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Re: Editions



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I've been following comments on edition practices and have generally
agreed with most of the information shared.  Regarding the "approved"
prints in professional workshops, I'd like to say that most larger
workshops have a curator like myself to review all the impressions
printed for an edition and to arrange the impressions for the artist to
sign.  Most professional workshops begin a project with a contractual
agreement between the artist and the workshop that determine the
intended edition(s) size(s).  At Tamarind Institute, printers take extra
paper (about 15%) to assure that some impressions can be rejected from
the editon with likely problems that occur during printing.  We keep
count on all the paper involved with a specific image. After I review
the edition, I remove flawed impressions, or those that are not
representative in one way or another.  I make sure the tally of papers
is accurate at the end of the project and that the rejected impressions
are destroyed.

In lithography, the stones and plates usually retain good quality for
our editions sizes (usually less than 50).  We assume that the
impressions should meet a high standard of quality or are removed from
the edition.  Sometimes the editions fall a few short, and the artist
usually accepts that, and the editions size is changed.  Sometimes,
before the edition is signed, we will print a few more to "flesh out"
the edition, only if those impressions meet the same quality standards
as the first printing.  Otherwise, we just have to stop printing.  The
impressions are signed in the order in which I put them for signing.
The comments about multiple runs and shuffling of edition prints is
quite true in our workshop.

I'd be glad to answer any specific questions about editions off the
list.

Becky Schnelker

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