College Book Art Association Conference in Salt Lake City

Footbridge on University of Utah campusThe 2014 CBAA biennial conference was held January 2-4 on the campus of the University of Utah, in Salt Lake City. The conference theme Print Produce Publish ( P3) was conveyed through the numerous tours, featured speakers, panels, exhibitions, and workshops. Most of the conference activities took place in the extraordinary J.Willard Marriott Library, including the panel presentations, the Members’ Exhibition, the Vendor Fair, and Members’ Showcase. The library is also the site of the Book Arts Studio and Digital Lab, where several demonstrations were held and where participants could actively engage in two P3 projects.

Invited speakers were Craig Dworkin: poet, critic, editor and professor of English at the University of Utah and Lesley Dill: New York artist, printmaker and sculptor.

CBAA Members' Exhibition at A juried exhibition of artists’ books made by CBAA members was on display in the Marriott Library in cases just outside of the Book Arts Studio. You can see the presses in the studio through the glass windows beyond the display cases.

An all-day production studio on the first day of the conference, P3 Now!, led by Edwin Jager and John O. Smith, invited members to drop in and contribute

P3 Now! keepsakewhatever ideas, images, artifacts, tools, or text they might have brought from their own studios to be turned into a printed book. Participants in the digital lab spent the day creating, designing, printing, collating and constructing a keepsake for all to take home.

Another all-day production studio event, Shift Lab [in code] led by Katie Baldwin, Sarah Bryant, Denise Bookwalter, Macy Chadwick, and Tricia Treacy incorporated both digital and hand techniques. Conference attendees were invited to tweet messages, which were then “retweeted” as collaborative letterpress printed broadsides. The Book Arts Studio was a hub of activity as participants raced to print and produce before the end of the day.

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Posted by L. Whitehill Chong

Artist As Archivist: Maureen Cummins at Watts History of the Book Program

November 29 – December 1, one of several extraordinary Watts History and Culture of the Book Program events was held at the John Carter Brown Library and at other locations in town. The JCB’s autumn series entitled, Books of Business/Business of Books, featured a weekend of lectures, informal conversations and a letterpress printing/bookmaking workshop with guest artist Maureen Cummins. In keeping with the event series theme, a fascinating exhibition of historic record books of early American commerce were on display at the JCB Library. Added to that theme, Maureen’s artist’s books, derived from antique handwritten documents and extensive research into archival collections, provided glimpses of the past, but with contemporary and challenging new perspectives.

Maureen’s lecture on Thursday the 29th described how her work as an artist came to be focused on archival resources as inspiration for her book concepts and narratives. She related how her love of flea markets and antique stores has unearthed many thought-provoking raw materials from which to work. In the process of mining historic archival collections, she uncovers little known stories and facts that she sensitively weaves into a new visual narrative.

Accounts, title page

For example, in her artist book Accounts, the pages of this authentic 1860’s ledger book are filled with client names and sums from a busy New York based cotton trading company. Handwritten in elegant pen and ink, the pages themselves speak of wealth and privilege. Yet Cummins has printed over these ledger account pages excerpts from the WPA Slave Narratives, in bold, sans-serif type, bringing our attention to the wealth gained at the expense of other human beings. We hold in our hands two voices from the past, brought together in a profound visually compelling new way.

Another book by Cummins, Crazy Quilt, provides personal narratives of 19th and 20th century women who were placed in institutions for the insane when it was clear they were as rational as anyone else. In these brief stories we are reminded of how women’s issues were viewed not that long ago, and are still viewed in some contemporary cultures.

On Friday the 30th, in the Special Collections Reading Room of the Fleet Library at RISD, Maureen continued the conversation about her work, where the lively question and answer session from the night before had left off. Students had an opportunity to see some of her books close up and Maureen was able to delve deeper and more informally into her creative process. Several other artists’ books from the RISD collection that also derive from historic events or documents were compared and discussed.

Conversation with Maureen at RISD

Saturday December 1st was spent printing and bookbinding, in a hands-on workshop, held in the book lab of AS220. Maureen asked each participant to come up with a word or short phrase to print on the letterpress, with each person printing a small edition of their page. When all the pages were printed and collated, they created a kind of visual poem, with both elegant and humorous combinations of text and meaning. Students were taught a simple pamphlet stitch binding and each went home with a keepsake book of their very own.

For more information about the work and career of Maureen Cummins, go to http://www.maureencummins.com/  The RISD artist book collection has two of Maureen’s books and several hand printed prospectuses from her other books. A new book based on documents from the Triangle Shirt Waist Factory fire, which took place in Manhattan over one hundred years ago, will be added this summer.

Posted by L. Whitehill Chong, Special Collections Librarian

Watts Program: Transformations of the Book

To start off the Spring 2011 series of workshops and lectures for the Charles H. Watts II Program in the History and Culture of the Book, students from Brown and RISD learned first hand about contemporary handmade artists’ books and fine printing. The first presentation was given by Rosemary Cullen, Special Collections Librarian at the John Hay Library on February 16th. Students were shown examples of artists’ books from their collection of over 400 titles. Many of these books, fabricated by hand, stretched the boundaries of traditional book structures and materials and a lively discussion of what made them a “book” instead of a sculpture followed.

On Friday February 25th students were shown a selection artists’ books from the Fleet Library’s collection of over 1400 titles, by Laurie Whitehill Chong, Special Collections Librarian and Curator of Artists’ Books. These books, also varied in concept, structures, materials and craft, were first read aloud or performed followed by an an in-depth discussion and analysis of each book. When it comes to “reading” artists’ books, there are so many layers of meaning. Exploring how each artist used images, text, materials and structure to communicate to the reader proved that the possibilities are endless.

Following the presentation in the RISD Library students then went to the John Carter Brown Library where RISD Professor Jan Baker, of the Graphic Design department, showed student made artists’ books from her own classes. Participants were invited to look over the books on their own and select one that they would present to the group. Seeing the quality and integrity of student work helped the current students to feel that making a book of their own was possible.

On Saturday February 26th, students were treated to a special workshop given by Steve Miller, printer extraordinaire, book maker and director of the Masters Program in Book Arts at the University of Alabama, Tuscaloosa. In this workshop, held in the type shop of RISD’s Design Center, students learned how to print a “Sandragraph” on the letterpress. A Sandragraph, created by Harry and Sandra Reese of the Turkey Press, is a fabricated low relief printing plate that is made to be type high. When printed, this plate creates a textural abstract design or subtle image that forms the background to subsequent layers of printed type and image, adding depth to the printed page. It also makes the text and images less isolated and stark against a pure white background. Creating a Sandragraph involves simple materials such as a piece of MDF board, acrylic gel, muslin, and all manner of low relief bits of paper, string, cardboard or any other textured detritus. Students got to make a sample plate, set up the plate on the press, learned how to lock it in, ink the plate and print. In the process, Steve gave many useful tips for printing and also showed many wonderful examples of printed broadsides and books that incorporate Sandragraph prints. One of the many take-aways from  Steve’s workshop was that spontaneity and playfulness in printing can work very happily with the demands of precision.

In the afternoon, Steve Miller gave a public lecture back at the John Carter Brown Library entitled “21st Century Letterpress and the Artisan Book”. Steve spoke of his career as a printer, having studied with master letterpress printer Walter Hamady of Perishable Press in Wisconsin. Following grad school he established his own Red Ozier Press with Ken Botnick and moved to Manhattan to set up shop. Miller sought out various poets and writers such as Alan Ginsberg, Isaac Bashevis Singer, Isamu Noguchi, Billy Collins, and Octavio Paz, to make small printed chapbooks of their works. Later he moved to Alabama where he developed the MFA Book Arts Program, which he directs. In the past several years Steve has been recording interviews with book artists and poets and this series of podcasts is available on iTunes. He is also proprietor of the Red Hydra Press at the University. Steve is one of the co-founders of the Paper and Book Intensive, an exciting two week series of workshops and classes in the book and paper arts.

Steve spoke in depth about his own journey as an artist, calling himself a “floaty poet boy” with a passion for poetry and printing. He feels his mission has been to awaken authors to the joy of the printed page and to establish a long term relationship with them. This was clearly evident in the samples of collaborative book projects he brought with him. Printing for Steve represents magical moments of attention where he is totally focused on every detail of a print.  In Steve’s words, “it’s not a single ‘ah ha!’ moment, but a long slow ‘aah haaaa….’ action.” It’s all about the making of a printed page, the very foundation of the artisan book.

In his long career he has worked with many  notable artists in the field of book and paper arts.  He talked about the work of Hedi Kyle, who has contributed so many innovative book structures to the field, Carolee Campbell of Ninja Press, who has been printing fine books for nearly 25 years, and Harry and Sandra Reese who started their press about the same time as Steve in the late 1970’s.  Paper is the substrate of all fine printing and as interest in the hand printed page grew in the 1970’s and 80’s, the need for quality handmade paper led to the founding of two important paper making establishments, Twinrocker Paper in Indiana and Dieu Donné Papermill in New York.  The demand for quality type and the casting of new type faces was met by such companies as Bixler Press and Letter Foundry in upstate New York.  Small museum collections of antique presses such as John Horn‘s in Arkansas provide important models for reference and research for the contemporary printer, often assisting them in troubleshooting the mechanics of their own antique working presses. In support of book artists and printers, there are many long standing educational institutions and book arts centers across the country that Steve mentioned as well such as the Penland School of Craft in North Carolina where Steve frequently teaches and recently redesigned their state of the art letterpress studio.

It was a rich and full weekend immersion in all things “book art”.  Thanks to Steve Miller, we got a taste of the depth and variety of contemporary artists’ books and fine printing and a clear message that the “artisan book” is here to stay.  Though the artisan book has and will continue to go through changes, it has a strong legacy of passionate and focused practitioners who continue to influence the book arts with their collective wisdom and experience.  The handmade book is alive and well and it is through collections of artists’ books at Brown and RISD, and instructors like Jan Baker and Steve Miller who are training the book artists of tomorrow, that the legacy will continue.

Many thanks to Lisa Long Feldman, coordinator of the Watts Program, to the John Carter Brown Library and Staff, to Rosemary Cullen of the John Hay Library, and to the RISD Graphic Design department for all they did to make this weekend possible.

posted by Laurie Whitehill Chong

College Book Art Association 2nd Biannual Conference

If you are a student of the book and paper arts, a practicing book and paper artist, an instructor in the book and paper arts, or a librarian/curator of book arts collections, the College Book Art Association (CBAA) is an organization that you will want to be a part of.  Since its founding in 2008, this growing organization has had two annual meetings at the University of Arizona in Phoenix and the Oregon College of Art and Craft in Portland and two large conferences at the University of Iowa and Indiana University.  Another large conference is slated for next January in the San Francisco Bay Area and in 2013, the annual meeting will be held at Yale.

CBAA’s mission is to support and promote academic book arts education by fostering the development of its practice, teaching, scholarship, and criticism. Conferences such as the recent one held at Indiana University January 13 – 16 attest to the growing interest in the book arts in a variety of academic institutions.

At this year’s conference there were 48 sessions to choose from, numerous behind the scenes tours of rare book and museum collections as well as campus studios. Hands-on workshops in intaglio, letterpress, collograph and paper dyeing were also included.

A juried members’ exhibition of artists’ books was held in the University gallery, highlighting the broad spectrum of contemporary work in the book and paper arts.

 

 

Here is just a sampling of some of the session topics:  Book Studies and the Liberal Arts; Embodying Bookness: Reading as Material Act; Ways of Knowing: Book Arts Across the Curriculum; Codex as Canvas: the Artist Altered Book; The Library in Art[‘s Crosshairs]; Scrapbooks of John Ruskin: Stranger than Fiction; Dé-Coll/Age: Bulletin Aktueller Ideen; Work from Home: Gaylord Shanilec’s Pastoral Wunderkammern; Vander-Mation: Letterpress Printing, Calligraphy and Animation; Cross-Media Iterations of a Single Text; Rice Boy Sleeps: Artists’ Books Meet the Web; Collaboration as Impetus; Book Installation Book; The Dot and the Line; The Persistence of Hand-Making: Sustaining the Book within the Academic Arena; Asa Beneviste and the Trigram Press; Margin Arts: Haiku and Artists’ Books in the West; Poetry Made Visible: Tom Phillips and Dante Alighieri; Librarians and Pedagogy; Contemporary Bookmaking in the Middle East/North Africa; From Palm Leaf to Book; Views of Los Angeles: Ed Ruscha’s Book Works; Updating the Artists’ Publication- 1960 to 2010; The Book in Public. For abstracts of these and more, see the CBAA website under conferences.

One of the many highlights of the conference was keynote speaker Ann Hamilton.  Showing still and moving images of her work, Ms. Hamilton gave us a generous taste of the depth and integrity of her public art projects, many of which involve language, the voice, and reading.  Memorable quotes from her presentation:  “Reading stills the mind…it is sensory without leaving a mark on you”  “My voice is in my hand”   “Making is an act of finding”  She talked at length about her project at the Venice Biennale, installations at the Seattle Public Library, the felted floor tiles in the Brown University Humanities Center, the kinetic installation at the Guggenheim in New York and the most recent cork floor installation at the Ohio State Library.  Her walking meditation boat in Laos is a piece that goes on and has another life of its own.  The double helix tower in Geyserville, CA has also been used for numerous performances since it was built.    And her Stylus installation at the Pulitzer Foundation in St. Louis invites anyone to participate.  During her presentation she called in to the project and the audience sent a real-time spoken message which instantly became part of the piece.

posted by Laurie Whitehill Chong

Two Upcoming Book Events

The  second annual Boston Book Festival will be held in various locations in Boston on Saturday October 16th from 10:00 am to 6:00 pm.  Admission is free. The festival will include writers’ and artists’ presentations, book signings, workshops, booksellers and exhibitors, children’s events and activities, a street fair, and live music.  For the complete schedule of events got to  http://www.bostonbookfest.org/2010_schedule Read more about the book festival in a recent article in the Boston Globe.

Another event taking place in Providence, organized by the Rhode Island Center for the Book, is the 2010 Art of the Book Program: Bound in Leather being held on Saturday October 30 from 2:00 to 4:00 pm, which is free and open to the public.  At 2:00 pm Phoebe S. Bean, Printed Collection Librarian at the Rhode Island Historical Society, will give a lecture entitled “Original Skin: A History of Books and Leather in New England”.  Ms. Bean will present an illustrated history of leather bindings, both imported and domestic, and discuss their integrated role in the development of Rhode Island and New England society.  This lecture will take place at the RIHS Aldrich House, 110 Benevolent Street in Providence.

In conjunction with this lecture there will be statewide exhibits of leather book bindings in Rhode Island Collections at the following locations:  David Winton Bell Gallery, Brown University; the John Carter Brown Library; the Providence Athenaeum; the Providence Public Library Special Collections; the Redwood Library and Athenaeum; the Rhode Island Historical Society, the Fleet Library at RISD; and the University of RI Special Collections.

Paper and Book Intensive

Held in a different location each year for the past 27 years, PBI is an intense and packed two weeks of classes  focusing on the book arts, papermaking, printing, printmaking, and conservation.  Whether you are an experienced book and papermaker or a beginner, it is an excellent way to jumpstart your creative impulses.  This year PBI was held July 11-22, 2010 at the University of Maine, Machias and a total of 10 classes were offered to approximately 70 participants.

This was my first PBI and I was fortunate to be able to attend with RISD professor Jan Baker from the Graphic Design department.  Each participant selects two classes  for the first week and one class for the second week and the schedule is “intense”.  Folks were from all over the country (a few international as well) and ranged in age from their twenties to sixties.

Classes were taught by experts in their fields and were small enough for occasional one-on-one assistance.  Late hours were spent in the studio with the instructors and fellow students and a great spirit of mutual support and bonding resulted.

There were also interesting and informative evening presentations by the instructors and invited book artists.

On the Break Day between sessions, field trips were made to visit the studios of local book and paper artists.  Ancient parchment making techniques were demonstrated by Pergamena, a family of tanners since the 16th century.

Next year the Paper and Book Intensive will be held May 16- 27, 2011 at Oxbow, an artists’ residency near Saugatuck, Michigan.  Whether you are new to the book and paper arts or not, you will feel right at home with the folks at PBI.  You will acquire new skills you never thought you would be capable of learning and have a life-changing experience.  Once hooked, you’ll want to return again and again.

Session One: July 12-15, one morning class and one afternoon class

Paper Sculpture, taught by Frank Brannon of North Carolina, explored different processes for forming three-dimensional objects using a variety of fibers. Students made very organic shapes sometimes incorporating found materials in the structure.

Japanese Natural Colorants for Paper, taught by Tatiana Ginsberg from Mt. Holyoke College in Massachusetts, experimented with natural dyes from plant materials. Brushing techniques in single or multiple layers on unsized handmade papers were used as well as folded and dip-dyed techniques.

Readdressing the Built-In Groove Case, taught by Deborah Howe, collections conservator at Dartmouth College Library.  Two variations on this reinforced binding were taught, including a variety of endsheet techniques, spine reinforcements, spine coverings, and sewn in endbands. These types of bindings originated in Germany and were often used to create a sturdy but flexible covering for small publications.

Movables in a Book Format, taught by Emily Martin from the University of Iowa Center for the book, focused on volvelles, an early movable structure. Students made an assortment of movable devices and created an album to store and display them, using a Claire Van Vliet woven binding structure.

26 Letters, taught by David Wolfe of Portland, Maine, examined letter forms letterpress printed with wood and metal type and woodblocks. Layers of letters transformed type into image. Each student printed an edition in order to create a class portfolio of all the prints.

Session Two: July 17-20, full day classes

Beyond Inlays and Onlays: Tactile Books, taught by Melissa Jay Craig, formerly from the Columbia College Chicago Center for Book and Paper Arts, used found objects to embed in board covers and pages   Thick inlaid pages were then bound with a “checkerboard spine” binding to form a multidimensional book.

Pressure and Relief: Techniques in Letterpress Printing, taught by Ellen Knudson, special collections curator and instructor from the University of Florida, experimented with low relief materials printed in various methods on the letterpress to give layered and textured images. Collagraph relief prints were printed directly on the press bed type high, and pressure prints were achieved by mounting thin shaped  paper under the press cylinder packing.

Can You Match This?, taught by Katie MacGregor, a papermaker from Whiting, Maine, explored recipes for coloring handmade paper to achieve specific tinted or intense colors. Students kept records of the formulas and paper fibers used, enabling them to reproduce the same colors in the future.

Late 18th Century French Binding Structure, taught by Jeffrey Peachey, a conservator and toolmaker from New York,  reconstructed a typical full calf leather-bound French binding. This very traditional structure included sewing signatures onto cords, paring leather, coloring the text block edges with vermilion, sewing endbands, and decorating the leather covers by brushing or spattering chemicals.

Copper as Matrix, taught by Yana Van Dyke, associate conservator at the Metropolitan Museum of Art, New York, concentrated on the materials, tools and techniques for intaglio printmaking on copper. Students explored drypoint copper engraving tools using roulettes, needles, stylus, burins, and the rocker for mezzotint. Hard and soft-ground etching techniques as well as aquatint for half-tones were also used, creating layered prints.    lwc 07/10