EDUCATION: 2008 MFA, University of Pennsylvania, Philadelphia, PA

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EDUCATION: 2008 MFA, University of Pennsylvania, Philadelphia, PA 2005 BA, University of Wisconsin, Madison, Wisconsin SOLO EXHIBITIONS: 2010 Portrait Histories, Ramis Barquet, New York, NY 2008-2009 Seemingly Familiar, Moeller Snow, New York, NY 2007-2008 Constructed Portraits, Pennsylvania Convention Center, Philadelphia, Selections by Judith Stein GROUP EXHIBITIONS: 2011 A Social Experiment, Old Stone Boys Club, Watermill, NY Selections by Charolotte Kidd & James Solomon Chain Letter, Samson Projects, Boston, MA Inspiration Information, 1325 Randolf, Philadelphia, PA Selections by Sam Belkowitz & Alex Gartelmann Watchwords, Cauldron Projekts, Birmingham, AL 2010 Tri-State Show, Jolie Laide Gallery, Philadelphia, PA I Speak American, Gallery at Delaware County Community College Media, PA 2009 East Coast Video, Ramis Barquet, New York, NY Selections by Nicholas Kilner Consequential Addams Gallery, Philadelphia, PA Single White Female, Second-Floor, Brooklyn NY Selections by Sarvia Jasso & Katherine Garcia 2008 ID, Projects Gallery, Philadelphia, PA Selections by Roberta Fallon and Libby Rosof Happy Endings, Michael Steinberg Fine Art, New York, NY Eighth National Juried Exhibition, Ceres Gallery, New York, NY Selections by Magdalena Dabrowski, Special Consultant of Modern Contemporary Art, Metropolitan Museum of Art The University of Pennsylvania’s Masters Thesis Exhibition, Icebox Project Space, Philadelphia, PA Selections by William Pym, director of Fleisher Ollman Gallery Live Nude Art, Meyerson Gallery, Philadelphia, PA 2007 One Night Stand, Nouveau Project, Philadelphia, PA Selections by Jenny Jaskey Body, Photo West Gallery, Philadelphia, PA 2006 The Intuitionist, Meyerson Gallery, Philadelphia, PA SPE Regional Exhibition, Addams Gallery, Philadelphia, PA Juror: Zoe Strauss 2005 Think Tank, Overture Center for the Arts, Madison, WI Size x Size, 7th Floor Gallery, Madison, WI RESIDENCIES/ AWARDS: 2010 Nominee, The Louis Comfort Tiffany Foundation Award Nominee, The Rema Hort Mann Foundation Award 2009-2008 Artist in Residence, The Lower Manhattan Cultural Council Workspace Residency Program, New York, NY NYU Visiting artist, New York, NY The Toby Devan Lewis Fellowship Award 2006 Deans Merit Scholarship Award, University of Pennsylvania PUBLICATIONS: 2011 L'imparfaite #3, May, 2011 2010 Roberta Fallon and Libby Rosof, “New Kid on the block- I speak American at Gallery at DCCC” THE ART BLOG, Novemer 28, 2010 Johanna Drucker, "Photo from Meta to Temporal" PHILOSOPHY of PHOTOGRAPHY JOURNAL, February 2010 2009 Ken Johnson, "Art in Review: East Coast Video" THE NEW YORK TIMES July 31, 2009 Katie Kitamura,"Jamie Diamond" THE LAST MAGAZINE, Spring 2009 2008 Edith Newhall, "Young Artists pick up pen and paper again" THE PHILADELPHIA INQUIRER, June 19, 2008 Roberta Fallon and Libby Rosof, "Fear, Loathing and Lady Photographers in New York" THE ART BLOG, December 23, 2008 Rebecca Guber, "Interview: Jamie Diamond" JEWCY.com, December 19, 2008 .

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Introduction Johanna Drucker Is the Inaugural Martin and Bernard
Introduction Johanna Drucker is the inaugural Martin and Bernard Breslauer Professor of Bibliography in the Department of Information Studies at the Graduate School of Education and Information Studies (GSE&IS) at the University of California, Los Angeles (UCLA). She is an influential book artist, poet and visual theorist. Her scholarly work ranges from alphabet historiography, to typography, graphic design, and digital humanities. Libraries and special collections around the world have collected her books. In 2012 she celebrated four decades of creating books, visual projects and graphic art with the retrospective, “Druckworks: 40 Years of Books and Projects,” which was exhibited at the Columbia College Center for Book and Paper Arts and now at the San Francisco Center for the Book until August 2013. At UCLA since 2008, Professor Drucker is a faculty advisor for InterActions and teaches courses ranging from history of the book and print technologies, to information visualization, and digital humanities. This spring, Jennifer Berdan interviewed Professor Drucker about her newest collaboratively written book, the digital humanities certificate program at UCLA, and the past and future of digital humanities in the academy. Digital_Humanities was published in November of 2012 and is coauthored by Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd Presner, and Jeffrey Schnapp. An Open Access Edition through the MIT Press website: http://mitpress.mit.edu/books/digitalhumanities-0. This provocative and insightful book answers the burning question, “What is digital humanities?” and examines nontraditional modes of humanistic scholarship. The book provides interventions, case studies, and guidelines for evaluating digital scholarship projects and programs. In addition to the new book, Berdan and Drucker discussed how digital humanities currently exists at UCLA with the new certificate program, and how it relates to the mission of InterActions and GSE&IS.
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Beyond Conceptualisms: Poetics After Critique and the End of the Individual Voice Johanna Drucker
Beyond Conceptualisms: Poetics after Critique and the End of the Individual Voice Johanna Drucker CONCEPTUAL WRITING WAS INTRIGUING AND PROVOCATIVE. In the last few years, its practices have generated much debate. But as its outlines have become more defined, it seems to be passing into another phase. Institutionalization often signals that energetic innovation is becoming history or at least has ceased to break new ground. Anthologized, reviewed, theorized and retheorized, its publications supported by Kickstarter campaigns, its high-profile figures the subject of blogs and tweets, conceptual writing may be over. Many of its identifiable moves are taught in the edgier academic programs where its procedural techniques distance the work from the stock-in-trade of more conventional “creative” writing. As someone who has long advocated courses in “self-repression,” especially for the young, I have no problem with these mash-ups, lists, re-mediations, and other mechanically generated outputs replacing epiphanic or confessional verse in the classroom. But in this derivative second and third generation, the work loses most of its interest. Read aloud, much conceptualism might as well be automated text-to-voice samplings of contemporary language across a spectrum from banal to more banal. Flattened, ordinary, stripped of affect, the text-generating machines of its formulae do not compose as much as produce a text. Some conceptual writing is downright boring. Some is exceptional, even poignantly, richly humanistic, not mechanistic in the least. But as an intellectual product, conceptual writing is as indica- procedural work that came to the fore in the 1960s, also might tive of our thought-forms in our time as any other—provided be used as milestones or reference frames to guide historical the repeated “our” in that statement refers to some higher- understanding of the conditions and contexts from which the order, emergent form of culture, rather than a self-selected impulse against late-romantic heroic individualism sprung.
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Rare Book School 2016 Summer Courses Offered at Yale University, the Library Company of Philadelphia, the University of Pennsylvania, and the University of Virginia
RARE BOOK SCHOOL 2016 Summer courses offered at Yale University, the Library Company of Philadelphia, the University of Pennsylvania, and the University of Virginia. 5–10 JUNE IN CHARLOTTESVILLE, VIRGINIA G-20 Printed Books to 1800: Description & Analysis · david whitesell G-70 Advanced Seminar in Critical Bibliography · michael f. suarez, s.j. I-35 The Identification of Photographic Print Processes · ryan boatright & james m. reilly L-65 Digitizing the Cultural Record · bethany nowviskie & andrew stauffer M-10 Introduction to Paleography, 800–1500 · consuelo dutschke 5–10 JUNE IN NEW HAVEN, CONNECTICUT C-85 Law Books: History & Connoisseurship · mike widener M-90 Advanced Seminar in Medieval Manuscript Studies · barbara a. shailor 12–17 JUNE IN CHARLOTTESVILLE, VIRGINIA H-10 The History of the Book, 200–2000 · john buchtel & mark dimunation H-85 The History of the Book in China · soren edgren L-45 Reference Sources for Researching Printed Americana · joel silver M-70 The Handwriting & Culture of Early Modern English Manuscripts · heather wolfe T-60 The History of 19th- & 20th-Century Typography & Printing · john kristensen & katherine mccanless ruffin 12–17 JUNE IN PHILADELPHIA, PENNSYLVANIA H-25 Fifteenth-Century Books in Print & Manuscript · paul needham & will noel H-80 The Stationers’ Company to 1775 · ian gadd 10–15 JULY IN CHARLOTTESVILLE, VIRGINIA B-10 Introduction to the History of Bookbinding · jan storm van leeuwen G-30 Printed Books since 1800: Description & Analysis · peter shillingsburg I-40 The Illustrated Scientific Book to 1800 · roger gaskell, assisted by caroline duroselle-melish L-30 Rare Book Cataloging · deborah j. leslie L-100 Digital Approaches to Bibliography & Book History · benjamin f.
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Reviews & Press •
REVIEWS & PRESS Johanna Drucker. The Century of Artists’ Books. Granary Books, 2004. • Trusky, Tom. "Ex Libris." Afterimage (July/ August 1997): 19. In "Metaphor and Form," the last chapter of The Century of Artists' Books, Johanna Drucker recalls a scene in Emily Bronte's Wuthering Heights (1847). The narrator, Mr. Lockwood, has discovered a jumble of books once belonging to Heathcliff's beloved Catherine Earnshaw and is surprised to discover Catherine made use of even unread volumes. Of Catherine's books, Bronte writes and Drucker quotes: "scarcely one chapter had escaped a pen and ink commentary —at least the appearance of one— covering every morsel of blank that the printer had left. Some were detached sentences; other parts took the form of a regular diary." Not only does Bronte's story illustrate that the book, as Drucker phrases it, "has the potential to provide a private space for communication across vast spaces of time and geography," but it also illustrates how books engender, encourage and inspire—much as Drucker's book has affected me. Not only have I been exhilarated, reading Drucker's witty and pioneering (not-quite) global history of artists' books, but I have also been unconsciously creating my very own biblio stegosaur; on the book's attractive green dust jacket and from the book's head, tail and fore edge protrude scores of little lemon-colored Post-it notes laden with my scribblings. Many of my Post-its simply contain a list of numbers, reminders to pay heed to Drucker's invaluable endnotes that follow each of her 14 chapters.
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Experimental Narrative and Artists' Books Foster Hall Gallery, Louisiana State University, Baton Rouge September 5,1999 to September 30,1999
JOURNAL OF ARTISTS' BOOKS JA SPECIAL ISSUE: Experimental Narrative and Artists' Books Foster Hall Gallery, Louisiana State University, Baton Rouge September 5,1999 to September 30,1999 "TURNINGTHE PAGE: A CELEBRATIONOF THE ARTSOF THE BOOK" JAB12 IS entlrely dedicated to the exhlbltlon, "Expenmental Nai As we "turn the page" to the 21st century, Interest and even con- ratlve and Artlsts' Books," Foster Hall Gallery, School of Ar cern about the future of the book In a world where electronic Loulslana State Unlverslty, September 5, 1999 through Septembt ommunication becomes more and more commonplace is ever 30, 1999 It contalns statements by the artlsts whose work IS fei icreasing. The Libraries and the School of Art at Louisiana State tured In the exh~bltlonand catalogue Bill Burke, Fran~o 'niversity have developed Turning the Page, to create communi- Deschamps, Helen Douglas, Johanna Drucker, Brad Freema1 awareness of the book as an art form. Ten Baton Rouge orga- Ruth Laxson, Cllfton Meador, Judlth Mohns, Bea Nettles, Gty izations have cooperated to create the first city-wide celebra- Rlchman, Clarlssa Sllgh, Telfer Stokes, Phlllp z~mmermm~*d on of this kind, which is aimed at increasing our appreciation Janet Zwelg nd broadening our definition of the book and its place in the volving world of contemporary art. These events celebrate the As part of the opportunities afforded by h~sposltlon as ViSitlng ~chtradition of book making and highlight works of today's Professional at Loulslana State Unlverslty In Baton Rouge, for Fall lcst prominent
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Digital Media and Art: Always Already Complicit? Jay David Bolter Georgia Institute of Technology, [email protected]
Criticism Volume 49 | Issue 1 Article 5 2007 Digital Media and Art: Always Already Complicit? Jay David Bolter Georgia Institute of Technology, [email protected] Follow this and additional works at: http://digitalcommons.wayne.edu/criticism Recommended Citation Bolter, Jay David (2007) "Digital Media and Art: Always Already Complicit?," Criticism: Vol. 49: Iss. 1, Article 5. Available at: http://digitalcommons.wayne.edu/criticism/vol49/iss1/5 050 rev-bolt (105-118) 3/3/08 8:44 AM Page 107 JAY DAVID BOLTER Digital Media and Art: Always Already Complicit? Always Already New: Media, History, and the Data of Culture, by Lisa Gitelman. Cambridge, MA: MIT Press, 2006. Pp. 221. $36.00 cloth. Avatars of Story, by Marie-Laure Ryan. Minneapolis: University of Minnesota Press, 2006. Pp. xxiv + 275. $60.00 cloth, $20.00 paper. Sweet Dreams: Contemporary Art and Complicity, by Johanna Drucker. Chicago: University of Chicago Press, 2005. Pp. xviii + 291. $40.00 cloth, $27.50 paper. WHAT DO Manuel Castells, Lev Manovich, Will Wright, Howard Rheingold, Paul Dourish, Christa Sommerer, Margaret Morse, and N. Katherine Hayles have in common? They all create or study digital media artifacts. What else do they have in common? As far as I can see, nothing. Their diverse backgrounds and expert- ise mirror the diversity of digital media today. Popular writers on new media often tell a story of convergence to some single technological future, but what we are seeing today is a rich diversity of forms of production and critical approaches. The areas of digital media production include communications and publishing software, games and other entertainment software, digital art, and experimental design.
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Scaled Entity Search: a Method for Media Historiography and Response to Critiques of Big Humanities Data Research
Scaled Entity Search: A Method for Media Historiography and Response to Critiques of Big Humanities Data Research Eric Hoyt, Kit Hughes, Derek Long, Anthony Tran Kevin Ponto Department of Communication Arts Department of Design Studies University of Wisconsin-Madison University of Wisconsin-Madison Madison, WI, USA Madison, WI, USA [email protected], [email protected] [email protected] [email protected], [email protected] Abstract—Search has been unfairly maligned within digital keyword searches, SES allows users to submit hundreds or humanities big data research. While many digital tools lack a thousands of queries to their corpus simultaneously. In so wide audience due to the uncertainty of researchers regarding doing, SES restores some of the context lost by keyword their operation and/or skepticism towards their utility, search offers functions already familiar and potentially transparent to searches by helping the user to establish and analyze re- a range of users. To adapt search to the scale of Big Data, we lationships between entities and across time. In addition offer Scaled Entity Search (SES). Designed as an interpretive to the technical method of SES, we propose an analytical method to accompany an under-construction application that framework for SES users. The analytical framework can be allows users to search hundreds or thousands of entities across conceptualized as a triangle with three points: the entities, a corpus simultaneously, in so doing restoring the context lost in keyword searching, SES balances critical reﬂection on the the corpus, and the digital. As we explain, users and re- entities, corpus, and digital with an appreciation of how all of searchers need to think critically about all three points on the these factors interact to shape both our results and our future triangle as well as the relationships between the points.
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TO FIGURE out WHAT IS HAPPENING: an Interview with Johanna Drucker
TO FIGURE OUT WHAT IS HAPPENING: An Interview with Johanna Drucker Shaw, Tate. The Journal of Artists’ Books 21. Spring 2007. • Johanna Drucker needs almost no introduction to JAB readers; she has been a revolutionary explorer in the small world of artists’ books for over three decades. As JAB re-forms it seems essential to report on Drucker’s artists’ books. It must be mentioned that while her productivity of artists’ books is copious by any standard, this is only a fraction of her output in general. It is fair to say that Drucker is accomplished at historicizing and contextualizing nearly any field she chooses. Drucker is the Robertson Professor of Media Studies at the University of Virginia in Charlottesville, VA. She is well known for histories of the alphabet (Alphabetic Labyrinth, Thames and Hudson) and experimental typography (The Visible Word, University of Chicago Press). Her most recent theoretical publication is Sweet Dreams: Contemporary Art and Complicity (University Chicago Press). Currently, Drucker is writing a history of graphic design. Most fitting for the context of this publication are Drucker’s works The Century of Artists’ Books and Figuring the Word (Granary Books). These collections were radical and influential for this interviewer. To begin with, The Century of Artists’ Books remains a finding aid for researching books by artists unavailable elsewhere. Secondly, and perhaps more importantly, Drucker organized these books, not hierarchically, not chronologically, but by concept—themes, subjects, practice, and ideas. This is no small statement in a largely formalist field for which there is little consequential criticism, nor a widely accepted critical language to improve artists’ book literacy in any meaningful way.
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Resisting Extinction: the Pictorial in Contemporary American Literature
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An Investigation of Collage in Postmodern Narrative Illustration
Framing the Text: An Investigation of Collage in Postmodern Narrative Illustration Joanne Halse Thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS OSCH April 2006 Stellenbosch University http://scholar.sun.ac.za Declaration I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Stellenbosch University http://scholar.sun.ac.za Abstract Collage, as a verbal and visual medium, epitomises the heterogeneity, indeterminacy and fragmentation of the postmodern moment. In this thesis I argue that visual collage - in the context of book illustration - presents an ideal form with which to illustrate the state of contemporary (postmodern) narrative. Postmodernism, as a term or concept, evades any form of absolute or definitive account. Hence, in my discussion of the postmodern condition I move towards an understanding of this complex theoretical and cultural phenomenon. Postmodern cultural artifacts reflect the state of a modernised, Western-orientated, globalised consciousness, which resists arborescent structures in past and contemporary texts. In both postmodern narratives and in literary fictional narratives the condition of artifice is amplified. Thus, this thesis explores various characteristics evident in postmodern fiction in order to understand and demonstrate the changes manifest in contemporary narratives in general. Many of the stylistic and figurative devices employed in the postmodern novel foreground the excessive appropriation and self-reflexive textualism of contemporary texts - these literary devices often reflect particular collage-like tendencies or characteristics. Contemporary literary theory, in addition, provides many useful terms and concepts with which to describe visual texts and, for the purposes of this discussion, narrative illustration.
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Book Artists Will Speak Informally About Their Work
The 6th Annual New Jersey Book Arts Symposium, Original Copies: The Book Arts and Reproduction will be held on November 3, 2000 at the John Cotton Dana Library, Rutgers--Newark, Newark, N.J. The morning will begin with a vigorous workshop on making flexagons ("a folded paper figure that flexes in a mysterious manner to reveal any number of faces from three to infinity," Madeline Jones). After a report by Karen McDermott about life at The Gallery in South Orange in the aftermath of the watershed exhibition of artists' books, Beyond The Fold, four distinguished and exciting New Jersey book artists will speak informally about their work. William J. Dane, the morning's master of ceremonies, will show off rare and unusual books from the print and book arts collections of the Newark Public Library, and introduce the morning's speakers. The afternoon discussions, moderated by Judith K. Brodsky, will shape up around three papers that interrogate ideas and assumptions about originality and reproduction in various areas of the book arts. The Book Artists Jam--at which Symposium attendees will have table space to exhibit, discuss and sell their own book art--will follow a short break. Symposiasts are cordially invited to remain for the exhibition opening of Artists and The Book: John Ross and Clare Romano, curated by Andrea Honoré, featuring both the traditional and non-traditional book work of the acclaimed artists, printmakers and authors of the book, The Complete Printmaker. Catalogs of the exhibition, printed by the Venetian printer Grafiche Antiga, will be available free of charge, and a limited number of signed posters will be available for purchase.
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Possibilities and Limits of Network Analysis in Art History Miriam Kienle University of Kentucky, [email protected]
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