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BOOK ARTS NEWSLETTER ISSN 1754-9086 No BOOK ARTS NEWSLETTER ISSN 1754-9086 No. 128 November 2019 Published by Impact Press at the Centre for Fine Print Research, UWE Bristol, UK ARTIST’S COVER PAGE: TIM HOPKINS / HALF PINT PRESS - IMAGINARY LETTERS In this issue: National and International Artists’ Books Exhibitions Pages 2 - 17 Courses, Conferences, Lectures & Workshops Pages 18 - 25 Opportunities Pages 25 - 34 Artist’s Book Fairs & Events Pages 35- 37 Internet News Pages 37 - 38 New Artists’ Publications Pages 38 - 52 Reports & Reviews Pages 52 - 56 Stop Press! Pages 56 - 63 Artists’ Books Exhibitions in the Bower Ashton Library It writes Soares’s ideas across the everyday detritus of showcases, UWE, Bristol, UK a life lived, on objects as diverse as a postage stamp, a compliments slip, a booze label, a page of accounts and an Tim Hopkins / Half Pint Press internal transit envelope. Not all the objects are paper: the Te Book of Disquiet and Imaginary Letters box includes a pencil, a lollipop stick and a matchbook. 1st - 30th November 2019 Some are beautiful, others grubbily everyday. Likewise the box, which is deliberately not a cloth-bound fne press Tim Hopkins will be showing two bookworks: Te Book of production but instead hand-printed on a commercially- Disquiet by Fernando Pessoa (2017), and Imaginary Letters available stitched board box. by Mary Butts (2019). Te impression is of a box of belongings, each with a value Te Book of Disquiet by Fernando Pessoa. of some kind to the owner. Each may be kept because it’s Te texts that make up Te Book of Disquiet were found in a beautiful, or important, or useful, or attached to a memory: box in Pessoa’s room afer his death in 1935. I took the form there is a melancholy sense of sifing through the relics of a of bundles of manuscript and typescript fragments in no life lived, full of unreachable connections. fxed order. It consists of the everyday thoughts of a single character, Bernardo Soares. Te book was frst published Tis edition won the MCBA Prize in 2017. in Portuguese in 1982, and is now widely regarded as a modernist classic. Imaginary Letters by Mary Butts (with decorations by Lupe Núñez) Tis edition responds to the original’s form, or lack of form, Tis will be the frst exhibition of a new work from the by restoring disorder to Te Book of Disquiet: the fragments Half Pint Press, to be published later in 2019. are to be picked out as the reader pleases. Tis refects the origin of the text itself and also makes possible connections Mary Butts (1890-1937) was an English modernist who between fragments which may be less available in a bound, published several novels and short stories. Imaginary ordered edition; Soares was prone to letting his mind Letters dates from 1928, and takes the form of eight letters wander during long nights in his room and the book gives addressed (by an unnamed narrator) to the imagined a sense of that wandering mind. mother of Boris Polterasky, a White Russian exile living a bohemian life in Paris. Te narrator loves Boris but it quickly becomes clear that Boris’s interests lie elsewhere. Tim Hopkins / Half Pint Press: Te Book of Disquiet by Fernando Pessoa (2017) Te Half Pint Press edition of Te Book of Disquiet takes 61 of the hundreds of fragments, and presents them unbound and with no fxed order in a hand-printed box. Each fragment was typeset by hand and printed by hand on Tim Hopkins / Half Pint Press: Imaginary Letters by Mary Butts an Adana Eight-Five tabletop letterpress in an edition of 80. (2019) Page 2 http://www.bookarts.uwe.ac.uk/newsletters/ Tis edition presents each letter in the novel separately, each Curated and organised by Idaho Center For Te Book at set diferently and printed on diferent stock. Illustrator Boise State University, the current exhibition tour schedule Lupe Núñez has provided a mixture of decorations and is: Brigham Young University Idaho; November 2019: “modernist marginalia”. Te form of each letter helps to Mountain Home Public Library; December 2019: [open]; refect the passage of time and the changing mood of the January 2020: [open; February 2020: Idaho Falls Public book as it progresses; not all are easy to read, and there is a Library; March 2020-April 2020: University of Utah SLC. feeling of someone’s notes to themselves, held keepsake-style for posterity. Feast & Famine Each letter is presented in an envelope and the envelopes Rutgers University, Newark, USA held by a ribbon into what seems to be a cloth-bound book Until 14th December 2019 (with unique endpapers by Jenn Phillips-Bacher). Feast & Famine explores food as a social, political, and bodily phenomenon. Te exhibition considers food as a Te text of this edition was typeset by hand and printed commodity; the relationship between food, death, sex, using an Adana 8x5. Te decorations were also printed and the abject; food’s relationship to global economics and using the same press (with one exception which was geo-politics; food and its likeness as a medium for artistic screenprinted). experimentation; the food chain and the environmental impacts of food production; and food justice. https://thehalfpintpress.wordpress.com [email protected] Bower Ashton Library UWE, Bristol, Kennel Lodge Road, Bristol BS3 2JT, UK. http://www.bookarts.uwe.ac.uk/exhibitions/ Battered, Jackie Batey, 2009 Feast & Famine gathers together works in a variety of media from artists and artist collectives working nationally and internationally, at diferent stages in their career. With works by John Baldessari, Gladys Barker Grauer, Jackie Batey, Jennifer Bloomer, Christopher Cardinale, Maria Fernanda Cardoso, Morgan Carothers, Melanie Cervantes, Catherine Chalmers, Dustin Chang and Nicole Schulman, Julie Chen, Claudia Claremi, Willie Cole, Confict Kitchen (Jon Rubin and Dawn Weleski), Sharon Core, B. Cortez and B. Riley, Renee Cox, Critical Art Ensemble, M. Gayle “Asali” Dickson, Emory Douglas, Dominique Duroseau, Shanthony Exum, Molly Fair and Jesse Goldstein, Lauren Greenfeld, Ella Halpine, Ed Hutchins, Nina Katchadourian, Tamara Kostianovsky, Nicolas Lampert, Warren Lehrer, Mike Libby, Jen Liu, Fernando Martí, Mary Mattingly, Mazatl, Divya Mehra, Marilyn Minter, Mary Mortimer, non/food (Sean Raspet and Lucy Chinen), Taring Padi, Roger Peet, Robert Rauschenberg, Favianna Rodriguez, Keary Rosen, Martha Rosler, Erik Ruin, Christopher Russell, Seeds InService: A Papermaking Institute (Melissa Hilliard Potter and Maggie Puckett), Malik Zulu Shabazz, Lucy Sparrow, Meredith Stern, Jen Susman, Swoon, Wayne Tiebaud, Chris Torson, virocode (Peter D’Auria and Andrea Mancuso), Robert Watts, Emma Wilcox, Joe Wirtheim. Idaho Booker’s Dozen Exhibition Tour, USA Paul Robeson Galleries Until April 2020 Express Newark, Rutgers University – Newark Te Idaho Booker’s Dozen is a biennial, travelling juried 54 Halsey Street, Newark, NJ 07102, USA exhibition of artists’ books featuring works from Idaho and https://artgallery.newark.rutgers.edu/exhibitions/feast- around the USA, and those of international artists from famine/ Te Netherlands and the UK. Page 3 http://www.bookarts.uwe.ac.uk/newsletters/ Bound and Unbound V and are beginning to realize the need to recycle to protect University of South Dakota, USA our future. I hope my work will increase awareness of Until 3rd January 2020 these changes and will get people thinking about recycling, Te Art and Exhibits Committee, University Libraries, reusing, and repurposing.” at the University of South Dakota, are pleased to announce that Irmari Nacht’s “books124NatureNurtured3” and University Libraries “books131NatureNurtured10” have been selected for University of South Dakota, 414 East Clark Street inclusion in Bound and Unbound V. Tis altered book Vermillion, SD 57069, USA. Tel: 605-658-3381 exhibition will be shown until 3rd January 2020. [email protected] | http://irmari.com/Home.html JACQUELINE DE JONG & THE SITUATIONIST TIMES Tese Are Situationist Times Museum Jorn, Silkeborg, Denmark Until 1st December 2019 ‘Tese are Situationist Times’ is a collaboration between the Norwegian publisher Torpedo Press, Malmö Konsthall, and Museum Jorn. Te exhibition is curated around one of the most remarkable artist-driven journals of the 1960s, Te Situationist Times, published during the period 1962– 1967. Te journal was published by Asger Jorn’s former girlfriend, the Dutch artist Jacqueline de Jong, and sprang from the international avant-garde movement International Situationists co-founded by Jorn. “Te pieces chosen for Bound and Unbound V represent a variety of artistic responses to books. Some artists are engaging with the specifc content of a particular book or author, while others are working with the general notion of books as repositories of knowledge, narrative, or institutional bias. Each piece asks you to engage with books in new ways: to read the book visually and apply new layers of content to original text.” Artists from Argentina, Canada, the United Kingdom, and the United States are represented; 29 artists representing 41 works were juried into the show. Irmari Nacht’s art is in several corporate and public collections: AT&T, PSE&G, ADP, Newark Museum, International Museum of Collage, Bowdoin College, Te multi-lingual and playful journal distinguished Jimmy Carter Museum, Cleveland Institute of Art, Rutgers itself from the French-language and rather theoretical University, Yuko Nii Foundation, Lafayette College, and counterpart Internationale situationniste – and Te Yale Art Museum. She exhibits internationally, as well as Situationist Times also documented the movement’s nationally, and received two NJ State Council on the Arts close link with Scandinavia. Te journal content, based Fellowships in Sculpture. She received a second Pufn on an abundance of Scandinavian cultural material, was Foundation Grant for Who Am I? an interactive project almost exclusively produced in Denmark. In radically where the viewer becomes part of the artwork. experimental ways, Scandinavian cultural history was linked She recently received an award as a Visual Arts Winner of to international contemporary culture: Scandinavian rock the 2018 World Citizen Artists Compete for Peace - Not carvings, baptismal fonts, mangling boards, and fresco War Competition.
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