DOCSLIB.ORG

Fall 1983 CAA Newsletter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fall 1983 CAA Newsletter i newsletter Volume8,Number3 Fall 1983 nominations for eAA board of directors The 1983 Nominating Committee has submitted its initial slate of ALANM.FERN twelve nominees to serve on the CAA Board of Directors from 1984 to National Portrait Gallery, 1988. Of these, six will be selected by the Committee as its final slate Smithsonian Institution and formally proposed for election at the Annual Members Business Meeting to be held at the Sheraton Centre in Toronto, Canada, on BA Univ Chicago, 1954; MA 1954, PhD 1960, February 23, 1984. To assist the Committee in making its final selec­ Univ Chicago. POSITIONS: instructor, Inst of tion, aU individual members are invited to cast their votes on the Design, Chicago, 1952; asstin art, 1953, asst in­ preferential ballot, structor, asst prof of humanities, 1953-61, The The preferential ballot is in the fonn of a prepaid business reply College, Univ Chicago; teacher adult classes, card which is being mailed separately, Please return it promptly; Art Inst Chicago, 1955-58; asst to full curator ballots must be postmarked no later than 15 November. A listing of of fine prints, asst to full chief, Prints and the current members of the Board of Directors is on page 3. Photographs Div, 1961-76, director, research dept, 1976-78, director for special collections, 1978-82, Library of Congress; director Na­ CYNTHIA CARLSON tional Portrait Gallery, 1982-. PUBLICATIONS: A Note on the Eragny Philadelphia College of Art Press, 1975; Word and Image, 1969; Leonard Baskin, 1970; co­ authored Art Nouveau, 1960 and Revolutionary Soviet Film Posters, BFA School of Art Inst of Chicago, 1965; MFA 1974; contributed chapters to several books; numerous articles and Pratt Inst, 1967. POSITIONS: currently professor, reviews. AWARDS: Fulbright Fellowship, 1954-55; Chevalier, Ordre de Philadelphia Col1 of Art, 1967 - and co-chair la Couronne (Belgium), 1980; honorary member, American Inst of 1979-81; adjunct instructor, Fordham Univ, Architects, 1983. EXHIBITIONS ORGANIZED: The Architect and the Lincoln Ctr, 197I; instructor, Univ Colorado, University, Univ. Chicago, 1961; Viewpoints, Library of Congress, 1972-73. EXHIBITIONS: : solo Pam Adler Gall, 1962, with others; American Prints Today, U. S. Information Agen­ N.Y.C.; Pratt Inst; Milwaukee Art Mus; Hud­ cy, 1965; Leonard Baskin, Natl Collection of Fine Arts, 1970; Con­ son River Mus; Al1en Memorial Art Mus, Ober- ~ temporary Photographs from Sweden, Library of Congress, 1976; lin ColI; Herron Art Gall, Univ Indiana; others; numerous group ex­ others, PROFESSIONAL ACTIVITIES: TV series, The Influence of Print hibitions. COLLECTIONS: Guggenheim Mus; Philadelphia Mus Art; and Picture, Chicago, 1960; president, Washington chapter AlGA, Richmond Mus Fine Art; Pennsylvania Academy of the Fine Arts; 1968-69; president, Print Council of America, 1969-71; juror 12 na­ Albright-Knox Mus; umv and corporate coIlections. PROFESSIONAL tional and regional exhibitions; numerous lectures on history and cri­ ACTIVITIES: numerous lectures and workshops; panel member, Col­ ticism of printmaking, illustration, typography, and photography at orado Women in the Arts Exhibition, 1979; Ohio Foundation on the National Gallery of Art, Metropolitan Museum of Art, others; served Arts, NEA Challenge Grants, 1982; NEA Forums and Panels Grants, as panel member for museum program, visual arts program of NEA; N.J. State Council on Arts, 1983. CAA ACTIVITIES: annual meeting represented Library of Congress at Federal Council on Arts; served on panelist, 1982. boards of Swann Foundation and Paul Strand Foundation, CAA AC­ TIVITIES: book review editor. ArtJournal, 1967-71; art history sessions MARY BETH EDELSON general chair, 1979 annual meeting, Washington, D.C, New York City THALIA GOUMA-PETERSON BA School of Art Inst of Chicago; MA, NYU. The College of Wooster POSITIONS: numerous artist-in-residence and visiting artist appointments, incl San Jose State BA in art 1954, MA art history 1957, Mills CoIl; Univ, Iowa Univ, Univ Manitoba, Art Inst Chi­ PhD, Univ Wisconsin, 1963. POSITIONS: lec­ cago, Pratt Inst, Univ Minnesota, others. EXHI­ turer, 1959-68, instructor, 1960-61, Oberlin BITIONS: solo P. S. #1, N.Y,C.; Carnegie-Mellon Coll; asst to full prof, Coll of Wooster, 1968-. Inst; A.I.R. Gall, N.Y, C.; Albright-Knox PUBLICATIONS: ed" Miriam Schapiro: A Retro­ Gall; Franklin Furnace, N,Y.C,; N.A.M,E. spective, 1953-1980, 1980; ed and designer, Gall, Chicago; Herron Mus Gall; Corcoran Gall of Art; others; Sculpture Outdoors, 1983; numerous articles numerous group exhibitions, PUBLICATIONS: Seven Cycles: Public on Byzantine and modern art in Allen Memori­ Rituals, 1980; "See for Yourself: Feminist Spirituality in Holistic Art," al Art Museum Bullet£n, Art Bulletin, Storia dell'Arte, Dumbarton in C. Spretnak, The Politics of Women's Spiritualz'ty. contributions to Oaks Papers, Dialogue, WCA Honor Awards Catalogues, Women's Dialog, Heresies, High Performance, others, PROFESSIONAL ACTIVI­ Studies Quarterly, others. Honor Awards Catalogue of WCA, 1981 TIES: numerous lectures and workshops; participant CAA/WCA and 1982; wrote, edited and designed Sculpture Outdoors, meeting 1980, New Orleans. Catalogue, 1983. AWARDS: Ohio Arts Council grant to organize sym­ posium, Women in Art Today, 1979-80; NEA grant to edit and publish catalog of retrospective exhibition of Miriam Schapiro, 1980; REMINDER; The Preferential Ballot is being mailed separately, Ohio Arts Council Grant to organize symposium and installations on Please retain information on nominees until you receive it. Continued on p. 2, col. 1 Inominations for CAA board of directors Sculpture Outdoors. PROFESSIONAL ACTIVITIES: presented papers and The james A. de Rothschild Collect£on at Wadderdon Manor: II­ inominations for CAA board of directors chaired sessions at national and international conferences on Byzan­ lum£nated Manuscr£pts, 1977; co-author Medieval and Renaissance tine art and on women artists; member purchase committee of Allen Manuscn'pts at Yale: A Select~on, 1978; Passton Iconography In PATRICIA ROSE Patnhng, G. Kubler ed, 1967; The Architect: Chapterst"ntheHistory Art Museum, 1965-; member National Committee for Byzantine Northern European Art of the Late M£ddle Ages and Early Renais­ The Florida State University of the Profession, S. Kostofed, 1977; articles and reviews in Art Studies. 1977 -; member WCA National Advisory Board 1978-; sance, 1979; Hans Baldung G-rien (The Illustrated Bartsch, V. 12), Bulletin, journal of the Sodety of Architectural Historz"ans, Modem chair Nominating Comm, WCA, 1979; chair National Honor 1981; co-author, Hans Baldung Grz'en: Pn"nts and Drawt"ngs (exh. BA 1950, MA (comparative literature) 1955, History Review, Art journal, others. AWARDS: Fulbright Fellowship, Awards Selection Corom, WCA, 1980-82; chair organizing corom, cat.), 1981; others; numerous articles and reviews. AWARDS: Presi­ Florida State Univ; MA (history of art) Oberlin 1966-67; Kress Fellowships, 1966 and 1967; American Philosophical 6th Annual Byzantine Studies Conference, 1980; national vice presi­ dent's Fellowship, Columbia Univ, 1965-66; Kress Fellowship, CoIl, 1962; PhD Columbia Univ, 1973. POSI­ Soc Summer Grant, 1967 and 1978-79; Henry Merritt Wriston Grant dent, WCA, 1982-84. CAA ACTIVITIES: Co-chair, Open Sessions (art 1966-67; University Research Fellowship, 1967-70; Chancellor's TIONS: asst curator, Oberlin CoIl Mus, 1956-63; for improvement of courses in history of architecture, 1977-78; lost history), 1984 annual meeting, Toronto. Award for Excellence in Teaching, S. U.N. Y., 1973-74; C.R.B. Ad­ instructor, Stanford Univ, 1963-66; curator of Advanced Study, Princeton, member and fellow 1977-78; CAA Ar­ vanced Fellowship, Belgian-Amer Educational Fdn for Study in prints, Stanford UnivMus, 1963-66; instructor, thur Kingsley Porter Prize for best article in the Art Bullei£n by a JOEL ISAACSON Belgium, 1974-75; 1975-75; Mellon Fellowship, 1979-80. PROFF.';­ Barnard Univ, 1967-68; instructor, summer beginning scholar, 1975. PROFESSIONAL ACTIVITIES: general editor and The University of Michigan SIONAL ACTIVITIES: numerous university lectures and conference 1968, lecturer, winter 1971-spring 1972, Stan­ advisor, Guide to Architecture at Brown Unt"versity, 1975; Brown papers; editorial board member of Arts Neerlandt"ca: Studt"es tn the ford Univ; asst to assoc prof1972-, assoc chair to full chair, 1979-, Univ trustee, Univ Film Study Ctr, 1974-75; co-chair, SAH annual BA in design Brooklyn ColI, 1952; Slade School History of Art of the Low Countries and of Mediaevalia; associate Florida State Univ. PUBLICATIONS: Index to vols. X-XX, Allen meeting session, 1978; presented papers and lectures at numerous Fine Arts, Dniv Coll, London, 1954-55: MA editor, California Studies in the History ofArt. CAAACTlVITIES: papers Memor£al Art Museum Bullet£n, 1963; Wolf Huber Studies: Aspects symposia and meetings. CAA ACTIVITIES; presented papers at annual Oberlin Coll, 1957; PhD, Univ California, at annual meetings 1971, 1972, 1981; book review editor, The Art of Renaissance Thought and Practice in Danube School Painting meetings, 1970 and 1979; member Nominating Committee, 1982. Berkeley, 1967. POSITIONS: visitor, Univ Califor­ Bulletin, 1980-83; Millard Meiss Publication Fund Committee, (Garland Dissertation Series), 1977; several articles. AWARDS: Dan­ nia, Davis, 1962; Mills L:ollege, 1963; Univ member 1983-87, chair 1983-85. forth Teacher Grant, 1966-67; Kress fellow, 1970-71; President's CURRENT BOARD OF DIRECTORS Teaching Award, Florida
Load more

Recommended publications
  • Notes from New York: Names, Networks, and Connectors in Art History
    ISSN: 2471-6839 Notes from New York: Names, Networks, and Connectors in Art History Susan Greenberg Fisher Chaim Gross Foundation The Renee and Chaim Gross Foundation, located in Greenwich Village, is the historic home and studio of American sculptor Chaim Gross (1904–1991) (fig. 1). The foundation is housed in a four story townhouse, with the artist's dramatic sculpture studio on the ground floor (fig. 2). Gross built the studio in 1963 when he purchased the building. It was his final workspace after a long history of studios he had in the Village beginning in the 1930s.1 He and his wife Renee rented the second floor, and in the third floor living space, Gross installed a portion of what had grown to Fig. 1. Home and studio of sculptor Chaim Gross at 526 LaGuardia Place, be an extensive art collection of over one thousand works by Greenwich Village, New York City, built circa 1830 and purchased by Gross 2 his American and European contemporaries (fig. 3). Gross and his wife Renee Gross in 1963. This photograph is circa 1970. The building admired artist house museums that he had seen during his is now The Renee & Chaim Gross Foundation. Archives, The Renee & travels in Europe after World War II, such as the Delacroix Chaim Gross Foundation, New York. museum in Paris, and it was his dream to have a house museum similar to the European models. He incorporated the foundation as a nonprofit organization in 1989, shortly before his death in 1991. Susan Greenberg Fisher. “Notes from New York: Names, Networks, and Connectors in Art History.” Panorama: Journal of the Association of Historians of American Art 2 no.
    [Show full text]
  • Texts of Old Blog Posts
    !1 of !77 Ruined Books Blog A Book of Bibliolages—initial post, Feb. 27, 2013 A Book of Bibliolage makes a good place to begin this blog. The website goes back a few weeks now. The practice of bibliolaging goes back seven to ten years, depending on your definition. The word bibliolage goes back about three years, my invention, I think. And the blog starts now. A bibliolage is always an “altered book”—that’s the family—but, strange child in the corner, it abides by its own rules, sucks its very own thumb. (When I came up with the motto “Puerility Taken to a Whole New Level!” it made me smile, but it’s not terribly self-respectful.) A bibliolage is also always a collage, but it so severely does not hang on a wall, I had to build a website to hang it anywhere. A bibliolage sits on a shelf, here a creaky one, because the art takes a heavy book and makes it heavier. It takes a page and squares it, so the binding typically bulges. A library shelf keeps books aloft, vertical, slim, and Ssshhh-ed! My shelves sag, and the engorged volumes seem angry with being books. They protest at gravity, clamoring mirth. They revel in ruin and rue preservation. They do not resign to a system, least of all Dewey decimal. They do not speak for authority but squeal for special attention from the court. On the site you can find a list of titles, some eighty-six in the columns as of now, but the ranks are uneven, as some have struck off in wayward directions, but so far no new tendency has turned me from the !2 of !77 extraillustrative ‘lage.
    [Show full text]
  • Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with Statements by the Artist
    Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with statements by the artist. The Museum of Modern Art, New York, in collaboration with the Minneapolis Institute of Art Author Museum of Modern Art (New York, N.Y.) Date 1956 Publisher Minneapolis Institute of Art Exhibition URL www.moma.org/calendar/exhibitions/3333 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art JULIO GONZALEZ JULIO GONZALEZ introduction by Andrew Carnduff Ritchie with statements by the artist The Museum of Modern Art New York in collaboration with The Minneapolis Institute of Art TRUSTEES OF THE MUSEUM OF MODERN ART John Hay W hitney, Chairman of theBoard;//enry A//en Aloe, 1st Vice-Chairman; Philip L. Goodwin, 2nd Vice-Chairman; William A. M. Burden, President; Mrs. David M. Levy, 1st Vice-President; Alfred IL Barr, Jr., Mrs. Bobert Woods Bliss, Stephen C. (dark, Balph F. Colin, Mrs. W. Murray Crane,* Bene ddfarnon court, Mrs. Edsel B. Ford, A. Conger Goodyear, Mrs. Simon Guggenheim,* Wallace K. Harrison, James W. Husted,* Mrs. Albert D. Lasker, Mrs. Henry B. Luce, Ranald II. Macdonald, Mrs. Samuel A. Marx, Mrs. G. Macculloch Miller, William S. Paley, Mrs. Bliss Parkinson, Mrs. Charles S. Payson, Duncan Phillips,* Andrew CarndujJ Bitchie, David Bockefeller, Mrs. John D. Bockefeller, 3rd, Nelson A. Bockefeller, Beardsley Buml, Paul J. Sachs,* John L. Senior, Jr., James Thrall Soby, Edward M. M. Warburg, Monroe Wheeler * Honorary Trustee for Life TRUSTEES OF THE MINNEAPOLIS INSTITUTE OF ARTS Putnam D.
    [Show full text]
  • Alexander Calder James Johnson Sweeney
    Alexander Calder James Johnson Sweeney Author Sweeney, James Johnson, 1900-1986 Date 1943 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2870 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE MUSEUM OF RN ART, NEW YORK LIBRARY! THE MUSEUM OF MODERN ART Received: 11/2- JAMES JOHNSON SWEENEY ALEXANDER CALDER THE MUSEUM OF MODERN ART, NEW YORK t/o ^ 2^-2 f \ ) TRUSTEESOF THE MUSEUM OF MODERN ART Stephen C. Clark, Chairman of the Board; McAlpin*, William S. Paley, Mrs. John Park Mrs. John D. Rockefeller, Jr., ist Vice-Chair inson, Jr., Mrs. Charles S. Payson, Beardsley man; Samuel A. Lewisohn, 2nd Vice-Chair Ruml, Carleton Sprague Smith, James Thrall man; John Hay Whitney*, President; John E. Soby, Edward M. M. Warburg*. Abbott, Vice-President; Alfred H. Barr, Jr., Vice-President; Mrs. David M. Levy, Treas HONORARY TRUSTEES urer; Mrs. Robert Woods Bliss, Mrs. W. Mur ray Crane, Marshall Field, Philip L. Goodwin, Frederic Clay Bartlett, Frank Crowninshield, A. Conger Goodyear, Mrs. Simon Guggenheim, Duncan Phillips, Paul J. Sachs, Mrs. John S. Henry R. Luce, Archibald MacLeish, David H. Sheppard. * On duty with the Armed Forces. Copyright 1943 by The Museum of Modern Art, 11 West 53 Street, New York Printed in the United States of America 4 CONTENTS LENDERS TO THE EXHIBITION Black Dots, 1941 Photo Herbert Matter Frontispiece Mrs. Whitney Allen, Rochester, New York; Collection Mrs.
    [Show full text]
  • Calder September 25, 1943
    43925 - 52 THE MUSEUM OF MODERN ART t WEST 53RD STREET, NEW YORK 19, N. Y. FOR IMMEDIATE RELEASE • TELEPHONE: CIRCLE 5-8900 * UXl -L1VUVU1U'^x M * ",l" " MUSEUM OF MODERN ART OPENS EXHIBITION OF GALDER MOBILES, STABILES, CONSTELLATIONS AND JEWELRY An American sculptor, peculiarly the product of his age and country, will be presented in a full-length retrospective exhibition Wednesday, September 29, when nearly one hundred sculptures, con­ structions, drawings, and pieces of Jewelry by Alexander Calder go on view at the Museum of Modern Art, 11 West 53 Street. The exhibi­ tion, directed by James Johnson Sweeney assisted by Margaret Miller of the Museum staff, will be shown in the first floor galleries and sculpture garden of the Museum and will remain on view through Sunday, November 28. The installation has been designed by Herbert Matter, who has also takren many of the photographs for the catalog. Mr. Sweeney has written the text for the sixty-eight-page catalog illustrated with fifty-eight halftones, which the Museum is publishing in conjunction with the exhibition. €n his introduction Mr. Sweeney writes in part as follows: "Exuberance, buoyancy, vigor are characteristics of a young art. Humor, when it is a vitalizing force not a surface distraction, adds a dimension to dignity. Dignity is the product of an artists whole-hearted abandon to his work. All these are features of Alexander Calder1s work,together with a sensibility to materials that induces new forms and an insatiable interest in fresh patterns of order. "On the side of tradition, two generations of sculptors—father and grandfather—gave him an intimate familiarity with the grammar and conventions of art.
    [Show full text]
  • Contemporary American Painting and Sculpture
    AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.
    [Show full text]
  • A Finding Aid to the José De Creeft Papers,1871-2004, Bulk 1910S-1980S, in the Archives of American Art
    A Finding Aid to the José de Creeft Papers,1871-2004, bulk 1910s-1980s, in the Archives of American Art Jayna M. Josefson Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund 13 May 2016 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, 1914-1979............................................................. 6 Series 2: Correspondence, 1910s-1980s................................................................. 7 Series 3: Diaries,
    [Show full text]
  • From Theleague
    LINES from the League The Magazine of the Art Students League of New York Spring 2017 Message from President Ellen Taylor Dear League Community, Welcome to our Spring 2017 issue of Lines from the League. I’m happy and proud to share with you the art, news, listings, and insights in this issue. My fellow Board members and I have been meeting with instructors and many members, students, and staff. You are reaching out to us and we are listening. You’ve got some great ideas. Let’s keep that up! Timothy J. Clark, our Interim Executive Director, has been graciously helping the League through this transition period. He’s been working with the staff and the Board to secure the schedule for both the summer and fall sessions. You will see some exciting new classes and workshops. I encourage you to branch out and sample some of them. Take advantage of what the League has to offer. The diversity of instruction the League provides is unparalleled. We are truly a “one-of- a-kind” place. This issue of Lines features stories about all the things that make the League so fantastic: a discussion of teaching with Costa Vavagiakis, news of the success of our members, suggestions of what exhibitions to see around town this spring and summer, programming updates, news of our supporters, and of course art! In addition, an interview I did with Stephanie Cassidy and Jeanne Lunin is on page 8. It gives some insight into my personal history and relationship with the League. I hope it’s an interesting read.
    [Show full text]
  • May Artist and Binding
    Book Arts and design bindings window to the texture of Lux Mentis, Booksellers papers that evoke Lux Mentis specializes in fine press, fine bindings, and Jerusalem stone, from the olive green color meant to esoterica in all areas, books that have been treasured and evoke the Jerusalem will continue to be treasured. As a primary focus is the landscape to blind building and/or deaccessioning of private collections, our embossment of a Jewish selections is diverse and constantly evolving. If we do not star–I am always evoking have what you are seeking, please contact us and we will meaning in a multiplicity strive to find it. All items are subject to prior sale. Shipping of ways. Over the past ten years and handling is calculated on a per order basis. Please do making The Amichai not hesitate to contact us regarding terms and/or with any Windows, I wanted people questions or concerns. to experience this artist book not only by reading A Selection of Book Arts the poems but by lifting a and Design Bindings curtain, handling the papers, touching the blind embossment. Aside from playing with the visibility of 1. Amichai, Yehuda [poet]; Black, images in a window, I am also toying with the materiality Rick [artist]. The Amichai of the book itself. Windows. Arlington, VA: Turtle Light Press, 2017. Limited I spun my own metaphors out of Amichai's poems. I also Edition. Tight, bright, and mirrored Amichai's own process of combining images unmarred. from different places and time periods in my collages. Numbered limited edition, this These multi-layered spreads–which include letterpressed being 6 of 18 copies.
    [Show full text]
  • View the Fine Art Book Catalogue
    MARY HEEBNER & simplemente maria press fine art books 1995-2018 mary heebner cassandra a poem by stephen kessler mmxix Cassandra is a major work, one that unites a complex understanding of the way perspective and diverse materials fracture time and space, while the hand and memory of the artist unite them. Heebner’s visual dialogue with Kessler’s poem powerfully brings to life the legendary voice of Cassandra. To paraphrase the poet, a lovely myth rises in art to beggar disbelief. Bruce Robertson Director, Art, Design & Architecture Museum Professor, History of Art & Architecture University of California, Santa Barbara Images from the collage series, Veiled/Unveiled, paired with the poem Cassandra by Stephen Kessler, and printed letterpress across a 14 panel accordion fold book, 10 x 10 x 1,” The images printed on the spreads are then individually embellished with collage and pigment. The book rests in a handcrafted zinc box, the lid is etched with a drawing. In addition, a handsewn booklet of rag and handmade paper contains the poem, a description of the mythological character of Cassandra, the colophon and a quotation, all printed letterpress, and it also includes an image from the Veiled/Unveiled series, printed on cotton rag paper. CASSANDRA read more The edition is limited to 25 copies. $4000.00 INTIMACY: drawing with light; drawn from stone 2017 16 x 16.75 x 1.5” watch the video: https://vimeo.com/192957730 Twelve watermarked sheets of handmade paper, pigmented ivory or ultramarine blue, with graphic elements printed in letterpress and also embellished on the verso with graph- ite or watercolor, a plexiglass viewing easel, and two 6” x 4” books, Schizzi, containing a suite of fourteen prints from the Rome Sketches series, and Marmo, an accordion fold book with original text about the livingness of marble, also translated into Italian.
    [Show full text]
  • Quarterly News·Letter
    the Quarterly news·letter volume lxxix · number 2 · spring 2014 A Brief Editorial Manifesto by Peter Rutledge Koch What is Fine Printing Anyway? by Peter Rutledge Koch Forthcoming from the Publications Committee by Jennifer Sime Report from the Toronto Book Fair by Bruce Whiteman Review by Crispin Elsted Like a Moth to a Flame by Bo Wreden Southern California Sightings by Carolee Campbell News from the Library by Henry Snyder News & Notes Letter to the Editor New Members published for its members by the book club of california the book club of california is a non-profit membership corporation founded in 1912. A Brief Editorial Manifesto Based on One It supports the art of fine printing related to the history and literature of California and the Hundred Years of Tradition With a Few Minor western states of America through research, publishing, public programs, and exhibitions. Suggestions To Account for Changes in Our The Club is limited to 1,250 members, and membership in the Club is open to all. Annual renewals are due by January 1 of every year. Memberships are: Regular, $95; Sustaining, $150; Patron, Perception of Fine Printing in the Real West $250; Sponsor, $500; Benefactor, $1,000; Apprentice, $35; and Student, $25. All members by Peter Rutledge Koch receive the Quarterly News-Letter and, except for Apprentice and Student members, the current keepsake. All members have the privilege—but not the obligation—of buying Club publications, which are limited, as a rule, to one copy per member. All members may purchase extra copies of keepsakes or QN-Ls, when available.
    [Show full text]
  • 2018-2020 Impact Report
    IMPACT REPORT I Message from the University Librarian Since we celebrated the 75th anniversary of UC Santa Barbara last year I have been reflecting on how the UCSB Library has always been a community hub, supporting our faculty and students to be successful in everything they do and engaging the Santa Barbara community in the intellectual and cultural life of UC Santa Barbara. The last few decades have shown how the internet and the web have transformed libraries. Having been a librarian throughout this transition, I can assure you that libraries are—and I believe will remain—adaptive and durable institutions in the digital age. Libraries have embraced new technologies, leveraging them to make many of our unique collections available to the world and to bring the world of scholarship to the desktops of our researchers and students. But the digital library revolution is also complex and brings with it unintended consequences. Since journals began to move online in the 1990s, scholarly journal publishing has grown to become a $10 billion industry, largely funded by research Kristin Antelman libraries, and one in which most content sits behind increasingly expensive paywalls. Over the last year, the University of California has found itself on the world stage showing unprecedented leadership in standing up to publishing giant, Elsevier, by terminating our contract with them until we can negotiate both a more sustainable price and open access publishing for all UC-authored articles. As a public institution whose research is funded largely by public money, it is core to the UC mission to make that research openly available to be used by the residents of California, and beyond.
    [Show full text]