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Tag Archives: book arts

We Recommend — One for the Books

05 Wednesday Jul 2017

Posted by rarebooks in Recommended Lecture

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Tags

"graphic designer", Alabama, assisted living, book artist, book arts, Book Arts Program, bottles, cotton rag handmade paper, dolls, farm implements, fossils, Glenn House, Gordo, J. Willard Marriott Library, Jessica Peterson, lecture, letterpress printer, Ma'Cille House, memento, miscellanea, museum, New Orleans, newspaper archives, Northport, Paper Souvenir, Prince Edward County, Prince Edward School Foundation, public education, pull-outs, Rare Books Classroom, Rare Books Department, stab binding, t-shirts, taxidermy, The School of Art Institute of Chicago, The Southern Letterpress, University of Alabama, Virginia, workshop

N7433.4-P475-M33-2011-Digging

Jessica Peterson, book artist, letterpress printer, and graphic designer is the owner of The Southern Letterpress in New Orleans. She holds an MFA in Book Arts from the University of Alabama and a BFA from The School of Art Institute of Chicago.

While visiting the J. Willard Marriott Library to teach a workshop for the Book Arts Program, she will also give a lecture on non-traditional letterpress techniques.

Thursday
July 13
6PM
Rare Books Classroom
Level 4
J. Willard Marriott Library
The University of Utah

Free and open to the public

The Rare Books Department is pleased to support the Book Arts Program with its collections and services.


N7433.4-P475-M33-2011-cover

Ma’Cille’s Museum of Miscellanea
Jessica Peterson (b. 1976), compilar
Gordo, AL: J. Peterson, 2011
N7433.4 P475 M33 2011

This book is an attempt to catalog Ma’Cille’s Museum of Miscellanea ten years after it closed, based on memories of people who visited the museum and newspaper archives. Ma’Cille House (d. 1999), whose formal education ended in 7th grade, began collecting miscellanea in the 1950s, including such things as dug-up bottles, dolls, farm implements, taxidermy, and fossils. After she had raised seven children, she established her museum, in the early 1960s, on a rural back road near Gordo, Alabama. By the time the museum closed forty years later, it was world famous – a multi-building institution visited by thousands of people. In 1998, the Ma’Cille’s family, facing the costs of assisted living care for her, and other financial burdens, auctioned off the museum’s contents. The story of the museum was preserved through stories that circulated about Gordo. Drawings by Glenn House, Sr. Letterpress printed on textblock cotton rag handmade paper from Alabama clay-colored t-shirts. Book contains pull-outs, including one printed memento from Ma’Cille’s. Paper covered boards with exposed stab binding. Laid in a printed four-flap paper folder. Issued in paper slipcase. Edition of thirty copies. Rare Books copy is number 6, signed by the compilar, who also researched, wrote and designed it.

N7433.4-P475-M33-2011-Finale

 


N7433.4-P475-U53-2014-PrinceEdward

Unbound
Jessica Peterson (b. 1976)
Northport, AL: Paper Souvenir, 2014
N7433.4 P475 U53 2014

From the introduction: “In the fall of 1959, the public schools of Prince Edward County, Virginia were closed in response to a court order to desegregate. The schools remained closed for five years. Many white children began attending a system of private schools established by the Prince Edward School Foundation. As permitted by state law, tuition for these schools was almost completely subsidized by the government. No one elected to attend the private academy for black students organized by the same group of white leaders…lawsuits about the intersection of public education and race circulated through the state and federal courts. Edition of one hundred copies. Rare Books copy is no. 81.

N7433.4-P475-M33-2011-Children

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“The Books Opened My Eyes to New Possibilities:” A Visit From Utah State University Students

31 Friday Mar 2017

Posted by rarebooks in Uncategorized

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Tags

accordion format, al-Mutanabbi Street, Anagram Press, Baghdad, Berkeley, book arts, Book Arts Guild, Book Arts Program Studio, bookseller, Cal Ling, calico, Chandler O'Leary, Christina Kemp, collage, Connecticut, consitiution, copper, Denisse Gackstetter, Diano Bertolo, Fingin Furi, Flying Fish Press, Gampi Smooth, Giovanni Forlino, glass negatives, Granary Books, handmade paper, Heather Weston, Hermetic Press, High Falls, Iraq, Japanese, Jessica Spring, Jim Machacek, John Yau, Julie Chen, Katsushika Hokusai, Kincami, Kristen Reyes, Kyoto, letterpress, Lieutenant Colonel Jonathon Rhea, Logan, London, Marriott Library, Matt Jones, Mauree Cummins, Max Gimblett, Mount Fuji, Mt. Rainier, New York, non-adhesive binding, Philip Galo, Philippine Banana Bark, photographs, photography, rare books, Revolutionary War, Rumi, Sarah Christianson, schizophrenia, Sibyl Rubottom, spiral bound, Springtide Press, Steve Clay, strait jacket, stratovolcano, Sunomi, Susan Mills, Tacobet, Tacoma, Tacoma Artists Initiative Program, Tacoma Arts Commission, Tahoma, Tairei, Tamashiki, Tao Te Ching, triptych, typography, United States, University of Puget Sound Collins Memorial Library, Utah State University, Washington, watercolor, Weir Farm, Wilton, woodblock prints, wrapper, Yuzen

P1060569

“It was nice being able to get lost in someone’s work and to look at books in a way that I never have before. Being able to actually hold and handle the books teaches us many things. ”

Early in the cold, wet month of February, students from Utah State University made the perilous journey from Logan to the Marriott Library to visit Rare Books. Professor Denisse Gackstetter brought her Introduction to Book Arts class for a tour of the Book Arts Program Studio, after which the students spent two hours looking at forty of our books.

Prof. Gackstetter asked her student’s to respond to their visit. Here is some of what they saw and what they had to say about it.

PS3575-A9-B66-2012-spread
THE BOOK OF THE ANONYMOUS
John Yau (b. 1950) and Max Gimblett (b. 1935)
New York: Granary Books, 2012
PS3575 A9 B66 2012

John Yau wrote this poem in 2009 in response to several translations of the “Tao Te Ching” given to him by Max Gimblett. In response to Yau’s manuscript, Gimblett created a series of more than one hundred drawings and collages incorporating rare and unusual handmade papers from around the world. This publication contains the twenty-four part poem and twelve of the illustrations. An original ink drawing by Gimblett in black ink on silver is on the cover of each copy. Produced by Diane Bertolo, Steve Clay [founder and owner of Granary Press] and Susan Mills. Typography is by Steve Clay, the binding by Susan Mills. Philip Galo letterpress printed the text and images on double leaves at the Hermetic Press. The collages incorporate gold-leaf, photography, photocopy and drawing. The collages were made at Max Gimblett’s studio with assistance from Matt Jones, Giovanni Forlino and Kristen Reyes. The papers used include Kincami black, Cal Ling autumn, Tamashiki orange, Kingin Furi tan, Sunomi silver, Sunomi kraft, Yuzen cream, Kyoto M25 white, Tairei #1 white, Philippine Banana Bark alabaster and Gampi Smooth 43. Bound in black board covers, open spine with exposed stitching, a non-adhesive binding. Folded and coupled, the pages are gathered together and sewn to cloth-backed boards. Housed in handmade silver cloth-covered clamshell box with spine label. Edition of thirty-three copies, signed by the poet and the artist.

“The Book of the Anonymous by John Yau made the greatest impression upon me. I remember specifically pondering how the images or lack thereof contributed to the concept. I was intrigued by the questions Yau asked the reader, and I was inspired to read more into them by the beautiful pages and illustrations. The form made me want to understand the content.”

“The paper has lots of fiber and shimmer in it. One of the pages has string in the paper. The contrast in texture is very dramatic.”

“I can’t remember the imagery or the poem in that book because the handmade papers are so beautiful I could not stop looking at them. The pages were assembled in an interesting way where the two sheets of paper would sort of pocket-fold into each other. This gave the pages a very thick and substantial feel when turning them.”


N7433.4-W467-B56-2000-WrapN7433.4-W467-B56-2000-spread
BINDING ANALYSIS: DOUBLE BIND
Heather Weston
London: Heather Weston, 2000
N7433.4 W467 B56 2000

Author and artist Heather Weston holds a degree in Book Arts and works in the mental health profession. She uses the book form to explore both emotional experience and psychological structure. In this context she explores the inextricable link between form and content. Here, book structure says something about the experience of schizophrenia that text alone could not. The book is double spiral bound at right and left edges with the pages splitting down the center. Four separate narratives – one pictorial, two textual, and one structural – unravel concurrently. A calico wrapper, with a padded but rigid back panel gives the floppy book the firm containment of a strait jacket.

“I thoroughly enjoyed Binding Analysis: Double Bind by Heather Weston. Weston uses French doors to present an analysis of a schizophrenia patient through the recordings of a medical care provider. I only became aware of the patient’s recorded words, on the backside of the structure, midway through the book. The form informed me about the concept.”


N7433.4-C853-G46-2003-cover
GHOST DIARY
Maureen Cummins
High Falls, NY: M. Cummins, 2003
N7433.4 C853 G46 2003

From the colophon: “…[B]ased on a handwritten letter discovered by the artist in the archive of Weir Farm in Wilton, Connecticut, during a residency in the spring of 2001. The letter was written in 1807 by a former Revolutionary War officer, Lieutenant Colonel Jonathon Rhea, to his children on the anniversary of his wife’s death. The [5] images that accompany the text are original vintage glass negatives that date from the late nineteenth and early twentieth centuries.” Glass panels hinged in accordion format. Issued in collapsible black box with a tie string. Edition of twenty-five copies. University of Utah copy is lettered and signed by the artist.

“It uses a simple accordion structure, but utilizes it in an inventive way. The panels are see-through which coincides with its subject matter. A wonderful example of form and content informing each other.”


N7433.4-O45-L63-2010
LOCAL CONDITIONS: ONE HUNDRED VIEWS OF MT.…
Chandler O’Leary
Tacoma, WA: Anagram Press, 2012?

From the colophon: “Illustrated, designed, printed and bound by Chandler O’Leary, through freak snowstorms, record heat, and a thousand gentle rains in Tacoma, Washington. Each of the book’s 120 image flats is illustrated and compiled from sketches, photographs and data collected in person, on location, from September 2008 to October 2010. All text and images were letterpress printed in Hokusai’s indigo ink, down the street at Springtide Press. Images and topographic map patterns are hand-drawn and water-colored. For making it possible to turn this crazy idea into an even crazier reality, many heartfelt thanks to [the Tailor*], Jessica Spring, [Zooey*], Sarah Christianson, the Tacoma Arts Commission, the University of Puget Sound Collins Memorial Library, and the Book Arts Guild. Thanks also to the weather, for always, despite a notorious reputation, seeming to hold just long enough for me to grab the camera and jump in the car. Produced with the support of a Tacoma Artists Initiative Program grant from the City of Tacoma Arts Commission…Japanese artist Katsushika Hokusai (1759-1849) is perhaps best known for his seminal works, Thirty-Six Views of Mount Fuji and One Hundred Views of Mt. Fuji. The two series of woodblock prints, published from 1829 to circa 1847, depict the sacred peak within the context of landscapes and scenes of daily life. At the heart of the series is Hokusai’s own obsession with immortality, and his fascination with Fuji’s eternal presence. Therein lies the rub: Fuji is anything but eternal. Beyond the usual, abstract geologic transience of eroding rock and drifting continents, Fuji is an active stratovolcano. Its days – and those of the lives and lands at its base – are numbered. Here in Washington state, just forty miles southeast of my home, lies Fuji’s taller, more volatile, American twin. Variously named Tacobet, Tahoma, and Ti’Swaq’, amont others, by the region’s indigenous peoples, or simply “The Mountain” by contemporary locals – its most arbitrary…”

“What left the greatest impression on me was the box with different scenic areas layered upon one another. It made me want to go home and create one of my own. The intricate images mixed with the soft pastels are gorgeous. I think it is interesting that the viewer is able to arrange the book how they please. The book is really their own story to tell.”

“This book intrigued me. It is so different from a normal book, and so unconventional, it inspired me to think more outside the box.”

“I like the three-dimensional aspect.”

“This book has three drawers to pull out and a ton of different different pieces of scenery. I love how I could mix and match the different scenes. There were so many possibilities to create. I liked the facts that I learned about Mt. Rainier, as well. I could have read and played with this book for hours.”


N7433.4-C44-M46-2012-coverN7433.4-C44-M46-2012-open
MEMENTO
Julie Chen
Berkeley, CA: Flying Fish Press, 2012
N7433.4 C44 M46 2012

From the colophon: “The text that appears on the woven token in triptych was taken from the preambles to the constitutions of the United States and Iraq. The image that surrounds the token is of a bookseller’s stall on Al-Mutanabbi Street in Baghdad prior to the bombing in 2007, and is used by permission of the Al-Mutanabbi Street coalition.” Letterpress printed. Designed by Julie Chen. Copper locket fabricated by Christina Kemp, based on a design by Julie Chen. Edition of fifty copies. University of Utah copy is no. 43, signed by the artist.

“Blew my mind.”


N7433.4-R73-N49-2000-Open
NEW RULE: A POEM BY RUMI
Sibyl Rubottom and Jim Machacek
San Diego, CA: Bay Park Press, 2000
N7433.4 R73 N49 2000

A flecked, navy wrapper is folded in three, housing the primary sheet which is, in turn, folded into three, unequal sections. Letterpress from Bodoni and Times Roman on Fabriano Rosaspina Bianco and Fox River Confetti wrapper. Images created using polymer plates, monotypes, linocut, and screen printing. Edition of forty-five copies. University of Utah copy is no. 19.

“Looking at New Rule helped my own making for my next project. It is a good example of a poem in a book, without lots of pages, but with a creative structure. I like how it hides the colophon inside the back cover by folding inward.”


N7433.4-C414-C66-2013-spread
CONVERSION: (A CONVERSATION TOLD IN SYMBOLS)
Macy Chadwick
Portland, OR: In Cahoots Press, 2013
N7433.4 C414 C66 2013

A sequential, narrative story with abstract imagery and no text, a conversation using only symbols. From the artist’s website: “…a two-person conversation using a vocabulary of stencils and hand-drawn symbols shown in a key. What is said and what is thought, works spoken in a jumble without stopping, a rational response and an activated imagination are all carefully plotted and diagrammed. Two different communication styles clash, merge, and ultimately influence each other as one person finally speaks her mind.” Mulberry paper, Micron pens, book cloth, pochoir. Edition of five copies.

“This book was assembled very simply, hand drawn on a single sheet of mulberry paper and folded into a book with a thin book cloth cover. What really pulled me into this one was the concept behind it. The artist took the words out of a conversation and replaced them with symbols to show the structure of a conversation. It made me see that as an artist we don’t have to ‘write the story’ our viewers see, we can create a scaffolding of an idea that gets filled in with what the viewer has already experienced. It was very powerful. The book is a great vessel for this concept because it is such a personal experience turning the pages, touching the conversation with my own fingers. I learned a lot from that small book and from this whole experience.”

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Photographs of books by Scott Beadles.
Photographs of readers by Dennise Gackstetter. Thanks, Dennise!

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We recommend — Book Arts Program workshop, “Letterpress Printing: Text + Image”

07 Tuesday Jun 2016

Posted by rarebooks in Recommended Workshop

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acrylic, artists' books, book arts, Book Arts Program, Book Arts Studio, bookbinder, collographs, Colorado State University, Crane Giamo, creative writing, Delete Press, design, edition, hand-painted, handbound, image, imprint, ink, iron oxide pigment, J. Willard Marriott Library, Japanese stab-stitch, letterpress, linoleum blocks, metal type, paper, papermaker, photopolymer plates, Pocalypstic Editions, poetry, pressure prints, printer, printing, prints, publishing, Red Butte Press, relief, text, Tuscaloosa, University of Alabama, University of Buffalo, University of Utah, Vandercook #4, wood type, zinc cuts

Letterpress Printing: Text + Image
Crane Giamo, Instructor

June 14—August 2
Tuesdays, 5:00—8:00
Book Arts Studio, J. Willard Marriott Library, Level 4
$340, register here.

Get a handle on what it takes to crank out an edition of gorgeous letterpress prints. This active, eight-week class introduces the fundamentals of letterpress, from paper selection and cutting to mixing ink and printing. Guided by Crane Giamo, participants design and produce several individual projects using a variety of relief techniques and tools including metal and wood type, zinc cuts, linoleum blocks, pressure prints, photopolymer plates, and collagraphs.
– – – – –
Crane Giamo is the studio manager and faculty instructor in the Book Arts Program at the University of Utah, and the lead printer for Red Butte Press. He is the co-founder of Delete Press, a poetry publishing outfit for which he works as letterpress printer, bookbinder, and papermaker. Crane’s own artists’ books can be located under the imprint Pocalypstic Editions. He holds an MFA in Book Arts from the University of Alabama, an MFA in Creative Writing from Colorado State University, and an MA in Poetics from the University at Buffalo.

N7433.4-G474-P73-2014-coverN7433.4-G474-P73-2014-image

Psalm 13-20
Crane Giamo
Tuscaloosa, AL: Pocalypstic Editions, 2014
N7433.4 G474 P73 2014

Text printed from photopolymer plates on a Vandercook #4 letterpress. Red paint slashing across the book is hand-painted using iron oxide pigment mixed with acrylic medium. Handbound in Japanese stab-stitch structure. Edition of twenty-five. University of Utah copy is no. 8.

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Book of the Week – Cause and Effect

21 Monday Mar 2016

Posted by rarebooks in Book of the Week

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abaca, accordion structure, Alabama, book arts, childhood, cotton, drum leaf binding, Gordo, hemp, Jessica Peterson, letterpress, microfilm, New York, newspaper, paper, photo-polymer plates, printed, race riots, Rochester, Sarah Bryant, The University of Alabama, The University of Utah, trompe-l'oeil, Vandercook SPO-20

N7433.4-P475-C38-2009-RaceSpread

“Sing a song full of the faith that the dark
past has taught us
Sing a song full of the hope that the
present has brought us
Facing the rising sun of our new
day begun
Let us march on ’til victory is won.”
— James Weldon Johnson (1871-1938)

CAUSE AND EFFECT
Jessica Peterson
[Alabama: J. Peterson], 2009
N7433.4 P475 C38 2009

A relocation to Alabama causes the author to re-examine her childhood in Rochester, NY, particularly with respect to the impact of the 1964 race riots. From the colophon: “…researched, written, designed and printed by Jessica Peterson…The content was letterpress printed using photo-polymer plates on Sarah Bryant’s Vandercook SPO-20 in Gordo, Alabama…completed in fulfillment of my MFA in Book Arts from The University of Alabama, April 2009.” Illustrated with printed trompe-l’oeil style newspaper and microfilm clippings. Printed on cotton, abaca, and hemp paper. Accordion structure in drum leaf binding. Edition of fifty-five copies. University of Utah copy is no. 38.

N7433.4-P475-C38-2009-InnerCity

N7433.4-P475-C38-2009-map

alluNeedSingleLine

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Book of the Week – Anything From Anywhere

31 Monday Aug 2015

Posted by rarebooks in Book of the Week

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Alabama, book arts, Emily Tipps, High5 Press, letterpress, Lost Arch Papermill, photopolymer plates, Tuscaloosa, University of Alabama


ANYTHING FROM ANYWHERE
Emily Tipps
Tuscaloosa, AL: High5 Press, 2009

Emily Tipps is the proprietor of High5 Press. She completed this project for her MFA in Book Arts from the University of Alabama. Four parts bound in printed and illustrated paper wrappers, printed with the word “Any,” “Thing,” “From,” “Anywhere,” on the cover of parts 1-4 respectively. The four booklets are housed in a cloth-covered clamshell box. Explanation of the project, notes on the authors, and production information is printed on the lining papers of the box. Letterpress printed on paper made by hand at the Lost Arch Papermill. Text and illustrations printed from photopolymer plates, with the exception of the end sheets.

alluNeedSingleLine

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Artists’ Books Collection Anchors English Course

12 Friday Jul 2013

Posted by rarebooks in Courses

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artists' books, book arts, Book Arts Studio, bookbinding, creative writing, English, letterpress, Marriott Library, moveable type, rare books

English 2510 Fall 2013 flyer

Introduction to Creative Writing with Book Arts

THIS MEDIUM SPECIFIC APPROACH to creative writing introduces
emerging writers to the techniques and craft of inventive
writing as well as book arts. Students will consider the
generative process as a performance within a medium
and how the interplay of form and content operate within
the physics of that medium. The course includes six visits
to the Book Arts Studio at the Marriott Library, during
which students will view artists’ books from Rare Books,
get hands-on experience with bookbinding and letterpress
printing from moveable type, and collaborate to produce
a limited-edition book, of which every participant will
receive a copy. As a variation on the final portfolio, students
will be encouraged to produce chapbooks for their final
projects. In both the studio and classroom, we will ask:
What is a book? How might a book’s shape transfigure its
meaning? How do typographic decisions affect creative
texts? What is a creative text? No prior experience in the
book arts or imaginative writing is required.

alluNeedSingleLine

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