JITA.l^

THE ;Arts

OF THE >aBook

* \ THE Arts

OF THE >aBook

A project devoted to an appreciation of

20th century book arts.

September 9 - October 15, 1988

Rosenwaid-Wolf Gallery Haviland Hall and Arronson Gallery Philadelphia College of Art & Design

The University of the Arts Philadelphia, Pennsylvania Foreword

This exhibition and attendant events are offered in celebration of the arts of the book. The Universi- ty's interest in fostering these arts is part of a long history over a half century, beginning with the legendary Alexey Brodovitch. More recently, in the early 1950s, the late E. M. Benson, then Dean, invited John Anderson tojoin me m estab- Hshing a typographic studio, following us in subsequent years, Eugene Feldman, Louis Gless- niann, Samuel Maitin, Claire Van Vliet, Jim McWilliams and others continued the growth of that spirit and effort. Currently, Professors Ken Hiebert and Lois Johnson have moved to unite Design and Print toward development ofour ad- vanced studios in publication arts.

Text/image and the codex form (with its con- temporary inspirations) are meaningful to us and occupy — with our strengthened humanities pro- gram — a central, indeed, poetic position in teaching within The University of the Arts.

Ed Colker Provost has been ten years since otir college in Collaboration and Response," which includes, Itmounted a major exhibition devoted among these works, deluxe books, facsimiles, to the book. "Books + Books + and paperbacks m larger editions, in the Haviland

Books," held in the fall of 1978, spe- Hall tront gallery; and "A Selection ot Modern cifically focused on fifteen years ofcontemporary European Masterworks trom the Collection ot production books representing 16 presses and 69 Arthur P. Williams," in the Arronson Gallery. graphic designers, illustrators, and printmakcrs The book arts have, in fact, been a part of this based in Philadelphia.* institution's curriculum tor titty -some years.

One decade later, this subsequent exhibition They have an exciting future betore them with responds to a much broader range ot books, not the recent establishments ot The Borowsky Cen- only for different curatorial perspective but, m ter tor Publication Arts, which printed this cata- large measure, to reflect the current state ot log, and an MFA Program in Book Arts/ this art. Discussions with many book arts protes- Printmaking. This advanced academic commit- sionals in the course ot preparations tor "The Arts ment to the book brings with it the promise ot a of the Book" brought to attention, time and more regular schedule ot book exhibitions, which again, the idea tVom within the field that the book will hopetlilly address any unintended omissions had "exploded" in recent years, hideed, this of this eftort. seemed to be apparent by noting the impressive Organization of "The Arts of the Book" was number of artists, designers, crattspersons, writ- made possible by the collaborative work ot a resi- ers, presses and publishers, critics, collectors and dent group of book arts specialists, including institutions who are all involved with the book provost Ed Colker, and taculty members Lois M. today. Johnson, Hedi Kyle, Mary Phelan, and Patricia Further research proved the word choice ot M. Smith, Jennifer Woods, and the Exhibitions

"explosion" to be most apt, tor it represents a Program staff Our preliminary research began at building dialectical tension in book circles—simi- the Center tor Book Arts and The Museum of lar to the talk of deconstruction elsewhere in the Modern Art, in New York, where executive di- arts—over the basic concept of the book. The ul- rector Cathleen Callander and library director timate challenge, it seemed, was to find an ex- Clive Phillpot, respectively, shared time and re- panded det'inition that could embrace and sources most generously. Mr. Phillpot also wrote comprehend, as books, works of disparate struc- the main essay for this catalog, which considers ture and content; tor example, the traditional the book, in all of its manitestations, through the codex torm of K. K. Merker's Coiiipaiiy, in edi- common denominator of reading. Mary Phelan, tion, with the unique, highly interpretive tabric who is also proprietor of the Blind Hand and Irish sculpture Return, The Turning Point, by Helen C. Pig Presses in Philadelphia, compiled the other

Frederick, which are both illustrated on the tol- major text for this publication, which is the lowmg pages. The time was right amid the checklist of all bookworks included in this presen- increasing activities, developments, and tation. With its detailed data, the checklist should evaluations, to undertake a project that would serve as a valuable ret'erence for book arts special- publicly demonstrate this range of concerns and ists and enthusiasts alike. promote an appreciation of 20th century book Other University personnel made \alued con- arts in all of their diversity. tributions to this project, including Anthoii)-

"The Arts of the Book" is actually three exhi- Capuano, director of campus operadons; Kirby F. bitions in one: "Five Years of New Bookworks," Smith, associate director of external at'tairs tor a national invitational survey of more than 150 public relations; Anita M. Mastroieni, public rela- bookworks produced by 97 participants over the tions associate; and Patricia Woldar, assistant to past five years, in the Rosenwald-Wolf Ciallery; the provost. Karen L. Cronin, my assistant, han- "Limited Editions Featuring Artists and Writers died the complex logistics and details of coordi- time, the upcoming sesquicentennial anniversary

nating the more than 2U(J books for this project ot the invention of photography, a medium that

and the exhibition installation with her usual skill. irrevocably changed the history ofbooks and the Joseph Rapone, director of publications design, graphic media in general.

had, perhaps, the most difficult assignment ot all, At the end of this century the rapid advance of

which was to design this book about many di- new technologies has created a climate of antici-

verse books. pation tor new developments in all areas of life.

The Center for Book Arts, New York, and This exhibition will have made one of its most

our neighbor institution. The Library Company important points if its viewers come away with

of Philadelphia, loaned cabinets and cases, which greater admiration for the prolific, contemporary were enormously helpful in solving the problems interpretations of antique and time-honored book

of this exhibition's installation design. arts as t"ine letterpress, handmade paper and hand-

Of course, the ambition of this project crafted bindings, and if they can see and under-

was fully realized by the participation ot artists, stand the precedents and traditions for the myriad

presses, publishers, collectors, and institutions forms, possibilities and pleasures ot the new texts. from throughout the country who enthusiasti- cally responded to our invitations and requests Eleni Cocordas with the loan of their books. While most books Director ot E.xhibitions

are made for handling and circulation they are,

at the same time, among the most private ot art- works with the most personal ot attachments. We *see Kardon, Janet. Books + Books + Books. Philadelphia, Philadelphia College of Art, thank all of our lender participants tor sharing 1978. their books with the University and its public. In 1985. the Philadelphia College of Art and the nearby Designer, book collector and University of the Philadelphia College of the Ftrformmg Arts were joined as Arts alumnus Arthur P. Williams ('39) deserves the Philadelphia Colleges of the Arts. In 1987, this institution

our special praise. For years, Mr. Williams has became The University of the Arts. placed his book arts collection and expertise at the disposal ofour immediate academic community.

For this, and certainly now with the loan ot mas-

terworks from his superb collection tor this pub-

lic display, we are most gratetul.

Book arts have long tound a comtortable

home in Philadelphia, due, no doubt, to the city's

centuries-old history in printing, publishing, and

the visual arts. "Legacies ot Genius," currently on

view at the nearby Historical Society of Pennsyl- vania and The Library Company ot Philadelphia,

for example, is based entirely upon the rich and unparalleled holdings of member institutions of the Philadelphia Area Consortium ot Special Col-

lections Libraries. The University of the Arts is

pleased to have planned its survey ot contempo-

rary book arts to coincide with this landmark ex-

hibition of historical books and manuscripts. It is also gratifying that the American Printing His- tory Association's 13th annual national confer-

ence will take place at The Library Company in Philadelphia during the run of "The Arts of the

Book," and that this exhibition anticipates, in a book is defined as a number of Ifpages held together in a sequence, then the principal shared characteristic ot the various kinds of books made by artists is that they can all be read. Indeed, one of

the reasons for the special attention accorded to so-called 'artists' books' is that they have ex- panded our notion ot the process ot reading

a book.

In order to begin to explore what reading

might mean in this context, perhaps I can start by polarizing the discussion and suggest that in our engagement with books, we utilize on the one hand linear reading, and on the other random reading. While linear and random reading are not exactly mutually exclusive operations, defining

them separately should enable us to better under- stand elements of the reading process.

By linear reading I mean the manner in which

we might typically read a novel, say. or a biog-

raphy. In the case of books in Western languages,

we begin at the beginning, march through the book, page by page, left right, left right, and in due course arrive at the end. Novels and biogra- phies are actually just one long line ofwords and pauses, slices for convenience into segments that are laid out consecutively on the book's sequen- tially-ordered pages. The structure ot verbal lan- guages generally requires this. It is, of course, occasionally necessary to backtrack when reading narrative texts, perhaps to redetermine the small seeds of a subsequent significant event, but nor-

mally tVont-to-back reading will suffice to extract most of the content of the book.

Simple linear reading is less effective though, in prizing apart a poem, which might be regarded as a tbrm of distilled prose, but perhaps as a difter- ent species of word building altogether. Certainly a single linear reading will not suttice to extract the meaning ot a poem. The second reading, in- corporating as it will tbreknowledge ot the text, is an extremely different activity than the tlrst when allusions, echoes, or retrospective changes of

meaning, cannot be fully appreciated. Although a poem uses language in a linear manner, it sets up in its more tightly structured form other depen- dencies than immediate context. The most obvious of these is rhyme, whereby the juxtaposition of fixed sequence of potentially pictorial pages need two ideas or images in words occurs instantly in not necessarily be accessed in a linear fashion. Al- the mind, in contradiction to their spatial separa- though the familiar structure of books generally tion, as a result of the rhyme, thereby involuntar- encourages an approach from front to back, pic- ily disrupting the linear reading process. This torial elements in books will cause disruptions or device and others embedded in the density of the eddies in this linear progress. There are two rea- poem makes the act of reading more analogous to sons tor this, one because random reading will weaving, for the involvement ot memory in read- automatically come into operation in order to ing, while not leading literally to a backwards and engage the images, two because dialectical rela- forwards motion, nonetheless creates a meaning tionships spring up between words and images. for the whole poem that is the product of many Books which truly integrate word and image are connections from point to point. Artists" books not as common as one might expect; words and operate on this principle too. pictures often coexist uneasily on the page. But Such observations lead me naturally to random whenever they come into conjunction neither can reading, by which I mean the process that one escape the effects of the other. Frequently books might typically employ in reading purely visual incorporate the notion of illustration, which, it languages, akin to one's reading ot a picture. It is should be noted, is a two-way process, for there sometimes said that while verbal relationships might be pictorial illustration of prose, but also have to be determined through a time-consuming prose illustration, or illumination, of pictures. and left-right linear process, visual relationships "Words may challenge pictures; pictures may chal- can be understood instantaneously. This is not lenge words. Words may tbcus a picture; pictures quite true. One understands a picture, not with a may reintbrce a text. Or the two components look, but with a glance, that is, by skidding trom may work together additively and thereby realize point to point, but not necessarily trom lett to more than the sum of their parts. In any of these right, or even from right to left. Indeed the initial situations it is not just linear or random reading encounter of a reader with a picture, while appar- that is employed, but rather what we might call ently random, is actually purposetul, and consists oscillatory reading. By oscillatory reading I mean ot zig-zag darting movements that establish the the process whereby the eye oscillates between immediate significance of the contents of the pic- text and image as many times as are necessary to ture for the reader. If people are depicted, then the establish their symbiotic relationship, and extract reader rapidly, and almost unconsciously, scans their meaning. the faces of the people and establishes their condi- It one can turn around the hoary phrase that a tion and their inter-relationships before easing otf picture is worth a thousand words, and say in- and exploring the other details ot the picture. But stead that reading a picture can take as long as the fact that a picture is open to quasi-random ac- reading a thousand words, then reading a picture, cess contrasts markedly with the linear depen- as well as unravelling its connections with adja- dency ot a narrative text. cent words, will surely require more than a

Artists' books, by anybody's detlnition, run glance. the gamut trom narrative texts to purely visual Beyond consideration of each page, artists' volumes, with a substantial and potent central books also invite multiple kinds of access to the core ofworks that explore visual and verbal book as a whole. Familiar devices that assist in the intermingling and interaction. Theretbre it is clear apprehension and comprehension of the whole that within this spectrum of activity both types of book, include flipping the pages torwards and reading will be appropriate. At one extreme linear backwards, reading tlrom back to front as well as reading is Hkely to be dominant, while at the trom front to back, and revolving the pages. Ulti- other extreme random reading is more hkely to mately the numerous and disparate components be utilized. However, it books are pages held to- ofan artist's book are actually woven together by gether in a sequence, then the kind of random performing the various acts of reading and reading that is possible when one scans an isolated mampulation. picture is inevitably circumscribed, even though a Many artists' books therefore require that Visual artists have explored and exploited the readers resist the relentless forward march of lin- nature and structure of the book, both in former ear reading and let themselves succumb to the dif- times and with renewed vigor more recently, fering tempos of oscillatory reading and random with the result that the book has come to be ap- reading, even in what appear to be conventional preciated widely as an extremely truitful and sub- contexts within the book. For there are elements tle multidimensional means tor the transmission in the amalgam of parts which comprise the ot human experience. In addition artists have book, normally subject to unconscious or periph- come to demand of their readers that they de- eral reading, that artists can invest with a more velop their ability to utilize various forms of read- positive role. Therefore expanded reading can ing, whether retinal or tactile, v/hether linear, fruitfully include the conscious reading of the tex- peripheral, oscillatory, or random, in order to be ture of the page, a heightened awareness of the able to engage fully with the content embedded in edge of the page, and the reading of margins each book. These expanded skills, however, are and spaces. not limited in their apphcation, tor not only do

Thus far I have been speaking ofwhat might they enable us to better understand the world in- be called retinal reading, whether linear, random side the book, but they can also help us to better or oscillatory, but there is yet another type of understand the world beyond the book. reading appropriate to artists' books in differing degrees. Increasingly, books produced by artists ClivePhillpot July 31, 19S.S seem to be employing not only the retinal reading of painters, say, but also the haptic or tactile read- ing of sculptors. The heightening of this minor aspect of the normal reading process can make reading an artist's book a very ditferent experi- ence to that ot reading a conventional book. Us- ing both hands also yields very different results from using our two eyes, which are obliged to work together. Even when one hand holds the front cover and the other holds the back cover, two different sets of sensations can be generated that may not function additively, and may even be irreconcilable. But since the eye is informed by the hand, and vice versa, the combination of looking at, and touching, a surface that has ele- ments ot three-dimensionality can yield an expe- rience analogous to, but more complex than, binocular vision. Thus reading can become a sub- stantially expanded visual and tactile activity when brought to bear on books by visual artists. Not only does retinal reading encompass both linear and random reading, but both types of reading can also be exercised through the sense of touch—the reading of the blind. Jose Luis Cuevas Tlie Worhii of Kiitka & Ciieviis The Falcon Press Philadelphia 1959

Georges Braque and Guillaume Apollinaire

Sije nh^urais lii-bas Louis Broder, Paris 1962 Est de tesyeux la couleur amhigue

J'ai ton regard

Etj'en ressens une hlessure aigue

Adieu, c'est tard. K. K. Merker Conifhiny The Center for the Book Iowa City 1984

Richard Minsky The Biolc^iail Time Bomb 1988

10 Helen C. Frederick

Rcluni, The 'riiniiii\; Poiiil

(work in progress at The Fabric Workshop, Philadelphia) 11 THE FIRST FINE SILVER COINAGE o/THE REPUBLIC OF SAN SERRIFFE:

The Bird Sl Bull Press Commemorative 100 Coronas

Including an account of this legendary republic and its con- nection with the Bird & Bull Press. With a descrip-

tion of similar numismatic rarities and a

30-year checklist ofwork produced

by the Press, 1958-1988. By Henry Morris

BIRD & BULL PRESS • NEWTOWN, PA.

Henry Morris The Bird & Bull Press Commemorative 100 Coronas Bird & Bull Press Newtown, Pennsylvania 1988

12 Romare Bearden and Derek Wolcott The CjiihhL\in Poclry ofDerek ll'oliolt & The Arr oj Roniive Becinieii The Limited Editions Club New York 1983

Gary Link Frost Moitel iiliera 16th Ceiiiury Piviolype 1%7

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CfJ^-^ll- niarf^AiUAt^^ ]^om^Ji y.,- Jus^f^ - . , i' ^,a^VTo tiii'n. ,^^j- Exhibitions Sas Colby Chec! Oakland, Calitorma. I've Moved. 806 {uy,\983. Ear Book {u)-\986. Ed Colker New Bookworks of the Last Five Years Haybarn Press, Mt. Kisco, New York and Philadelphia. Information on the bookworks in this exhibition Excerptsfiom the Essay on Nature (e); /Ralph Waldo Emerson; appears in the following format: 1986.

Exhibition participant: their press (if applicable) and Norman B. Colp New York. location; lille ofhookwcrk (e = edition, u = unique, Antotranslormatioti (c); 1988. b = binding); illustrator/author (unless specified, all A Concise Treatise on the Scieiilific Method (e); 1988. artwork and/or text produced by exhibition Betsy Davids participant); press (if other than above); publisher; date; Rebis Press, Berkeley, California. lender to the exhibition. Dreaming Aloud, Book One (e); 1985. Charles Alexander William Drendel Chax Press. Tucson. Arizona. Chicago. Journal Entriii 1977-1984: A Life TImvigh Lists (e); Anne OncHla/ H^ld Rainbow Book (u); 1987. Kingsbury/ Anne Kingsbury; 1986. Flipper Fish (u); 1987; Collection ot Claire B. Zeisler. Chicago. Firebird (e); Cynthia Miller/Paul Metcalf; Chax Press and Granary Books; 1987; Collection ot Jeffrey Cooper. Harry Duncan Philadelphia. The Cummington Press, Omaha. Nebraska. A Voyage to Cythem (e); Pnscilla Steele/Ralph Bobb; 1987; Benjamin and Deborah Alterman Collection ofjetfrey Cooper. Philadelphia. Married Mettle Press. Mt. Holly. New Jersey. Stayhig the Winter (e); /Nancy McCleery; 1987. Billy Biidd. Siiilcr (e); Deborah Akerman/Herman Melville; 1988. Timothy C. Ely New York. Kay Amert Curi'ilinear Prayer (u); 1984; Ruth and Marvin Sackner Archive The Seamark Press, Iowa City, Iowa. ot Concrete and Visual Poetry. Miami. ElexyforOUAnihi (e); /Ken McCullough; 1984. Movement & Path (u); 1987. John Anderson Jim Escalante The Pickering Press, Maple Shade, New Jersey. Iguana Press, Springfield, Missouri. I Iclor Hcviinwr Manifesto (e); John De Pol/Victor Hammer; Scales aftd Weights (e); Marv Moss Escalantc/Todd Moore; 1988. 1985.

William Anthony Arabic Coffee (e); Mary Moss Escalante/Naomi Shihab Nye; Iowa City, Iowa. 1986; Collection ofJeffrey Cooper, Philadelphia. The Charm: Early and Uncollected Poems (b); /; Suzanne Ferris 1984. Sea Pen Press &: Paper Mill, Seattle, Washington. Love Letters ofHemy 17// (b); 1986. Our Lady ofthe Harbor (e); /Joan Stone; 1 986. Richard Bigus Even Money (e); /Thomas Brush; 1988. Labyrinth Editions, Lincoln, Nebraska. Ann Fessler Betii'eeii Tit'o Wars (e); Daniel Goldstein/Kennetli Rexroth; Baltimore. Maryland. 1982. First Aid for the \'Voinided (c): 1987. Her Six Difficulties And His Small Mistakes (e); /Marcia Southwick; 1988. Antonio Frasconi South Norwalk. Connecticut. Ken Botnick and Steve Miller Travels Through Tuscany (e); 1985. Red Ozier Press, Woodbridge, Connecticut and Tuscaloosa, Alabama. Helen C. Frederick

Homages and Desecrations (e); Richard Mock/Octavio Paz; Washington, D.C. 1987.^ Return, The Turning Point (u); The Fabric Workshop; 1988. H»h;Gin7;T(u);1988. Frances Butler Poltroon Press. Oakland, California. Louise Genest-Cote

Career Options: A Catalog ofScreens (e); Visual Studies Montreal. Workshop; 1985. L'.4W-f(/fL'.4W>ay(-(b);1988. Aucassin ct Nicolctte 1985. Safe & Sound (c); /Lucia Berlin; 1988. (b); Martha Carothers Sharon Gilbert The Post Press, Newark, Delaware. New York.

Its Written All Over Your Face (u); 1983; Ruth and Marvin A Nuclear .Atlas (e); Women's Studio Workshop Print Center; Sackner Archive of Concrete and Visual Poetry. Miami. 1983; The Whitney Museum of American Art. New York. (ey.'\9H8. Alphabetlcss Book (e); /Martha Carothers and Bruce Bigatel; Poison America 1984. Susan Kae Grant Black Rose Press, Dallas, Texas. - Giviuf; Fear a Proper Name; Detroit (e); 198 1 1984.

The Wmk The Kiss The Slap (e); 1987. William Blake facing page Jif i Hadlac The Song oj Los Brno. Czechoslovakia. facsimile of 1795 original A/ci)p/ii';oi;)'(u);1986. The Trianon Press, Paris, The Tract on the Mannequins (u); /Bruno Schiilz; 1986. for The William Blake foundation, London 1975

15 Walter Hamady Hedi Kyle The Perishable Press Limited, Mt. Horeb, Wisconsin. Philadelphia. since man began to cat himself(e); Warrington Colescott/ Eastern and Northern Liberties (u); 1988. Lawrence Fcrlinghetti, Kenneth Bernard, , Gerald Lange Toby Olson, Jerome Rothenberg, ; 1986; The Bieler Press, Los Angeles. Temple University Libraries, Paley Endowment Fund, Moon (e); R. W. Scholes/David Romtvedt; 1984; Collection of Philadelphia. Jeffrey Cooper, Philadelphia. Ncoposlmodiinism cr(e); 1988. The Blizzard I 'oiccs (e); Tom Pohrt/Ted Kooser; 1986. Ric Haynes Stephanie Brody Lederman Mt. Kisco. New York. Long Island, New York. Homeless Book, Volnme I {u); 1988. About Leaving the Nest (u); 1986/87. Robot Royals (u); 1987, Without Incidem (u); 1988. Charles Heasley Jim Lee Cortland. New York. Blue Moon Press, Newington, Connecticut. Water Works (e); 1987; Collection of Curtis Rhodes. A Calling Out (e); /nursery rhyme; 1984. das Ick und das Es {e): \988. Candle In A Storm (e); 1986; Special Collections, Homer Suzanne Reese Horvitz Babbidge Library, University ot Connecticut. Philadelphia. Warren Lehrer _/i/s/S.iyNo(u);1988. ear/say, New York. Glass Book Guarded by R'lisive Sirens (u); 1988. GRi?/?HHHH(e); 1987. Lois Johnson Nora Ligorano Peripatetic Press, Philadelphia. New York. Audience Frieze (u); 1984. Hand Book (u); 1984; Ruth and Marvin Sackner Archive of Distant Markers (e); /Laurel Renter; Pyracantha Press, Visual J. Concrete and Visual Poetry, Miami. Arts Research Studio, Arizona State University, Tempe; 1988. World Bank (u); 1984. Jerry Kelly Ruth Lingen Kelly Winterton Press, New York. Poote Press, New York. Rr Laurie (e); /John Saegaert; 1985. Walam Ohmi (u); /Joe Napora; The Landlocked Press; 1983. The Odes to Nea (e); /Thomas Moore; 1985. Scighte (e); Timothy Ely/Joe Napora; 1987. Ron King Margot Lovejoy Circle Press Publications, Guilford, Surrey, England. New York. The Leji-Handcd Punch (e); /Roy Fisher; 1986; Temple C/t>.i,/5mi;c/7(u);1983. University Libraries, Rare Books and Manuscripts Collection, Mabe Giftof AlbertJ. and Sylvia B. Caplan, Philadelphia. Joni Athens, Georgia. Susan E. King Fucking Money (u); 1982; Ruth and Marvin Sackner Archive of Paradise Press, Los Angeles. Concrete and Visual Poetry, Miami. IVomen & Cars (e); Paradise Press at Women's Studio Joni Mabe's Museimt Book (e); Nexus Press; 1988. Workshop; 1983; Collection of Byron Temple. Barbara Mauriello Lessonsfroni the South (e); Paradise Press at Nexus Press; 1986. New York. Kumi Korf hones Plantarnnt: A Book of Imaginary Botany (u); 1988. Ithaca, New York. Dan Mayer Silk and Secrecy (e); /Kumi Korfand Emoretta Yang; 1985; The Nomadic Press, Tempe, Arizona. Ruth and Marvin Sackner Archive of Concrete and Visual Choices and Invoices (e); /Beatrice Wood; Pyracantha Press; Poetry, Miami. 1987. Thousands (e); Marilyn Rivchin; 1986. Kaktusz, Knedle, & Kochloffel; Images and Souvenirs ti/.4 Allan Kornblum European Family (e); 1988. Coffee House Press, Minneapolis, Minnesota. Scott L. McCarney The Tale ofDan de Lion (e); Rhonda McClun/Thomas M. Rochester, York. Disch; 1986. New Untitled (e); 1985; Collection of the Visual Studies Workshop, April Arboretmn (e); Kent Aldrich/Michael McClure; 1987. Rochester, New York. Michael Kostiuk .Memory Loss (e); Visual Studies Workshop Press, 1988. Philadelphia. Jeanette McGrath Shadow Book (u)- \988. Philadelphia. An Intimate Experience: Two Yellou's and an Ultra Violet (u); Book (u); 1988. 1984; Collection of Frances Butler, Oakland, California. MCMLXXXITII Andrea Janine Krupp Leigh McLellan Press, San Francisco. Personal Press, Philadelphia. Meadow Hatvai'i One Summer (e); Deng Ming-Dao/Maxine Hong Notianuin Town (e); /Appalachian folk lyric; 1987. Kingston; 1987. The Art of Love - Waking. Sleephig (e); 1988. Peter Kruty K.K. Merker The Windhover Press, Iowa City, Iowa. Solo Letterpress, New York. Company (e); Delias Henke/Samuel Beckett; The University Journal Details 19S0-19SS (e); Robert fttersen/Robert Petersen; of Iowa Center for the Book, 1984; Collection ofjeffrey Peter Kruty and Robert Petersen; 1988; Courtesy of Castelli Cooper, Philadelpia. Graphics, New York. Aiatthatlan (e); Margaret Sunday/Amy Clampitt; The ART CROW/JIM CROW (e); Howardena Pindell/ University of Iowa Center for the Book, 1988; Collection of Howardena Pindell; 1988. Jeffrey Cooper, Philadelphia.

16 Leslie Miller John L. Risseeuw The Grenfcll Press, New York. Cabbagehead Press, Tempe, Arizona. A Bcfliii'C Anwiged on Huiiuvif Principles (e); David Storey/ Moorish Roses (e); Leonard Lehrer/; 1986.

Gilbert Sorrentino; 1986. The Other Side oj the House (e); Tamarra Kaida/Rita Dove;

The Way Home (e); Trevor Winkfield/Harry Mathews; 1988. Pyracantha Press, Visual Arts Research Studio, Arizona State Richard Minsky University, Tempe; 1988. New York. Richard-Gabriel Rummonds M//;sfc)'»iB(v/(u);1988. E.\ Ophidia, Cottondale, Alabama.

The Biological Time Bomh (u); 1988; Courtesy of Allan Stone Prima che In dica "Pronto" {e); Antonio Frasconi/ltalo Calvino; Gallery. New York. Plain Wrapper Press, 1985; Collection of Bradley Hutchinson. Henry Morris Austin. Texas. Journeys in Sunlight (e); Fulvio Testa/Dana Gioia; 1986. Bird & Bull Press, Newtown, Pennsylvania. diineie Decorated Papers (e); /H. & T Schmoller and H. Miriam Schaer Morris; 1987; Temple University Libraries, Paley Endowment New York. Fund, Philadelphia. Celestial l'oyages(u)- 1987. The Bird & Bull Press Commemoraiive 100 Coronas (e); /Henry The Sewing Women (u); 1988. Morns; 1988. Joanne Schiavone Beverly L. Nichols Orlando, Florida. Lenexa, Kansas. Greetings liom... (u); 1985; Collection of Steven Vargo and Harry the Ptlicaii{ey,\986. Jackie Chung, Cherry Hill, New fersey. Fishes In The Pool (u); 1986; Collection of Karen Zukor, Triangle Book {u): 1988. Oakland. California. Leonard Seastone Colleen Oakes The Tidelme Press, Sylva/Cullowhee, North Carolina.

Tempe, Arizona. Good Movies, A Film Noirin Book Brm (e); 1988. Maureen (e); Maureen Oakes; 1988. Anne Hicks Siberell 10/ 19/86 (e); Corder, Colleen Oakes/; 1988; Collection Amy Hillsborough, Calitornia. of Corder, Whitewater, Wisconsin. Amy All Things {cy,\986.

Megan O'Connell Le Nil Dans le F^inture Francaise (u); 1986. Dead Skin Press, Minneapolis, Minnesota. Esther K. Smith and Dikko Faust h Cati Be Played (u): \9Sb. Purgatory Pie Press, New York, Fem-inx(u): 1984. Lily Lou (e); /Holly Anderson; 1986. Richard Olson The World at My Fingertips (e); /Donna Ratajczak; 1988; Ruth Tongue Press, Beloit, Wisconsin. and Marvin Sackner Archive of Concrete and Visual Poetry, The Original The Approprialed(tion) (u); 1988. Miami. Siamese Twins (e); 1985; Museum ot Modern Art Library, Keith A. Smith New York. Rochester, New York.

Kevin Osborn Su'immer, Book Number 1 14 (e); 1986.

Osbornbook, Arlington, Virginia. /(/ Between Lines, Book Number 126 (e); 1988. Wide Open {cy.\')84. Mimi Smith Tropos (e): \9SS. New York.

Claire Owen This is a Test (e); Visual Studies Workshop, Rochester, New Turtle Island Press, Philadelphia. York; 1983. Seven Gods, Seven Demons, A Besliary (u); 1985-86. Iridescent Summer (u); 1986. WolfSloiy{u)-\9S8. Pamela S. Smith Michael Peich Press ot the Palace ot Governors, Santa Fe, New Mexico.

Aralia Press, West Chester, Pennsylvania. Tales olthe Moimtain Men (e); Andrew Burns/Collection ot Brihe Birih oj Christ (c);John De Pol/Dana Gioia; 1985. original tales; 1984.

Three Poems\e); /C.P. Cavafy; 1987. Broncho vs Bicycle (e); Sarah Laughlin/John Wallace Crawford; Mary Phelan 1988. Irish Pig Press, Philadelphia. Jan Sobota Origins\\x); 1988. Rarach Press. Geneva. Ohio. Maria G. Pisano Devil's Rock (u); /Richard Neugebauer; 1984-88. Heiligc, Svati, Saints (u); /Ramc-r Maria Rilke; 1987-88. Plainsboro, New Jersey.

Miniatnres (\i): 1983. Buzz Spector LibbroAntico(\x):\9%8. Los Angeles and Chicago. Sonya Rapoport Pa^e 16 (u); 1982; Collection of |ohn and Mimi LeBourgeois, Philadelphia. Berkeley, Calitornia. Oration (u); 1987; Collection ot Daniel and Rena Sternberg, Shoe-Field (u): 1986. Glencoe. Illinois. MUDRA. an Inleraclwc Book (e); 1988. Don and Pam Rash Pamela Spitzmueller Washington, Lake Harmony, R-nnsylvania. D.C. ftWtT(b);1988. Copperhesert {uy. 1988. Giifst Boot (b); 1988. Bonnie Stahlecker Gary Richman MellaiiBerrv Press, Indianapolis. Masks theMiud {cy 1984. Blue Book Issues, Kingston, Rhode Island. of Barriers Within, Barriers llif/ienf (u); 1987. Doctor Do^n'il's Inreiitory ol Provisional Ali^mnents {c); 1985. ' The Shop Notes {c): 1987.

17 ,

Carol Sturm and Doug Wolf Limited Editions Featuring Artists and Nadja. New York. Writers in Collaboration and Response Japan: Prose oj Deparlnre (e); /James Merrill; 1987. Barnard Taylor Information on books in this exhibition appears in the The Press ot Appletree Alley, Levvisburg, Pennsylvania. tollowing format:

Proviiiccwwn (e); Barnard Taylor/Mary Oliver; 1987. Title ot publication; artist/author; press/publisher; date; SAINT PAUL The First Hermile: His Life by Si. Jerome (e); /St. lender to the exhibition. Jerome; 1987. Day for Anne Frank Barbara Tetenbaum A Eugene Feldman/C.K. Williams; /The Falcon Press, Triangular Press, Madison, Wisconsin. Philadelphia; 1968; private collection. The Sticli Bool; {e); 1985. a!;/.ii;e Book No. 3 (e); 1987. Another ArfBook Walter Askin/Walter Askin; /Nose Press, Pasadena, Walter Tisdale California; 1984; collection of Stephen Prokopoff, The Landlocked Press, Bangor, Maine. Champaign, Illinois. Milling; ofllie Heart (e); Patricia Scobey/Patricia Scohey; 1986.

Milestones (e); /Karl Young; 1987. Apples and Persimmons George Sadek/Theodore Bowie; Indiana University Press; Daniel Tucker 1966; private collection. Turtle Island Press, Philadelphia.

The Sound ofThin^t^s (e); 1988. A Toute Epreuve Miro/Paul Eluard; Braziller, Inc., How To Buihi A Fire. 1 'ohnne 2 (u); 1 988. Joan /George New York; 1984; private collection. Lori Van Houten Hoboken, New Jersey. Auguries ofInnocence BiW/Hei/(u);1986. Leonard Baskin/William Blake; The Gehenna Press, Northampton, Massachusetts/The Print Club of Philadelphia; Claire Van Vliet 1959; Bertha von Moschzisker, Philadelphia. The ]aiius Press, West Burke, Vermont.

The Circus of Doctor Lao (e); /Charles G. Finney; 1984; Temple Master Richard's Bestiary of Love and Response University Libraries. Rare Books and Manuscripts Barry Moser/Richard de Rnirnival; Press, 1985; Collections, Gitt ot Albert |. and Sylvia B. Caplan, Pennyroyal Northampton, Massachusetts; Philadelphia. Temple University Libraries, Rare Books and Manuscripts

.-liinf Stillie's Lament (e); /Margaret Kaufman; 1988. Collection, Paley Endowment Fund, Philadelphia. Kathleen Walkup Blackberry Eating Matrix Press. Palo Alto, California. /Galway Kinnell; Rara Avis Press/William B. Ewert,

In Celebration: Aiiemos (e); /Robert Hass, Galwav Kinnell, Concord, New Hampshire; 1980; The Fales Library, New

Carolyn Kizer, Alice Walker, et al; 1983. York University, New York. Debra Weier blood on the Dining-Room Floor Emanon Press, Princeton Junction, New Jersey. /Gertrude Stein; The Banyan Press, New York; 1948; The Sliyriik {u): \9S4. Fales Library, New York University, New York. A Merz Sonata (e); /Jerome Rothenberg; 1985. The Bridge Zena Zipporah Richard Benson/Hart Crane; /The Limited Editions Club, Shaker Heights, Ohio. New York; 1981; private collection. Breast Tea (u); 1986. The Brute Victoriaiia: In Lore With Words (u); 1987; Collection ot Tony Susan Rothenberg/Peter Schjeldahl; /Little Caesar Press, Los Zwicher, New York. Angeles, 1981; Collection of Irving and Lucy Sandler, New York. The Caribbean Poetry ofDerek Wolcott & The Art ofRomare Bearden Romare Bearden/Derek Wolcott; /The Limited Editions Club, New York; 1983; Visual Arts Study Collection, State University ot New York, Purchase. Clos Camardon Dorothea Tanning/Stephen Yenser; Sea ClitTEditions, New York/; 1985; The Fales Library, New York University, New York. Eight Poems Robert Andrew Parker/Marianne Moore; /The Museum of Modern Art, New York; 1962; Collection of Arthur P. Williams, Philadelphia. The Empire Finals at Verona and Fielding Dawson/Jonathan Williams; /The Jargon Society, Jonathan Williams, Highlands, North Carolina; 1959; Collection ol'Jeffrey Cooper, Philadelphia.

the fall Ed Colker/Michael Anania; Editions du Grenier, Chicago, 1978; private collection. Finger Food: Poems of Love, Sex and Dream Suzanne Reese Horvitz and Sandra Lerner/Jack DeWitt; /Synapse: A Visual Art Press Limited; 1982; private collection.

18 The Four Poplars The Printed Poem/The Poem as Print Antonio Frasconi/Ocuvio Paz; /Center for Edition Works, James Trissel/May S\\'enson, James Tnssel/Robert Blv; /Tiie State University New York, Purchase; 1985; at Colorado College, Colorado Springs; 1985; The Fales collection. Library, New York University, New York. French Fries The Quarrel Warren Lehrer/Dennis Bernstein and Warren Lehrer; ear/say. Robert Motherwell/Stanley Kunitz;/Tyler Graphics Ltd., Mt. Purchase, NewYork/Visual Studies Workshop. Rochester, Kisco, New York tor the American Poetry Review; 1983; New York; lent by Warren Lehrer, Brooklyn, New York. private collection. From a Housewife's Diary Rebuke of the Rocks Jerome Kaplan/Janet Nyholm; Thejanus Press, West Burke, James Trissel/Robert Penn Warren; /The Press at Colorado Vermont; 1978; lent by Jerome Kaplan, Philadelphia. College, Colorado Springs; 1976; The Fales Library, New Heading West York University, New York. Frank Paluch/Frank Paluch; Perimeter Press, Chicago; 1977; The River collection of Karen Boyd, Racine, Wisconsin. Johnjagel/Raymond Carver; Darrell Flyder, North Heartwood Brookfield, Massachusetts/William B. Ewert, Concord, New Hampshire; 1986; The Fales Library. New York University, John De Pol/Norbert Krapf; The Stone Fiouse Press, Roslyn New York. Fiarbor, New York; 1983; private collection. Hiroshima Small Hymns Mary Ann Haydcn/Joyce Carol Oates; Meadow Press. San Jacob Lawrence/John Hersey; /The Limited Editions Club, Francisco/William B. Ewert. Concord, New Hampshire; New York; 1983; Visual Arts Study Collection, State 1983; The Fales Library, New York University. New York. LJniversity of New York, Purchase. History of Modern Painting 6 Mid-American Chants Art Sinsabaugh/Sherwood Anderson;/The Nantahala Jean S. Stephenson (unique binding) /M. Raynal; /A. Skira, foundation, [onathan Williams, Highlands, North Carolina; Geneva; 1949-50. 1964; Collection ofjeffrey Cooper, Philadelphia. Inangaro 6 Poems The Legend of the Coconut: Margaret Prentice/Robert Dimitri Petrov/Thomas Hood; /Sol Mednick and Arthur Tauber, Sidney Chafetz/Richard Brunell, Eric May/Rod Williams, Philadelphia, Pennsylvania; 1946; private collection. Johnson, David Macaulay/Ruth Leonard (all based on Maori folktale); The Logan Elm Press, Columbus, Ohio; 1987; lent The Songlines by the Logan Elm Press, Robert Tauber, director. The Ohio /Bruce Chatwin; /The Franklin Library, Franklin Center, State LJniversity. Pennsylvania; 1987; Courtesy ot the Franklin Library. John Peter Zenger and Freedom of the Press The Song of Los Jerry Kelly and Bert Clarke/James B. Bell; /The Press of A. William Blake/William Blake; /The Trianon Press, Paris, for Colish, Mt. Vernon, New York; 1984; private collection. The William Blake Trust, London; 1975; The University of The Legend of Sleepy Hollow the Arts Study Collection. Bradbury Thompson/Washington Irvmg; /West Virginia The Sound of Feathers Pulp and Paper Company (Westvaco), New York; 1958; John Digby/Joan Digby; The Red Ozier Press. New York; private collection. 1982; private collection. Looking Ahead 21 Etchings and Poems /John Flollander; Nadja, New York; 1982; private collection. Salvatore Grippi/Richard Wilbur. Azio Martinelli/Horace The Lost Ones Gregory; Anderson-Lamb/Morris Gallery. New York; 1960; Collection ot the Esther Raushenbush Library ot Sarah Charles Klabunde/Samuel Beckett; The New Overbrook Lawrence College, Bron.wille, New York. Press, Stamford, Connecticut/Charles Altschul, Stamford,' Connecticut; 1984; lent by Charles Altschul. Typographic Years Joseph Blumenthal/Joseph Blumenthal; Stinehour Press, 10 Life Lunenberg, Vermont/Frederic C. Beil, New York; 1982; Pierre Alechmsky, [im Dine, Allan Kaprow, Claes private collection. Oldenburg, Andy Warhol, et al/Walasse Ting and Sam Francis, editors; /E.W. Kornfeld, Bern, Switzerland; 1964; Voyages Collection of Flerb Levart, New York. Leonard Baskin/Hart Crane; The Gehenna Press. Paros Northampton. Massachusetts/The Museum of Modern Art. York; 1957; private collection. Laurence Bach/Robert Cooke Goolrick; /Neuberger New Museum, State University of New York, Purchase, 1978; The Work and Play ofAdrian Wilson private collection. Adrian Wilson/Adrian Wilson andjoyce Lancaster Wilson; Physiologus Theobaldi Episcopi The Press in Tuscany Alley. San Francisco/W. Thomas Taylor, Austin, Texas; 1983; lent by W. Thomas Taylor. George Sadek and Rudy Pozzatti/Bishop Theobald of Assissi; hidiana University Press; 1964; Collection of George Sadek, The Worlds ofKafka and Cuevas New York. lose Luis Cuevas/Franz Katlca; /The Falcon Press, Picasso, Creator and Destroyer Philadelphia, R-nnsylvania; 1959; The University of the Arts Collection. Francoise Gilot/Arianna Stassinopoulos Flutfington; /The Study Franklin Library, Franklin Center, IVnnsylvania; 1988, courtesy of the Franklin Library. A Primitive Like and Orb Kurt Seligmann/Wallace Stevens; The Banyan Press/The Gotham Book Mart, New York; The Fales Library, New York University, New York.

19 A Selection of Modern European Four Bookbinders Masterworks from the Collection of A group ot contemporary models, recently produced Arthur P. Williams by tour bookbinders, are presented in this invitational section, including: Information on books in this exhibition appears in the William Anthony following format: Iowa City, Iowa Title ot book: artist; anthor; publisher; date. Coptic binding, fifth century Coptic binding with Coptic endbands, fourth/fifth century a beast-drawn man Early Medieval binding with tabs, eleventh century Karel Appel; Bert Schierbeek; De Bezige Bij, Amsterdam; Girdle book, fifteenth century 1962. Stonyhurst Gospel, seventh century Cirque The Printed Book Fernand Leger; Fernand Leger; Teriade, Paris; 1950. Gary Link Frost Centre Terre Austin, Texas Gerniame Richicr; Rene de Sober; Andre et Pierre Gonin, Cut-away mode! ot leather binding Lausanne, Switzerland; 1958. Girdle book Divertissement Paper covered binding Georges Rou.iult; Georges Rouault; Teriade, Pans; 1943. Sixteenth century prototype in wooden boards; collection of Annie Wilcox, Trcmel, Iowa City, Iowa. Florilege des Amours Henri Matisse; Pierre de Ronsard; Albert Skira. Paris; 1948. Hedi Kyle Philadelphia La Temptation de Saint Antoine Double volume bound into enclosure Odiloii Redon; Gustave Flaubert; Ambroise Vollard, Paris; Piano hinge album 1938. Variations on the Concertina fold: Flag Book, Panorama Le Chef-d'Oeuvre Inconnu Book, Scrapbook Pablo Picisso; Honore de Balzac; Ambroise Vollard, Paris; Pam Spitzmueller 1931. Washington, D.C. Parler Seul Fifteenth century northern European style link stitch binding Joan Miro; Tristan Tzara; Maeght, Paris; 1948-50. Fifteenth century northern European style long stitch/link Pour un herbier stitch binding Raoiil Duty; Collette; Mermod, Lausanne, Switzerland; 1951. Sixteenth century Italian long stitch binding Historical long stitch and link stitch sewing combination Si je mourais la-bas Nineteen historical through-the-fold sewing techniques Georges Braque; Guillaume Apollinaire; Louis Broder, Pans; 1962.'

(

Foreword 2 © 1988 The University of the Arts Ed Colker Library of Congress Catalog Card Number: 88-050887 Introduction 3 Eleni Cocordas Design: Joseph Rapone Reading Artists' Books 5 Photography: JohnJ. Carlano,

Clive Phillpot except p. 10, lower Exhibitions Checklists 15 Color Plates: Imaging System Typesetting: PHP Typography on a Linotron 202N, Mary Phelan set in Bembo. Century, and Univers Paper: Warren Lustro Dull Cream 80 lb cover/text. Zanders T-2000 Elephant Hide

Printing: The Borowsky Center for Publication Arts Six colors on a 20 V" x 28%" Heidelberg KORS Single Color Oft'set Press Charles Gershwin, Master Printer Jon Nguyen, Junior, Graphic Design 20 The University ofthe Arts

Bpard of Trustees Life Trustees Thomas V. Lcfevre, Chairman Edith Rosenwald Leonard E.B. Andrews Howard A. Wolf Mary Louise Beitzel, PCAD '51 IrvinJ. Borowsky Emeritus Trustees Nathaniel R. Bowditch Kermit Hall Ira Brind JosefJatTc Helen S. Chait, Esq. Bodine Lamont Schuyler G. Chapin Ronald K. Porter Michael M. Coleman Mel Richman

James L. Crowell Philip H. Ward, III Eleanor Davis Dorothy Shipley White Dr. Judith Eaton Eitzen, PCAD '52 PhilipJ. Ex Officio Members Anne Elder The Honorable W. Wilson Goode Dorranc^m. Hamilton Mayor of the City of Fhiiadclphia Fredericlt'S. Hammer The HonorableJoseph E. Coleman Marvin D, Heaps President, Philadelphia City Council

H. Ober Hess The Honorable Vincent J. Fumo Stephen R. Holstad Senator. Commonwealth ot PennsyK'ania Judith Jamison, PCFA '64 The Honorable Bruce W. KaufFman Exhibitions Council Harold E. Kohn Larry Mitnick, Chairman Berton E. Korman Walter Darby Bannard

Irving S. KoslotV James L. Crowell William G. Krebs, Alumni Trustee. PCAD '66 Warren Rohrer AlPaulLefton.Jr. Warren Seelig

Sam S. McKeel Eleni Cocordas John W. Merriam Director of Exhibitions Sondra Myers Karen L. Cronin Assistant to the Dircaor of Exhibitions Ronald J. Naples Stephen Tarantal Joseph Ncubauer Dean, Philadelphia College of Art and Design Theodore T. Newbold

John C. ftmberton, Jr. WUliam L. Rafsky Dr Carl Schmidt, Faculty Representative Ftter Solmssen. President Roger Stevens H. L. Yoh,Jr.

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