthusiasts: this exhibition would not be successful without your generous support of time, interest, money and promotion.Special thanks to the juror, Jean Boudreau, for selecting prints for this wonderful exhibit and for her thoughtful essay at the beginning of this catalog.Many thanks to all the venues who have graciously provided space, time and talent helping us spread the wood engraving word.Finally, a special thanks to those members who have put in many, many volunteer hours making this exhibit and catalog possible:Joanne Price: Exhibit Coordinator and Catalog EditorWilliam Myers: Exhibit accounting, exhibit mattingDeanna Tuso: Catalog Designer in Design for Community Partners class taught by Michael McGarvey at Stockton CollegeOther WEN Member Volunteers:Joel Moline, James Horton, Colleen Dwire, Dale Kennedy, Cindy Koopman and anyone else who volunteers during the exhibit’s future three-year journey.

WOOD ENGRAVERS’ NETWORK OFFICERS 2014

James Horton: PresidentJoanne Price: Vice President, Exhibit CoordinatorWilliam Myers: TreasurerMichael McGarvey: Webmaster, WEN blogAnthony Drehfal: Block & Burin Editor and Publisher, WEN blogCarl Montford: Advisory CouncilLeslie Evans: Advisory CouncilEarl Nitschke: Morals Officer

www.woodengravers.netDirect exhibit related questions to Joanne Price [email protected] questions to Jim [email protected]

wood engravers’ network triennial exhibitionthe wood engravers’ network’s triennial exhibit is...

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