Barcelona Artist Kyle Bryant’s print subscription project

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Artist Kyle Bryant offers print subscriptions of his handmade linocut prints. His black and white prints, in signed and numbered editions of 100, explore the architecture and street culture of his home city of Barcelona, Spain.

Throughout this year Kyle has created one of his handmade linocut prints for each month using the city of Barcelona as his muse.  Print motifs combine human forms with elements of the city and titled with an acronym for BCN, Barcelona’s city nickname. blogKyleBryantprint3

September – Birds Circling Nearby

Small prints start at just $35.00 and a single full-size limited edition print goes for $100. A full set of Bryant’s Cultural Narrative prints go for $500. Find the full details in the rewards section of the artist’s Kickstarter project here. Or visit the artist’s website here.

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October: Broken, Construction Necessary

 

 

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July – Being Childish Naive

 

 

 

 

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January – Before Coffee Nothing

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June – Boards Create Noise

blogKyleBryantprint7February – Breathing Clearly Now

 

 

 

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Read The Daily Krasowitz Print-a-Day Artist Blog on Your iPad/iPhone in the ArtWorld App Newsfeed

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Keith McFarlane, owner and developer of the Artworld app, recently configured the Daily Krasowitz blog posts to appear in Artworld app newsfeed on recommendation of Artist Marketing Resources. Artist Michael Krasowitz is a prolific artist and equally prolific social media sharer and blogger and so we felt his print a day blog a good choice for the Artworld app newsfeed. Get the newest version of the ArtWorld app on iTunes here.

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Week in review: News and Ops for #Artists, April 1-7, 2014

 

This week on the Artist Marketing Resources blog, we shared news of the ArtWorld apps IndieGoGo crowd funding campaign and the first ArtWorld Print Competition with a cash prize! Read the details here.

Also this week, we let artists know about the First Street Gallery’s Call for Artist Submissions Extended Deadline–and there is still time to submit–here is the link to the prospectus.

 

Artists and artist assistants continue to contact us for e-copies of our International Art Gallery list PDF

Photographic Artists and their assistants like our new 2014 Photographers Resources to International Photography Reps and agents + much more-find it here.

 

We also received an email inquiry regarding our numbers of followers–

The Artist Marketing Resources blog has over 44,000 followers, our LinkedIN group also named Artist Marketing Resources has over 3,000 members.

We are at the maximum number of followers on Google+, and our Twitter accounts have 8,000-12,000 followers per account–@TransArtGuide  @Artozon @MarieKazalia @Transmediartist and other Twitter accounts that we manage.

An assistant to one artist wrote and asked “if you are so popular why do you have so few likes on your Facebook page?”

That’s a good question. The reason is that I started The Artist Marketing Resources Facebook page back in the days when Facebook made many FB formatting changes, destroying my layouts and work!  I became disenchanted with FB and did nothing for the page for a couple of years, instead concentrating on interactions on my blog and in my LinkedIN group. So now, I am working to re-active The Artist Marketing Resources Facebook page–Please follow and LIKE!

 

Artworld Artisanal Print Competition

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Dear Artist,

Artworld is pleased to announce its very first Open International Art Competition. The cash prize is €1,000: approximately $1,375 or £825. The winning artist will design, print and distribute a limited edition of 50 original hand-made prints. The prints will be distributed to individual art-lovers and artists pledging €100 or more to Artworld’s 2014 crowd-funding campaign.

Submissions (digital and by email) are invited from today. The closing date is Friday, May 16th 2014, and the winner will be notified by Friday, June 13th. The competition details, rules, terms and conditions are as below, and also as set out in the Competition Prospectus.

This is a great opportunity for emerging artists and skilled practitioners of an often undervalued art. If you yourself are not a print-maker, please pass this email to those that are. Alternatively you might share the Competition Notice on Facebook. Should you, or they, have questions, please do not hesitate to contact us at artworld@negativeentropy.net

Yours sincerely. Keith McFarlane Artworld Negative Entropy BV Amsterdam The Netherlands


Competition Rules

  1. How to Enter. Submit a high-quality digital image taken from the first print. Do not submit the original plate, screen or cut. The image should be at least 1024 pixels and preferably 2048 pixels on the longer side. Submission is by email to artworld@negativeentropy.net. Give your full name and postal-address. The language of the completion is English.
  2. Publicity. The winning artist will take part in Artworld app, and feature prominently on Facebook. Selected competition entries, completion milestones and highlights will also be featured.
  3. Eligibility. The competition is international and open to all. Work submitted, one entry per artist, must be the artist’s own, original work.
  4. Subject. The subject is unrestricted.
  5. Production. Lithography, woodcut, linocut, serigraph, engraving, etching, or any other intaglio or relief technique from which artisanal-quality original prints can be produced. Digital or giclée prints are not acceptable.
  6. Printing. The edition will be printed on high-quality plain-white paper. The paper-size should be between 25cm and 30cm on a side, depending on availability. The paper size should reflect the proportions of the image to be printed and should allow adequate margins.
  7. Judging. A panel of four artists (all of them print specialists) will judge all entries. Selected entries, together with their title and attribution may be posted on Facebook both throughout the competition and after its end. This will certainly apply to shortlisted pieces.
  8. Notification The competition result will be notified via Facebook. The winning and shortlisted artists will be notified via email.
  9. Distribution. The winning artist is responsible for sending individual prints to addresses notified by Artworld. This includes postage and packing The prize includes an allowance to that end.

Terms & Conditions

  1. The decision of the judges is final. In the event of a tie among the judges, the editor of Artworld will have the casting vote.
  2. Submissions must be suitable for a general audience including children over the age of fourteen. The appropriateness or otherwise of the subject is a matter for the editor in consultation with the judges.
  3. The judges are (in Holland) Wim van der Meij and (in England) Geri Waddington and Louise Stebbing. Geri is secretary of the (UK) Society of Wood Engravers. The final judge (for the USA) is Michael Dal Cerro of New York.
  4. The judges must be satisfied that the artist can produce prints to the required high standard. Shortlisted candidates will be expected to send a sample print and ideally four prints, one per judge, for a final decision.
  5. Prints will be shipped to addresses notified by Artworld. While recipients might be anywhere, the majority are expected to be in Europe or North America.
  6. Prints will be dispatched individually. They may be rolled for shipment. Surface mail is acceptable. Neither insurance nor tracking is expected.
  7. Best efforts will be made to understand submissions and communications in languages other than English (there is after all Google Translate). What counts most is the quality of the work produced.
  8. The competition closing date is Friday, 16th May 2014. The winner will be notified no later than the Friday, June 13th. All prints will be dispatched by the winning artist no later than Friday, June 27th.

References

  1. Artworld App: https://itunes.apple.com/us/app/artworld/id543591554?mt=8
  2. Community: https://www.facebook.com/ArtworldApp
  3. Indiegogo: https://www.indiegogo.com/projects/artworld–2
  4. Pre-Launch: https://www.indiegogo.com/project/preview/7daf5b17

How To Expand Your Artist News into Multi Blog Posts and Interactions: The Leslie Parke Print Project

Branches, © Leslie Parke

When Leslie Parke realized that her oil paintings on linen canvas of highly detailed kitchen and dining treasures, trees, and trash–yes trash that she turns into stunningly beautiful images–would be perfect for prints, she took on a new project to turn one her paintings into a print edition using traditional printmaking techniques. She also turned the project into multiple opportunities to expand her blog posts, newsletter communications, and interactions with her readers and followers by gaining their feedback along the way–all of which she titled The Print Project.

Janet’s Shelf, © Leslie Parke

Crystal and Porcelain, Oil on Linen, 46 x 48 In, © Leslie Parke, 2010

The overall goal of Leslie’s The Print Project writings …” was to help my readers learn something about printmaking, understand the process and history a little, and to give them a context in which to gauge what I was doing. The general public is not aware of the work and expense that goes into making a print. The better informed the collector is the better collector they become. They have more confidence and can talk about their purchases.”

When Leslie Parke decided to write these The Print Project blog posts and newsletters, she felt she had something to talk about. “I am an experienced artist, but have very limited experience with printmaking. Here was a chance for me to share the experience as I, too, made discoveries about the medium. My thought was, I would give my contacts a heads up that this is what I was doing, then when they saw The Print Project in the heading of my email newsletters they could take a look or not depending on their interest.”

What Leslie discovered is that non-artists are just as fascinated with the printmaking processes as artists. Leslie’s idea was to use her blog and newsletters to allow others to see the development of her printmaking process as it unfolded in real time. “For those seriously interested, on my blog I gave them background into ways that other artists used prints,” Leslie said. “Some of my contacts are collectors, some are artists and others are just interested observers.  My thought was the more informed they were the more confident they would feel when looking at my work. They would know how it evolved and all the work that went into creating it. I cannot report whether or not this will make a difference in the number of pieces collected.  But whenever I run into someone who receives the newsletter, they engage with me right away about the project. ”

To start off The Print Project, Leslie’s first blog post was on selecting one of her paintings to turn into a print. In her newsletter she asked–“Is there a painting of mine you would like to see re-imagined in print? I was thinking of working with the tree paintings, but I would be interested in what you think. Drop me a line if you have a suggestions.” Later she would turn her request for feedback into a full newsletter (copied below).

Another of her blog posts was on Creating Four Color Lithographic Plates, complete with a YouTube video showing the materials and methods she used to create the layers necessary for her four color lithograph.

Leslie wrote blog posts on the history of printmaking–from ancient times to the original Pop art era–writing about Hokusai, Monet and Roy Lichtenstein prints which incorporate art images, another post on the prints of Matisse, one on the prints of Joseph Raffael and Bonnard, and another on the printmaking of Robert Motherwell and Helen Frankenthaler-all artists she admires and identifies with in some way.

She also blogged on a contemporary example of an artist creating prints in our present time: The Print Project: Shepard Fairey — Harmony & Discord: A Layered approach to prints, that also contains a fascinating video of Shepard Fairey at work inside Pace Editions in New York City.

To update the progress of her printmaking, Leslie sent out a newsletter–The Print Project: Off to the Printers.

Then to encourage interactions and gain feedback, Leslie sent this newsletter to her mailing list:

LESLIE PARKE LOGO
Dear Marie
Here are the first proofs that Tim Sheesley, the Master Printer, sent me. So far, there are three versions of the print. In one of them he used very high saturation colors (bright colors). In another I suggested four colors based on the paints I used in the original painting. That resulted in the print with more muted colors. He then made a print on black paper just to suggest other ways I could interpret the print.These are not the final prints. I will be traveling out to Tim’s studio in Otego to make the final prints. I will be playing with both the color and the paper. At this stage, I would be very interested to know if you have a preference between the bright and the muted color. Feel free to share your thoughts. You have followed this process to this point. I would love to know your preferences.Thank you for coming on this journey with me. Leslie

Almond Tree Bright
Almond Tree Bright
Almond Tree Muted
Almond Tree Muted
Almond Tree on Black
Almond Tree on Black
Detail – Almond Tree Muted
detail bright
Detail – Almond Tree Bright
Leslie then allowed for plenty of time to receive responses before sending for follow-up newsletter:
LESLIE PARKE LOGO
Dear Marie,This has been a wild month with three shows, two of which were at exactly the same time. With the studio nearly empty I am happy to be settling down to work.But first, I wanted to get back to you about your input on the print. Thank you, Marie, for taking the time to review and comment on the print proofs. Your response helped me re-conceive the project and because of your insights I chose to redraw the plates from scratch and make totally new color configurations. For the last month I worked on the plates at a drawing table in front of a window in my studio.

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One of the plates as I worked at it on my desk with light pouring through the window.

Several friends said they wanted to see all three prints in a suite. They suggested using seasonal colors in a grouping.

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One friend went so far as to send me some jpgs of Monet’s Japanese Bridge where the color changed according to the season. That made me think of other paintings by Monet where the color changed depending on the time of day. I turned to Monet’sRouen Cathedral for inspiration, perhaps also because Roy Lichtenstein had already made an interesting interpretation of these paintings in print.

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The new plates are finished and soon I will travel to Corridor Press to work on the proofs with Tim Sheesley.

I can’t wait to show you the results. As soon as they are done, Marie, I will invite you to the studio for champagne and a sneak preview before I post them online.

Again many thanks for your input,

Leslie

 
Leslie Parke, a painter from upstate New York, is a recipient of the Esther and Adolph Gottlieb Grant for Individual Support, the Lila Wallace-Reader’s Digest grant as artist- in-residence at the Claude Monet Foundation in Giverny, France, and the George Sugarman Foundation Grant, among others. Her exhibits include the Williams College Museum of Art, the Museum of the Southwest, Midland, Texas, the Fernbank Museum in Atlanta, Georgia, the Milwaukee Art Museum, Wisconsin, and the Museo de Arte Moderno in Buenos Aires, Argentina. Parke has a BA and MA from Bennington College. Her work is in numerous corporate and private collections.
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This Print Project story continues to unfold as Leslie works in her studio on her print plates.

http://leslieparke.com
http://leslieparke.com/blog/