College Book Art Association Newsletter CCOLLEGE ASSOCIATION BABOOK ARTA September, 2009 Number 1 In this Issue Grabhorn Fellowship University of Alabama MFA in Book Arts CBAA Committee Reports Opportunities Announcements/Queries Exhibitions Welcome to the first issue of the CBAA Newsletter. We hope that you share our Member News enthusiasm and joy for all of the organization’s firsts; first national conference last January, first Grabhorn Scholars this summer, the first three hundred members. And now this newsletter is a vehicle for you, to see the activities of your fellow members, to announce your own accomplishments, to learn about opportunities in the field, to exchange technical and academic information. The newsletter represents in a cap- sule much of the purpose for the organization of the College Book Art Association. I couldn’t be more pleased than to see each of CBAA’s activities, like this one, be developed by groups of our members, on and off the Board, and offered to everyone else. We are a collaborative organism that works best when all members participate. So please, participate in your newsletter and continue the news and exchange we all enjoy. Cheers! John Risseeuw, President, CBAA
Tim Barrett
Breaking news As we go to press, we have learned that Tim Barrett, papermaker and researcher extraordinaire, has been named a 2009 MacArthur Fellow, one of 24 recipients in the annual award. The University of Iowa’s Center for the Book Research Scientist and Professor, Tim is an internationally renowned papermaker. The award gives recipients $500,000 over 5 years and frees them to pursue their craft, art, and research agenda. We are extraordinarily proud of Tim and congratulate him on this much deserved 2009 Grabhorn Fellows recognition. Congratulations to Tim! The Grabhorn Fellowship
The inaugural grabhorn Fellowship convened at the his- toric fine printing and bookmaking facility Arion Press located in San Francisco’s Presidio National Park. Arion Press occupies the historic military building that once served as the original laundry for the Public Health Service Hospital. The facility is nestled amongst sea blown cypress trees and provides breath- taking views of the Golden Gate Bridge when the infamous August fog is not obscuring the panorama. Andrew Hoyem and Diana Ketcham welcomed the fellows with a tour of the park and press facilities followed by a wonderful dinner at their favorite Chinese restaurant. Andrew Hoyem and the outstanding staff of Arion Press facilitated a full schedule involving lectures that historically contextualized fine printing, tours of the facilities inner work- ings, a review of Arion Press publications, and field trips to view exceptional local collections of fine press printing. At the onset of the fellowship, Andrew related Arion Press’s historical connection to the Grabhorn Press and the prestigious con- tributions both have made to the history of fine press print- ing. Subsequently, the group was invited to view the different aspects of the production shops. One tour showcased the foundry and workings of the Linotype and Monotype casting done by M&H Type. During the afternoon field trips, Andrew personally presented fine works. On one particular outing the fellows visited the Robert Grabhorn Collection on the history of printing and the development of the book at the San Francisco Public Library Book Arts and Special Collection Center. During Andrew Hoyem, Proprietor, Arion Press the evening the fellows had time to get to know each other better as they explored the fun nightlife, and in particular the bookstores, San Francisco has to offer. At the conclusion of the fellowship Andrew and Diana gener- ously hosted a cocktail party in the gallery to which they had invited both friends of the press and the local membership of CBAA. Additionally, the fellows presented their current book arts projects. The evening successfully ended the fellowship’s tenure with a lovely dinner and a round of heartfelt toasts of gratitude. — Katy Govan
-2- 2009 Grabhorn Fellows conducted a lecture series on the history My Grabhorn experience was a memora- of printing and type design, featuring ble one. I enjoyed the people it afforded original works by Daniel Updike, Bruce me to meet; but most importantly, I Rogers, Rudolf Koch, Jan Van Krimpen, learned a great deal from the books and the Grabhorn brothers. More than we saw. We were bussed around and 80 Arion Press books were opened and shown books from the collections of the examined in close detail. We visited San Francisco Public Library, the Legion the San Francisco Public Library, the California Palace Legion of Honor, the San Francisco Center for the Book, and even Andrew Hoyem’s home, to behold Matthew Aron a selection of fine books, including the As a Grabhorn Fellow at Arion Press Kelmscott Chaucer, the Oxford Lectern and M&H Type, I spent a remarkable Bible by Bruce Rogers, and many others. week this on the premises of one of the world’s foremost fine press operations — and one of the largest remaining hot metal type foundries. Seeing the pro- Steve Garst cesses at work — and stunning books of Honor, and the Grabhorn Institute. As produced through their labors — was a a developing artist, this gave me a great singular pleasure, indeed. We saw many historical basis for the book arts. And wonderful books at Arion and in other even though we are all in books, I think remarkable collections in San Francisco. everyone knows there is just something But it was the generosity of Mr. Andrew about seeing these pieces of book art his- Hoyem with his time and the generosity tory in person. of the Arion staff with their enthusiasm Joshua Falconer —Steve Garst that made the week so valuable. After The press was at work printing the business hours, the group of ten Fellows two-volume edition of Don Quixote in Spending a week at a historic press connected over meals and drinks, getting Centaur Monotype. We met with master watching fine printing and bookmaking to know one another and learn about one printer Gerald Reddan and discussed the in action was a highlight of being part another’s work and experiences as we composition and printing process. At the of the Grabhorn Fellowship. Andrew explored the city together and stayed to- typefoundry, Kenny Howard, along with Hoyem personally narrated the intricate gether in the Presidio’s barracks. Having apprentices Brian and David, revealed process of what goes into the creation of an intense week together gave me the the inner workings of the Monotype cast- a find press edition, including the casting energizing and inspiring opportunity to ing process, and master typecaster Lewis of monotype. He often stressed for us become colleagues and friends with nine Mitchell recalled scenes from more than how important it is to the process to have terrific artists who, like me, choose to 59 years of working at the typefoundry. a highly skilled and dedicated team of make books. In return, each of the Grabhorn Fellows professionals to bring such a grand ven- — Matthew Aron presented a work of book art at a formal ture such as printing a book to fruition. reception that hosted a few dozen fine It was insightful to get a feeling for how Over the course of the week at the Arion printing collectors and artists. Weeks the print shop, bindery, foundry, busi- Press and M&H Typefoundry, the inaugu- later, the magnitude of the experience ness office working in unison pull off ral Grabhorn Fellows observed the activi- continues to unfold in my own work, this feat often several times in a year. One ties of the press, binding studio, and printing books and designing typefaces. moment from this experience that will typefoundry. Publisher Andrew Hoyem — Joshua Falconer always stand out for me was that during -3- Fellows cont. our visit the press was beginning the book arts collections and institutions in printing of Don Quixote. We were able to San Francisco, as well as learning about witness some of the initial lock ups and the university that each Fellow came pages that were pulled off the press. At from. It was a once in a lifetime opportu- one point we were given the opportunity nity to spend concentrated time discuss- to participate in the proofing when we ing book arts in all its aspects. Andrew Hoyem and his staff were generous with their time and knowledge, answering questions and sharing what they knew about the production process. I would like to thank the CBAA and the Grabhorn Institute for a great, informative week. Margaret Kimball —Andrew Huot preciation of the bookmaking craft. The point of the thing is the people, is get- As is common with most first things, I ting to know a group of talented, hope- think it’s fair to say that the week began ful, intelligent humans with a shared ambivalently, for all of us, including love (alien to outsiders), from whom Andrew Hoyem, the publisher and host we can learn. The point is seeing and Katy Govan of the Grabhorn Fellowship; all of us un- holding masterpieces, rare and beauti- were each given our own page to look certain of what to expect. Arriving in the ful objects kept in often locked libraries, over. It was an exhilarating feeling to par- beautiful, historic district of a sun-laden public and not, in special collections. ticipate, if only in a small way for a short San Francisco, we promptly received The point is meeting the actual crafts- moment, in such a grand scale venture of a well-meaning calendar detailing the people, the men and women making and the printing of a book. week for us. The days would go like this: setting the type, sewing and binding the —Katy Govan explore various parts of Arion Press and books, the people with the vision. The M&H Type, eat [excellent] lunch, listen point, finally, is leaving. To return to our After spending a week at Arion Press to lectures from Andrew and on some humble studios, where we all, I’m sure, with the other Grabhorn Fellows I was afternoons, we’d take field trips. From 9 feel prepared and even excited to begin exhausted. Each day we learned about to 5, our days were packed. And after 5, our own projects with what was for me, the publishing of fine press books, from we found ourselves in restaurants, bars anyway, a new kind of confidence from original idea, through the casting of type, and bookstores, indulging our tastes and having seen how these objects are made. printing, and binding, to final marketing getting to know one another, and push- —Margaret Kimball of the books. Our time included tours of ing the limits of airplane weight regula- tions with our newly book-filled luggage. The Grabhorn Fellowship provided On the final evening of the week, the me with valuable information, inspira- Hoyems hosted a beautiful dinner for the tion, and an outlook on book publica- fellows, inviting many of their donors tion that has significantly impacted my to join us. Sitting next to Andrew, I future goals. The business discussions asked him why he held the fellowship. directed my focus while the visits to I wanted to know what he got out of it. library special collections opened doors “I’m looking for someone to carry this of exploration. The Arion staff, M&H on.” We both glanced at the fellows, Type staff and Andrew Hoyem provided shrugged. Regardless, here is why I a wealth of knowledge about the process think the fellowship is entirely important behind the creation of numerous Arion Andrew Huot to our collective understanding and ap- books, which reinforced my thoughts
-4- Fellows cont. As a Grabhorn Fellow, I was most grate- even moving forward when finer details ful for the opportunity to gain a compre- weren’t quite completely resolved. He hensive understanding of the process of seems to take pleasure in the process of producing a fine printing project. From letting a book grow as if it were a living a design standpoint, being exposed to Arion Press books was an inspiration, but from a practical perspective this fellowship was invaluable. I felt like I gained a concrete understanding of how a letterpress publishing house is run, Wesley Kloss everything from project selection and on the importance of collaboration. planning to production methods and The experience was incredible and I feel marketing. My experience at the Arion very fortunate to have been selected. It is a wonderful thing when books, great people and opportunity come together! — Wesley Kloss Jessica White being, evolving from the germination of The Grabhorn Fellowship was an excit- an idea, changing shape during the mak- ing, intensely educational week layered ing process, and becoming a finished with lectures on typography and on object with a sense of being true to itself. the histories and inner workings of the Besides technical lessons learned during Arion and Grabhorn Presses, visits to the fellowship, the people I spent time important rare book collections and to with also really stand out. It was truly a the production areas of Arion Press. The fellowship in the fullest sense, from the variety of activities and styles of presenta- Jenni Sands camaraderie to the discourse among new tion led to a week of knowledge sharing Press showed me how art and publish- friends and colleagues. Each day we were as significant as that of an entire semes- ing can be combined in a viable business exposed to new ideas and information ter — and one with a lasting impression! without sacrificing beauty or quality. from Andrew Hoyem, his staff, or from Once gained, this knowledge cannot be — Jenni Sands one of our field trips, and each evening pushed aside, and I am eagerly anticipat- we had a chance to discuss our thoughts ing the ways my own and the work of my During my week long stay at Arion Press and personal experiences. Along with fellow Fellows will change in response. for the 2009 Grabhorn Fellowship, I the incredible amount of information I — Lee Marchalonis was immersed in the world of fine press come away with from the program, I’m books like never before. Many of my as- also glad to return home with new con- sumptions of Arion Press turned out to nections invaluable to my future explora- be wrong, and especially one about their tions in printing and book art. production process. I’ve always assumed — Jessica White that the course of action for each book was carefully and deliberately planned, and production only began after every step was meticulously calculated to fit together like a well-crafted puzzle. I The Grabhorn Fellows program is jointly spon- was surprised to hear Andrew Hoyem sored by the CBAA and the nonprofit Grabhorn talk about the need to change direc- Institute. Our thanks to Andrew Hoyem for Lee Marchalonis tions during certain projects, sometimes intitiating and supporting this program. -5- MFA in the Book Arts: School of Library & Information Studies, The University of Alabama
their projects ahead one step at a time. The Master of Fine Arts in the Book Arts Program began in 1985, and emphasizes the art, craft, and history of making books by hand. We are located in the College of Communica- tion and Information Sciences, School of Library and Informa- tion Studies, at The University of Alabama in Tuscaloosa; a verdant, traditional campus located on the banks of the mighty Black Warrior River. Our program is a 60-credit hour course of study comprising four basic areas: bookbinding, the history of the book, paper- making, and letterpress printing/publishing. These areas do not work in isolation. Connections between them are made as often as possible. Our emphasis is on the book as an integrated whole, although there is opportunity for a student who wishes to pursue a specific interest in one or more of these areas after the initial general year of study. We are interested in develop- ing contemporary craft skills based on historical principles and Graduate students Kerri Harding [l] and Mary McManus inspect the techniques, and the artistic expression that follows. exhibition Dragging Obscure Words Into The Light of Day in the Fifth The MFA in the Book Arts Program produces book artists Floor Gallery. who have well-honed technical knowledge of the various facets Yesterday in the Tuscaloosa News a of contemporary bookmaking, and who have an understanding photograph appeared of two Book Arts of the historical evolution of the book, including its materiality, graduate students studying an exhibi- and the role of the book in society. Courses explore the recon- tion case in our Fifth Floor Gallery. In ciliation of modern sensibilities with historic craft. The MFA it were examples of work by myself and degree and the 2.5 to 3 years leading to it, is a starting point in my colleague, bookbinder Anna Em- what is a lifelong process of acquiring skills and expertise in bree, as well as articles and books by the art and craft of making books. other faculty members in the School of Library and Information Studies, where the Book Arts Program resides. The students were surrounded by paper flags hanging from the ceiling. Hundreds of mysterious words from a website entitled Dragging Obscure Words Into The Light of Day had been set in antique wood types and letterpress-printed by Glenn House. Sr. and Kathleen Fetters. It was their idea to install the words as clusters hanging from above. This is one of many exhibi- tions that will be mounted this year cel- ebrating books and everything connected with creating them. Today is Sunday and while most students are recovering from yesterday’s football win, our graduate At Taller Experimental de Grafica, from left to right, Lark Griffin, Jessica Peterson, Professor students are enthusiastically moving Anna Embree, Friedrich Kerksieck, and Emily Tipps. -6- Alabama cont. We accept up to eight new students each year. Our students and collated the printed pages with the artist’s own linocuts are highly motivated, and come from various undergraduate printed on papers made at the nearby hand papermill. We backgrounds and work experiences. We have four graduate printed a new linocut on an ancient hand press, and visited assistantships available yearly, on a competitive basis, three with Cuban friends who came to visit us. Our tables were set Windgate Fellowships, and assistantship and scholarship sup- up in the middle of the Taller, so printmaking by a number port from the School of Library & Information Studies. of artists was an ongoing storm swirling around us. At night December 1, 2008. We have arrived at the Taller Experimental our students met with their new Cuban friends, visiting their de Grafica, located at the end of a small street off the Plaza de la homes, eating, dancing, and dreaming. By the end of our stay Cathedral in Old Havana, Cuba. Anna and I lead the four gradu- in Havana we presented the artist, the author, the Taller, the ate students we have been working with during the preceding papermakers, and the Office of the Historian with half of the nine months up the steps and into the gallery and cavernous edition of 63 copies. We celebrated with our friends and fellow studio space. It is early for the Taller, 10am, but we are on artists, packed our copies of the book, left many of our tools Alabama time and ready to get moving on our collaborative and supplies, and made our way back to Alabama via Miami book project. We have been in direct and email communication in one exhausting day. I am certain it was a trip that changed with the artist, Ángel Manuel Ramírez, and with the author, Dr. Eusebio Leal Spengler, the Historian of the City of Havana through his staff. Of the many trips to Cuba, and a number of previous Alabama-Cuba collaborative book projects, it is Dr. Leal who we have wanted to work with on a book. The office of the Historian of Havana has been continuously occupied by distinguished individuals for over 400 years. Dr. Leal is a well-published poet and scholar, and has created a spe- cial place for himself in Cuban history by being the inspiration and muscle behind the rebuilding of Old Havana. Years ago he was charged by Fidel Castro with taking the tourist dollars flowing into Cuba and redirecting them to restoring the archi- tectural grandeur that once was Havana. In this he has been successful. Havana has become again a fascinating mecca for travelers world-wide, except of course from the United States. The Cuban team took pieces from Dr. Leal’s writings and Second-year graduate student Ally Nevarez [r] demonstrates a pam- speeches on Havana, and titled the book HAVANA: A LIVING phlet binding to undergraduate students enrolled in the course CITY. Dr. Leal was particularly interested in the work of artist “Coming of Age in America”. Ángel Manuel Ramírez, and we were happy to find his linocuts, drawings and paintings to be inspiring. Over many months the students forever. It was an example of having a big and before traveling to Havana our team worked to complete the challenging idea, and methodically figuring out how to get it Spanish translation, the typographical and binding design, the done—how to prevail against the odds. Like book artist do. placement of small linocuts that the artist was able to scan and The University of Alabama’s bookbinding, type lab and email to us, the ordering of handmade paper from Canada, papermaking studios are stage sets for learning the crafts in a the making photopolymer printing plates, and the letterpress- foundational and solid way. Our first goal is to instill in each printing of all the text and many of the images. When I say our student a baseline proficiency in all aspects of making books team, I mean the four third-year students who wanted to have by hand. Our second goal is to open the world of book arts this extraordinary experience, and who stepped up to the chal- in all its manifestations to our students. We invite outside lenge of finding ways to financially support their participation. artists—binders, printers and papermakers—to show their The five days at Taller Experimental de Grafica were spent work and share in the classes. We do whatever is in our power preparing the pages for binding. We folded, dry pressed to assist our students in attaining their professional goals by
-7- Alabama cont. CBAA Committee Reports helping them attend conferences, take New CBAA Website Launched Initial plans for the as-yet-unnamed on- internships, and with study and teaching On July 1st, the College Book Art line journal were drafted, discussed, and opportunities at places like the Penland Association launched its new website. approved by the Board last year. School of Crafts in North Carolina. We This site now provides our members The next step is appointing an Editor encourage our students to exhibit their with outstanding membership services in Chief. As currently envisioned, the EIC work, and to exhibit often and widely. including online membership applica- position will be a substantial project and Our students and faculty are visible tions and renewal along with online reg- a huge opportunity for the CBAA mem- throughout the city and state at art and istration for events such as our January ber who takes on this ground breaking book festivals, and participate in educa- 2010 meeting in Portland, Oregon. All role. The initial call for nominations tional outreach in schools and libraries. online transactions are done through our from the membership before the Iowa Students from across the University PayPal account. The website contains a conference yielded no nominations. and all across the state come to visit the full database of our members and each Committee members discussed the posi- program as part of their course work. In member has an account and profile that tion with several potential candidates addition, some of our advanced students they can manage and update. We are now and found some interest but no one who teach undergraduate Honors classes in able to provide strong communication could accept nomination at this time. As Creativity, and in Book Arts. with our members as we have the capa- we renew the search for our first editor, Book Arts at Alabama is a commu- bility to send email announcements and the expanded committee would now nity of people who think about making information to our entire membership welcome any nominations, self-nomi- books 24/7. Our job is to help individuals or select groups. The site itself contains nations, suggestions or comments from identify their passions in book art and information about CBAA and includes the membership. amplify them. We are serious about the resources such as the recently added, Contact: Betsy Davids [email protected] studio work and probing and playful Critical Writings on Book Arts, compiled and Betty Bright
-8- Committee Reports cont. Conferences interests active today. Those lists will be The NY Art Book Fair & Contemporary tors from 20 countries present contem- identified on the CBAA site by teacher Artists Books Conference porary art books, art catalogs, artists’ and institution. New York City October 2-3 2009 books, art periodicals, and ‘zines. The The members of the task force repre- http://nyartbookfair.com featured exhibition is a survey of books, sent a variety of professional affiliations In collaboration with Printed Matter’s posters and ephemera by Richard Prince. and interests. They are: Betty Bright, NY Art Book Fair, the Art Libraries Don’t miss project rooms by the legend- an independent historian, curator, and Society of New York (ARLIS/NY) an- ary super-school Werkplaats Typogra- CBAA board member; Katy Govan, nounces a conference on contemporary phie (Netherlands), and artist/designers an M.F.A. student at the University of artists’ books. The program will include Dexter Sinister (New York), together Nevada-Reno and a student representa- speakers, panels, artists’ presentations, with JAPANESE POP THEN AND NOW, tive on the CBAA board; Sarah Hulsey, and receptions. The conference focuses presented by Gallery 360 (Tokyo). And a book artist who teaches Linguistics on recent developments in artists’ books. FRIENDLY FIRE is a no-holds-barred at Northeastern University in Boston, Sessions this year focus on zines, data- curated zone of the young and the rest- and book arts at Montserrat College of oriented artists’ books, reprints, print on less, independent artist-producers and Art; Michael Kasper, a book artist, and demand, and criticism. These and other artist-activists. a reference librarian and the Collection themes are intended to encourage dialog For information on Conference Sessions Development Coordinator at Amherst amongst scholars, collectors, artists, and and Registration,Fair go to: College; Elisabeth Long, a book artist, librarians. http://nyartbookfair.com critic, and the co-director of the Digital The conference opens with a free preview The NY Art Book Fair is FREE and open Library Development Center at the of the NY Art Book Fair on Thursday, to the public. University of Chicago; Jae Rossman, a October 1, from 6-8 pm. Over 150 exhibi- Yale University Arts librarian and critic, The Friends of Dard Hunter who has sponsored conferences at Yale Annual Conference on artists’ books; Michelle Strizever, in the Spirit of Dard Hunter, a graduate student in English at the The Art and Craft of Hand Papermaking University of Pennsylvania, writing a October 15-18, 2009 dissertation on artists’ books; and Kathy At the Robert C. Williams Paper Walkup, an artist and Mills College pro- Museum on the Georgia Tech Campus, fessor, and CBAA board member. Atlanta, Georgia. The RCW Paper The task force is now at work on other Museum is the home to the Dard Hunter resources, including a list of journals Collection and offers a glimpse into the that publish writings on artists’ books life and work of this extraordinary artist and a list of book artist archives. From and craftsman. resources, the task force will then turn to The conference features pre-conference consider initiatives on outreach. tours, portfolio sharing opportunities, presentations by renown papermakers . and paper scientists, a tour of the Dard Hunter Collection, hands-on work- shops, a juried member’s exhibition, and plenty of time to get to know fellow Retard Riot, one of the exhibitors in the paper enthusiasts. Friendly Fire sector of the NY Art Book Fair All the information and registration material can be found at: www.friendsofdardhunter.org
-9- Conferences cont. Opportunities American Craft Council Call for Entry $3,000 for six to eight weeks, materials Creating a New Craft Culture The Assignment up to $750, access to all studios, travel Oct. 15–17, 2009 A Juried Exhibition of Book Arts costs (within the Continental US), and Minneapolis, MN Organized in Conjunction with the housing. Projects are chosen by a jury of The world is in transition economically, Meeting of the CBAA in Portland, Oregon outside artists and curators. politically, environmentally and the at 23 Sandy Gallery WSW has developed a series of archive changes that are radically transforming 23 Sandy Gallery and the College Book and exhibition opportunities for the how we communicate, what we value, Art Association (CBAA) invite you to books. The contract stipulates 10% (or and how we live affect us all. submit work to The Assignment, a juried ten books) for WSW archives, exhibition, In this transitional moment, the book arts exhibition held in conjunction and display copies; 10% of the edition American Craft Council has engaged a with the annual meeting of the CBAA for the artist; and 80% of the edition for distinguished group of speakers repre- in Portland, Oregon. To illuminate the general marketing. Artist have the option senting voices from inside and outside conference’s focus on book arts teaching of collaborating with WSW on marketing the craft field to stimulate your thinking practice and pedagogy, this exhibition of artists’ books for a 50% commission and to investigate the inherent tensions will feature work created by member fee. WSW has artists’ books in collec- between craft as a lifestyle and craft as a artists generated directly from course as- tions world-wide and six institutions livelihood. signments or from those assignments we are repositories of all the artists’ books Tours include the Minneapolis Center for generate for ourselves. This show is open published by WSW. The repositories are: Book Arts, The Walker Art Center, and to both teachers and students of the book Indiana University (Bloomington), Roch- The Highpoint Center for Printmaking. arts. Work accepted into the show will be ester Institute of Technology, University Speakers include Richard Sennett, Elisa exhibited alongside a written description of Delaware, Vassar College, Virginia Auther, and Sonya Clark. For more of the assignment. Non-members are Commonwealth University and Yale information and to register, go to: http:// welcome to submit work if they pay the University. Application guidelines and www.craftcouncil.org/conference09/ membership fee on top of the entry fee. forms are available on our website at: See the Assignment: Inspiration page for http://www.wsworkshop.org/_art_opp/ CBAA Annual Meeting and some exciting sample assignment ideas. artopp_grant_ Seminar in Book Arts Pedagogy For more information and to enter, go to January 8 - 9, 2010 http://www.23sandy.com/assignment/ Research Grant Portland, OR call-for-entries.html Princeton University Library Please join us for the 2010 CBAA annual Research Grants meeting hosted by the Oregon College Residency Each year, the Friends of the Princeton of Art & Craft. The program will focus The Women’s Studio Workshop Artist University Library offer short-term on teaching strategies and consist of Book Residency Library Research Grants to promote one feature presentation and a variety Applications postmark deadline is scholarly use of the research collections. of open discussion sessions engaging November 15th. The Program in Hellenic Studies with participants in a range of pedagogi- These Artist Book Residency grants are the support of the Stanley J. Seeger Fund cal issues. A members’ exhibit entitled designed to enable artists to produce a also supports a limited number of library ‘The Assignment’ will be mounted at 23 limited edition of 50-100 books at WSW’s fellowships in Hellenic studies, and Sandy Gallery in conjunction with the studios in Rosendale, NY. Working inten- the Cotsen Children’s Library supports meeting. A call for exhibition entries has sively for six to eight weeks, artists print research in its collection on aspects of been posted. The next full CBAA confer- and bind their own books. WSW techni- children’s books. The Maxwell Fund ence will be held in January 2011. cal assistance includes training on new supports research on materials deal- For more information and to register, go equipments, introduction to new materi- ing with Portuguese-speaking cultures. to: http://www.collegebookart.org/ als, and assistance with production. In addition, starting this year, awards The grant includes a stipend of $2,000 to will be made from the Sid Lapidus ‘59
-10- Opportunities cont. Research Fund for Studies of the Age of tration. The metadata will be consider- of artist books with a focus on unique Revolution and the Enlightenment in the ably more streamlined than in the first and limited edition hand made books Atlantic World. This award covers work round of ABsOnline, and entry will be in that integrate traditional and new media using materials pertinent to this topic a form-based environment that does not and focus on historical, political and donated by Mr. Lapidus as well as other require technical knowledge. At present, scientific subject matter. also relevant materials in the collections. I am simply interested in seeing if this Booklyn is one of the pioneer organiza- These Library Research Grants, which is of interest to this community. I have tions leading the 21st century shift in have a value of up to $3,500 each, are had some positive preliminary response Special Collections Libraries’ focus on meant to help defray expenses incurred from potential institutional partners bibliophile-driven fine press acquisition in traveling to and residing in Princ- and some of my book artist friends. The to subject and curriculum motivated col- eton during the tenure of the grant. The question is, is this something the artists’ lecting of artist books as a source of af- length of the grant will depend on the book community needs and would use? fective, qualitative and primary research applicant’s research proposal, but is Please contact: [email protected] material. The Booklyn Decade Archive ordinarily up to one month. Library Re- if you have thoughts about this one way is an invaluable research resource and search Grants awarded in this academic or another. an outstanding historical component of year are tenable from May 2010 to April — Johanna Drucker American and international book arts 2011, and the deadline for applications is history. Cataloging of the The Booklyn 15 January 2010. Commemoration of Judith Hoffberg Decade is underway; institutions inter- For more information on the application An *artist’s book* is being created in her ested in acquiring the Archive should process, go to: http://www.princeton. memory, and deposited with her papers contact Marshall Weber at Booklyn: edu/rbsc/fellowships/f_ships.html at the University of California, Santa [email protected] Barbara. If you are interested in creating Announcements/Queries a page, please use 8-1/2 x 11” paper (of Exhibitions Artist’s Self-Archiving Tool (ASAT) any kind). Let your inspiration be Judy’s Guild of Book Workers Marking Time Preliminary query - Johanna Drucker perpetual curiosity about anything to do Exhibition Begins Two-Year Tour I am trying to gauge interest in an easy with libraries, books, and all kinds of art. The Guild of Book Workers is pleased to to use tool for artists to use to catalogue Scans of all the art submitted thus far present Marking Time, the Guild’s trien- and annotate their own archives. The is up at myspace.com/judithahoffberg nial members’ exhibition. tool will be designed to conform to
-11- Exhibitions cont. of backgrounds, talents, and poets’ work. In addition, ten artists were Robinson, Gene Valentine. interests that has been a hallmark of hand–selected to create corresponding Project Gallery: Book Arts Guild membership for over 100 years. letterpress printed broadsides (edition of August 24 - September 26, 2009 forty-five) reflecting each of the high- The Mary Elizabeth Dee Shaw Gallery at lighted poems. Weber State University in Ogden, Utah, Somewhere Far From Habit exemplifies is pleased to announce the exhibition, the celebration of life found in both art Book Arts, featuring the work of invited and poetry, a melding of these artis- national book artists. With an emphasis tic communities who share a mutual on the book as an art object, this exhibi- love: the love of the book. This creative tion, presented in the Project Gallery, exhibition, consisting of forty artists’ includes twelve book artists from around books and ten broadsides, opens at the the U.S. and Canada, whose works range Self Dual by Ellen Knudson Pierre Menard Gallery in Cambridge, in size and scope, including miniatures, The show opened at the Minnesota Cen- MA, on November 6 and runs through traditional book forms, installation, and ter for Book Arts in Minneapolis in May December 6, 2009. The show will travel sculptural approaches to the book. The 2009, travels to San Francisco concurrent to the Longwood Center for Visual Arts Project Gallery is adjacent to the Dee with the Guild’s annual Standards of in Farmville, VA, January 22 – March 19, Shaw Gallery in the Department of Visual Excellence Seminar in fall 2009, and will 2010. The ten poetry-based artist’s books Arts* Kimball Visual Arts Building. The tour through March 2011 to nine venues, and their accompanying broadsides will exhibition has been curated by Susan including book arts centers, and public be on view at the Hyatt Regency Hotel Makov, Professor of Art, Weber State and university libraries. A complete tour in Denver, CO, April 7 – 10, 2010 during University. schedule is online at The Association of Writers & Writing Participating artists include: Pam www.guildofbookworkers.org Programs (AWP) Annual Conference and Barrios, Brian D. Cohen (Bridge Press), An accompanying exhibition catalog Book Fair. Sue Cotter (Woodhenge Press), Laura is available for $35 at most venues, or The exhibition is co-curated by Mary Davidson, Marie Dern (Jungle Garden online at www.guildofbookworkers.org. Carroll-Hackett, Kerri Cushman, and Press), Crispin and Jan Elsted (Barbarian The catalog features full color photo- Cat Parnell. Partial funding and support Press), Art Hazelwood, Peter Koch graphs and complete descriptions of for the show has been made possible (Peter Koch Printers),Leonard Seastone each work; biographies of the artists; through Longwood University. The (Tideline Press), Judith Serebrin, Nancy remarks from the jurors and essays by exhibition features work by the following Steele-Makasci, and K Stevenson. Marking Time curator Karen Hanmer individuals: The exhibition runs August 24 * and Guild president James Reid- Poets: Michael Burkard, Lucie Brock- September 26, 2009. Gallery hours are Cunningham. Broido, Joy Harjo, Ethelbert Miller, Jason Monday through Friday 11- 5 p.m. and The exhibition and a tour schedule are Shinder, Tom Sleigh, Aaron Smith, Saturday 12- 5 p.m. The exhibit is free and online at: http://www.guildofbookwork- Robert Pinsky, Liam Rector, Natasha open to the public. For more information ers.org/gallery/markingtime/index.html Trethewey. please visit the Weber State University Book Artists: Ben Blount, Beatrice Department of Visual Arts website: http:// Somewhere Far from Habit Coron, Kerri Cushman, Margot Ecke, departments.weber.edu/dova/ The exhibition, Somewhere Far From Habit, Karen Kunc, Hedi Kyle, Richard Minsky, is a collaboration of some of the coun- Audrey Niffenegger, Shawn Sheehy, Buzz SOME BOOKERS: 1994-2008 try’s most inspiring poets and most Spector. Selections from the Idaho Center for the exciting book artists. The show pairs ten Broadside Artists: Macy Chadwick, John Book’s juried, traveling, handmade/art- poets with ten book artists, in which the Cutrone & Seth Thompson, Caren Heft, ists’ book shows. Liberal Arts Bldg., artists are creating one of a kind or lim- Casey McGarr, Steve Miller, Paul Moxon, 1st Floor, Boise State University ited edition artist’s books inspired by the Chip Schilling, Jessica Spring, Lisa Beth October 5th-November 10th, 2009
-12- Exhibitions cont. Member News
“ETHIOPIAN” SCROLLS to be experienced as a sheltered sacred Bo o k + Ar t : Ha n d c r a f t i n g Ar t i s t s ’ Bo o k s has Protective scrolls created by BSU Book space within the gallery, an escape from just been published by North Light. It Arts students Liberal Arts Bldg., 1st Floor, the stress of everyday life, an oasis for focuses on content and suggests simple Boise State University meditation and reflection. This BookEn- and elegant ways of presenting it in book November 16th-December 9th, 2009 viron reaches a height of 14 feet, encour- form. I designed it as a supplementary aging the viewer to look upward, prompt- text for college classes or for artists who Boundless Transformations: ing thoughts of higher goals, aspirations, are interested in expanding into book- The Book as Art and epiphany experiences. making. You can see some of the double Denver Art Students League Eureka College is a liberal arts and science page spreads on Amazon if you “click to Invitational, Guest Curator: Alicia McKim institution affiliated with the Christian look inside”. (Up Gallery) Opening Reception: Friday, Church (Disciples of Christ). Reverend — Dot Krause September 4 Bruce Fowlkes, Chaplain of the College, Runs through October 28 is collaborating with the artists to provide Wo r k s o f Pap e r b y Am a n d a Ne l s e n http://www.asld.org/events.asp special services each Friday from Septem- Greetings! I am excited to share the ber 11th through October 9th, 11:00 AM video recently produced by CCTV in BOOKLYN UND STOHEAD – WRITE NOW – 1:00 PM. Entitled Artful Prayer, these tandem with the work I have on display 30. September - 15. November, 2009 services in the gallery are self-guided re- in their “Drive by Gallery”. Please check Klingspor Museum Offenbach flections enhanced with music. out the link for the video (thanks to Amy Herrnstraße 80, 63065 Offenbach am for all the great editing) and visit the Main, Losing Ground gallery on Prospect Street in Cambridge Telefon 069 8065-2164 und -2954 Dorothy Simpson Krause to see the new work. Video: http://www. www.klingspor-museum.de August 19 - September 19. cctvcambridge.org/node/24898 Landing Gallery, 8 Elm Street, Rockland, August 7- September 17 Eureka Magnolia BookEnviron by Veda Maine 04841, 207 594 4544 CCTV Gallery, Cambridge, MA and Meda Rives is the featured exhibition In this exhibition, and in an included book at the Burgess Hall Art Gallery of Eureka with the same title, Krause uses images of Wo r d l e s s Bo o k s : Th e Original Gr aph i c No v e l s by College, Eureka, Illinois. This large-scale the land to make a plea for awareness of David A. Beronä has been nominated for installation of their viewer interactive art- our role as stewards of the environment. the prestigious 2009 Harvey Award in the ists’ book is on display from September The book, Losing Ground, was one of 50 category of Best Biographical, Historical 1 through October 15, 2009. A BookEnvi- books selected for the Guild of Book or Journalistic Presentation. ron is an artist’s book that by concept and Workers Traveling Exhibition, “Marking Named in honor of the late Harvey Kurtz- scale creates an immersion experience for Time”, which will travel to nine venues man, one of the industry’s most innova- the viewer who enters and explores the before it closes in 2011. Limited and de- tive talents, the Harvey Awards recognize space created and shaped by the book. luxe editions and a 7” x 7” softcover open outstanding work in comics and sequen- Eureka Magnolia BookEnviron creates a par- edition are available from Viewpoint Edi- tial art. They will be presented October 10, tially enclosed area, which is intended tions: www.DotKrause.com 2009 in Baltimore, MD, in conjunction with the Baltimore Comic-Con. Nomina- tions for the Harvey Awards are selected exclusively by creators – those who write, draw, ink, letter, color, design, edit or are otherwise involved in a creative capac- ity in the comics field. They are the only industry awards both nominated and se- lected by the full body of comic book pro- Book Environ by Veda and Meda Rives fessionals. Professionals who participate -13- Member News cont.
Two of my artist books have recently ing their work to a new level. In addition been accepted into the collection at the to a standard version of a hardcover National Museum of Women in the Arts coffee table book of their fine art, Digital in Washington, DC. Atelier, they have used a variety of cutting I have been the resident book artist at the edge digital printing technologies to Experimental Printmaking Institute at create a special collector’s boxed set that Lafayette College, Easton, PA since 2001. accommodates a piece of original art by — MaryAnn Miller each artist and essays were contributed by Carol Pulin, Director of the American ORACLE BONE PROJECT Print Alliance and Editor of Contempo- BOISE STATE UNIVERSITY rary Impressions, and also by Harald http://english.boisestate.edu/ttrusky/ Johnson, author of Mastering Digital oracle/ Printing. Both the 74 page book and the In this “Pre-Codex” assignment, stu- original art in the boxed set were pro- dents in Tom Trusky’s “Introduction to duced as a signed and numbered limited Book Arts” course are creating Chinese edition of 100. The book was printed on Oracle Bones, notable not only because the HP Indigo press 5500 and bound by these bones are the earliest examples of Acme Bookbinding. The 11” x 14” book Chinese writing, but also because they and three pieces of art fit together into an are inked and then inscribed on animal archival black anodized aluminum box scapulae (not in clay or on papyrus) and by Pina Zangaro. Universal Laser Sys- because their content always concerns tems engraved the black aluminum box the future. Oracle Bones do not record to match the design of the foil stamped genealogies, historical or current events: fabric hardcover of the book. no past or present tense, please—only what lies ahead. CBAA Newsletter We are looking for The assignment also encourages students reviewers to cover new trade publications to be Biblio Locovores—employing local ,artist book releases, exhibitions, and materials (domestic and/or wild game conference proceedings. Please contact shoulder blades). This “multi-cultural” us at [email protected] if you project also raises awareness regarding are interested in writing a review or pre-book and book materials and leads short article. to considerations relating to material The College Book Art Association availability, malleability, fragility, perma- Newsletter is published quarterly for its nence, weight /bulk, portability, storage members by the CBAA Communications requirements, surface/inscription area Committee. This issue was designed, limitations—“content” limitations, etc. edited, and prepared by Julie Leonard of the University of Iowa and Lisa Beth Digital Atelier Artists Expand Bound- Robinson of East Carolina University. aries of Book with a Collector’s Boxed Set Contributions are welcomed. Please send The artists of Digital Atelier–Dorothy submissions, questions, or other cor- Simpson Krause, Bonny Lhotka and respondence regarding the newsletter to Karin Schminke–known for pushing [email protected]. boundaries in the world of fine art print- Submission deadlines are March 1 ing, have taken the concept of showcas- June 1, September 1 and December 1. -14- 2009 CBAA Board Members Founding Members Officers Jan Baker President Becky Barber John Risseeuw, Arizona State University Robert Blesse Executive Vice President Betty Bright Kathy Walkup, Mills College Betsy Davids Vice President for Programming Tatiana Ginsberg Bonnie O’Connell, University of Nebraska, Omaha Katie Govan Vice President for Membership Michael Henninger Richard Zauft, Emerson College Charles Hobson Secretary Julia Leonard Barbara Tetenbaum, Oregon College of Art and Craft Kitty Maryatt Treasurer Clifton Meador Mary Phelan, University of the Arts Mary Ann Miller Steve Miller Robert Blesse, University of Nevada, Reno Nance O’Banion Betty Bright, Minnesota Center for Book Arts Board Bonnie O’Connell Julie Chen, Mills College Marnie Powers-Torrey Katie Govan, University of Nevada, Reno, Mary Phelan Student Representative Harry Reese Charles Hobson, San Francisco Art Institute John Risseeuw Julia Leonard, University of Iowa Ruth Rogers Kitty Maryatt, Scripps College Lisa Beth Robinson Clifton Meador, Columbia College Chicago Barb Tetenbaum Center for Book & Paper Arts Cynthia Thompson Steve Miller, University of Alabama Thomas Trusky Marnie Powers-Torrey, University of Utah Susan Viguers Harry Reese, University of California, Santa Barbara Kathy Walkup Ruth Rogers, Wellesley College Tony White Lisa Beth Robinson, East Carolina University Laurie Whitehill Chong Tony White, Indiana University Karen Wirth Karen Wirth, Minneapolis College of Art Richard Zauft Philip Zimmermann
CBAA Board, Iowa City, 2009 -15-