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Thread: report from Chicago

  1. #121

    report from Chicago

    Paddy,

    Gotta love a response like that. Nearly choked on a glass of wine.

    Tim,

    "interesting - so the (conservative by reputation) Met's definition is:

    "Ink jet print. Photograph produced by a computer printer from a digital file using water-based dyes or pigments on paper or other support. (Also referred to by the brand names "Iris print" or "Giclée print.) View an ink jet print in this special exhibition preview."

    An inkjet print is a photograph -huh - who'd have thunk it?"

    Say it isn't so Tim. I guess we should put the museum in touch with Robert & Jorge so they can straighten out those ignorant curators.

    LOL....Again!!!

  2. #122

    Join Date
    Jul 2000
    Posts
    471

    report from Chicago

    Paddy, Maybe you should check the difference between acquisitions and permanent collections. But like I said Mr. Quinn pick up the phone and call them.

  3. #123
    Old School Wayne
    Join Date
    Dec 1999
    Posts
    1,255

    report from Chicago

    Say it isn't so Tim. I guess we should put the museum in touch with Robert & Jorge so they can straighten out those ignorant curators.

    ---------------------------------------------------------------------------------------------------

    Dont forget Wayne-I'll call them to straighten them out. Once people start complaining about their obvious, easily disproved fallacies I'm sre museums will take steps to correct them. Enjoy your laugh while you can.

  4. #124

    Join Date
    Dec 2004
    Posts
    192

    report from Chicago

    Robert - it's been in the permanent collection since 1986.

    You might want to learn the difference between the full catalogue of the permanent collection and the limited online photography one

    Maybe you think they have a seperate little collection for "things they don't really consider to be art"?

    (btw when an institution makes an aquisition it becomes part of the collection - apparently you don't quite understand these things - that number at the bottom 1986.1192 is its number in the permanent collection)

  5. #125

    report from Chicago

    OK Wayne.

    I'm sure they'll adjust everything based on your phone call. Until then, I'll keep laughing!

  6. #126

    Join Date
    Jul 2000
    Posts
    471

    report from Chicago

    Dave, Miss Rienholt is a conservator not a curator if you really need for me to explain to you the difference I will be happy to. And if you really need to question her intellect might I point out that she is not the one standing there with an inkjet wedding portfolio under her arm. The Met has made thousands upon thousands of aquisitions in various mediums and not made them part of their permanent collection. But to avoid sounding any more condescending than I already have I will leave this argument to you experts.

  7. #127

    report from Chicago

    I too thought he was death, but when I sent an e mail to these people telling them ink jet prints are NOT carbon prints, the e mail form automagically filled their address and another one with "info@billbrandt.com. I hope he has not resuscitated, cause if he has and is doing ink jet posters then maybe I should rethink my position..... :-)

    I dont know who is cashing in on this but if they sell the ink jet posters for 4500 sterling I am hiring their marketing guy.

    It does seem telling to me that the people who believe inkjet prints deserve equal footing with older processes have substantial experience with both ... while those holding the opposing view do not.

    Paul, let me ask you this, do you know how to print in pt/pd (and I dont mean knowing how to coat a paper and putting the print on the sun)? Because it seems to me by this sentence you are implying that you are the only one capable of appreciating the qualities of a process even if you dont know how to do it and the rest of us, I guess in your estimation,n are too stupid to be able to do the same thing. I can assure you it would take me a lot less time to learn and master PS and do an ink jet print than it would take you to master pt/pd printing, and if you really want difficult, try making REAL carbon prints and get back to me in oh...about 10 years.

  8. #128
    Abuser of God's Sunlight
    Join Date
    Aug 2004
    Location
    brooklyn, nyc
    Posts
    5,796

    report from Chicago

    Wayne, you might have better luck if you picket, and try to create a media sensation.

    The good news is that it's pay-what-you-will at the Met. You'll have to pay $20 to picket inside MoMA and enjoy the air conditioning. It's been really hot here lately.

  9. #129

    report from Chicago

    Maybe not on his one call printing tech, but maybe they will when they get 2000 calls. Who knows, till then enjoy your laugh. BTW, what do you call your wedding stuff? Fading memories?.....it is good we can all laugh...

  10. #130
    Abuser of God's Sunlight
    Join Date
    Aug 2004
    Location
    brooklyn, nyc
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    5,796

    report from Chicago

    "Paul, let me ask you this, do you know how to print in pt/pd (and I dont mean knowing how to coat a paper and putting the print on the sun)? "

    Yes, I know how to make platinum prints. No, I don't know how to make carbon prints, and i hope i never suggested that i did.

    I don't know how to compare the learning curves of these processes, because they all build on each other. Silver was the first thing I learned and so it took the longest ... because that learning curve included the part that's most important: judging what the print values should be. After getting comfortable with that part, learning other printing processes is about nuts and bolts and chemistry. Not trivial, but I think it's a matter of time and effort, and within the reach of anyone who's determined.

    When I took on learning the inkjet quadtone process I'm using now, I'd been making traditional darkroom prints for fifteen years, and had been using photoshop as a graphic artist for ten. It turns out I had to relearn all the important parts of photoshop in order to use it for serious photography, and learn about color management, and then learn about the subtleties of the process. My first nice looking print took about 4 months. Now I can make a nice print in two or three days, but I'm still learning. I think I'll get more efficient with practice. At any rate, it's been a significant learning curve, and involves the same basic process as learning darkroom printing: you make a print you don't like, decide what to do about it, and try again. Repeat as necessary.

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