Tag Archives: Emily Tipps

Coming Soon! KUED’s VERVE, Season 6 — “It’s All About the Book”

18 Friday May 2018

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Inspired by PBS’s The Great American Read, beginning May 22, season six of KUED’s VERVE was produced by Ashley Swansong, Digital Media Producer. While working toward her Bachelor’s of Fine Arts in Film, Cinema, and Video Studies from the University of Utah, Ashley worked in Special Collections.

Rare Books Goes to Detroit!

20 Tuesday Jun 2017

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N7433.4-C435-F7-2011-Sky
“That which is not said aloud often speaks louder (and, in instances, clearer) than that which is.” — from The Cave Protection Act of 2013

Emily Tipps, Program Manager and Instructor for the Book Arts Program is presenting a paper at the Association for the Study of Literature and Environment biennual conference, June 20-24, in Detroit, Michigan. The paper examines three artists’ books from the Rare Books Department.

Emily writes:
“The artists’ book is uniquely positioned to articulate narratives of environmental devastation. The power of this diverse medium stems from its rich permutation of form, image, text, texture, scale, and materiality. I examine artists’ books that address particular instances of traumatic environmental change.

Lin Charlston’s Fragment by Fragment: Signs of the Peat Bog Disperse into the Wind is a meditation on a fire that irreversibly damaged a Welsh peat bog. Charlston employs color, a landscapte format, and an attentive typeface derived from fragments of peat exposed by the fire and dispersed by wind — phenomena which scarred the landscape and the ecosystem.

N7433.4-S5416-G76-2013-cover

The Ground by Tate Shaw positions a personal essay detailing the author’s practice of burying and recovering a book — an act of experiment and catharsis — in the ground in rural Pennsylvania, the site of former coal mines and a current center for hydrofracking. The book’s ink jet-printed plates are treated with water to wash out certain areas — a process echoing the erosion of the landscape.

N7433.4-R395-C38-2013-ExteriorN7433.4-R395-C38-2013-Inside

The Cave Protection Act of 2013 by Michelle Ray, concerns the town of Centralia, Pennsylvania, where underground fires (a result of mining) opened sink holes into which the town disappeared. The book examines the sense of identity this disappearance gave the community. The book’s visual language is derived from the dryness of a government document, while its structure deals in negative space, holes opening in the pages, and the oulines of houses overlapping like ghosts or the framing of a new subdivision.

Using slides and physical books, I’ll take a closer look at these and other books, which are so effective in conveying tangible and intangible effects environmental destruction can have on individuals, communities, and ecosystems.”

For more about this conference see Rust/Resistance: Works of Recovery.

To read these books go to the Special Collections Reference Room, L4, J. Willard Marriott Library, The University of Utah and ask for:

Charlston, Lin. Fragment by Fragment: Signs of the Peat Bog Disperse into the Wind. Shropshire: Charlston Books, 2011 N7433.4 C435 F7 2011
Shaw, Tate. The Ground. Rochester, NY: Preacher’s Biscuite Books, 2013 N7433.4 S5416 G76 2013
Ray, Michelle. The Cave Protection Act of 2013. Small Craft Advisory Press and formLab, 2013 N7433.4 R395 C38 2013

Photographs by Scott Beadles

Looking Forward to Book Arts Program Workshop, “Up-cycled Stories: Books as Process”

20 Friday May 2016

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Rare Books is proud to support the Book Arts Program with its collections. For more information about the Book Arts Program and future workshops, visit their website or like them on Facebook.

Up-cycled Stories: Books as Process
Julianna Christie, Marnie Powers-Torrey & Emily Tipps

May 28 
Saturday, 10:00–6:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Free spots are limited; please apply here. The application deadline is April 14.
Additional spots: $110, register here.
Registration is closed!

Bring a personally challenging story to retell in a new light or a daily routine to reconsider and reframe. With a focus on finding joy and beauty in the everyday, participants stamp out insecurities, recontextualize shortcomings, and re-imagine the self in book form. In this workshop, employ ink, brushes, stamps, mark-making tools, text, and re-collected common objects to produce process pages. Through a reimagining of the past, reinvent present perspective with an open heart, mind, and eyes toward gratitude and compassion. Instructors demonstrate a binding to be completed post-workshop from produced sheets. Come with a willingness to play with color, shape, narrative, and texture.
– – – – –

Julianna Christie graduated from Wellesley College and holds a BA in English Literature and Studio Art, with an emphasis in bookmaking. Upon graduating, she worked at the Center for Book Arts and Granary Books in New York City. She has been making books for over 20 years, with books held in Special Collections libraries at Wellesley College and Harvard. She incorporates collage, photography, sewing and love into her books. Julianna is also a life coach, specializing in personal growth and transformation. In her coaching, she invites clients to explore the art of storytelling, using words and imagery to examine and ultimately re-conceive a happy life.

Marnie Powers-Torrey holds an MFA in photography from the University of Utah and a BA in English and Philosophy from Boston College’s Honors Program. She is the Managing Director of the Book Arts Program and Red Butte Press, an Associate Librarian (Lecturer), and academic advisor for minor and certificate students in Book Arts. Marnie teaches letterpress printing, artists’ books, and other courses for the Book Arts Program and elsewhere. She is master printer for the Red Butte Press, harnessing the mighty printing power of a full staff of excellent printers. A founding member of the College Book Arts Association, she served as Awards Chair for three years and currently serves on the board of directors. Her work is exhibited and held in collections nationally.

N7433.4-P69-E8-2000-Front
N7433.4-P69-E8-2000-back

Evidence
Marnie Powers-Torrey
Salt Lake City, UT: M. Powers-Torrey, 2000
N7433.4 P69 E8 2000

Edition of ten copies. University of Utah copy is no. 4, signed by the author.

Emily Tipps is the Binding Instructor, Program Manager, and an Assistant Librarian (Lecturer) at the Book Arts Program at the University of Utah, as well as the proprietor of High5 Press, which publishes innovative writing in the form of handmade artists’ books. She holds a BA in English from Wesleyan University, an MA in Creative Writing from the University of Colorado, and an MFA in Book Arts from the University of Alabama. Emily’s work is exhibited and held in collections nationally.

N7433.4-T574-O73-2007-spread
N7433.4-T574-O73-2007-spread2

Orders
Emily Tipps
Tuscaloosa, AL: High5 Press, 2007
N7433.4 T574 O73 2007

Letterpress printed from photopolymer plates on a Vandercook SP-15. Paper is Arches Text Wove and Stonehenge. Text type is Big Caslon. Pochoir illustrations. Endsheets are gray Bugra paper. Handsewn binding in black Stone Henge paper covers. Front cover blind-embossed. Edition of sixty copies. University of Utah copy is no. 42.

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Rare Books/Book Arts Collaborative Exhibition Featured in Utah Daily Chronicle

15 Friday Jan 2016

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“We are embracing the process of making the book.” — Allison Milham, Book Arts Program Community Outreach Coordinator.

Glimpse gallery at the Marriott Library, Monday December 7, 2015.

Glimpse, Special Collections Gallery — Photo courtesy of Utah Daily Chronicle

Allison Milham (Book Arts Program) and Luise Poulton (Rare Books) teamed up to curate an exhibition featuring the work of library and guest instructors for the Book Arts Program’s 2016 workshop schedule. Read more about it in the Utah Daily Chronicle.

The exhibition, “Glimpse,” in the Special Collections Gallery on level 4 of the J. Willard Marriott Library, includes artists’ books held in the Rare Books collection. 2016 Book Arts Program guest instructors include Keiji Shinohara (Woodcut), Karen Hamner (Flag Book and Leather Binding), Pamela Smith (Paper Marbling), Michelle Macfarlane (Cyanotype), Claire Taylor (Linocut on Fabric), Allyn Hart (Xerox Lithography), Becky Thomas (Experimental Ink Techniques), Stacy Phillips (Painting with Encaustics), Louanna Tanner (Calligraphy). Additional workshops are offered by Book Arts Program faculty and staff Crane Giamo and Marnie Powers-Torrey (Digital Letterpress), Emily Tipps (Narrative Pages), and Allison Milham (Bookmaking). For more information about these workshops visit the Book Arts Program.

Rare Books is proud to work with our colleagues in Book Arts!

 

Book Arts Exhibition – Glimpse

10 Tuesday Nov 2015

Posted by in Physical Exhibitions

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GlimpsePoster

Rare Books is pleased to support the Book Arts Program with its historic, fine press, and artists’ books collections. Glimpse features these and many other book artists represented in our collections.

DODOe

A FOWL ALPHABET
Alan James Robinson
Easthampton, MA: Cheloniidae Press, 1986

Wood engravings by author. Lettering by Suzanne Moore. Title printed in brown and black; initials and headings printed in brown and gold. Issued in cloth clamshell box. Edition of fifty copies, signed. University of Utah copy is no. 36.

AAAZZZ

AAAAAZZZZZ
Karen Hanmer
Glenville, IL: Karen Hammer, 2002
N7433.4 H357 A6 2002

Housed in box. Title on box shows the letter “A” turning into the letter “Z.” Edition of eight copies. University of Utah copy is no. 6, signed by the author.

AtoZ

THE SPECTRUM A TO Z
Karen Hanmer
Glenview, IL: K. Hanmer, 2003
N7433.4 H357 S6 2003

Accordion-style alphabet book. Edition of twenty copies. University of Utah copy is no. 4.

UV

PATRIOT ALPHABET
Karen Hanmer
Glenview, IL: K. Hanmer, 2004
N7433.4 H357 P37 2004

Karen Hanmer layers fragments of text and image, evoking personal memory within cultural context. Intimate but strong, her books are designed to be handled, their sculptural elements giving way to the physicality of reading the old-fashioned way, by turning a page.

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Rare Books goes downstairs!

04 Friday Sep 2015

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Rare Books joins forces with the Book Arts Program and the Katherine W. Dumke Fine Arts & Architecture Library to curate an exhibition of the J. Willard Marriott Library’s holdings from the Women’s Studio Workshop.

Friday, September 4 through Saturday, November 25
Level 1 atrium, Level 1 wall cases
J. Willard Marriott Library, The University of Utah
Curators: Crane Giamo, Ian Godfrey, Luke Leither, Marnie Powers-Torrey, Luise Poulton, Emily Tipps

Committed to developing an alternative space for artists to create new work and share skills, Ann Kalmbach, Tatana Kellner, Anita Wetzel, and Barbara Leoff Burge founded the Women’s Studio Workshop in 1974. Public programming included a regular workshop series, as well as special programs that featured the work of women artists. The intention was to exhibit the work of women artists as well as provide professional experiences for the artists themselves.

Still going strong, Women’s Studio Workshop is housed in a historic building located in the foothills of the Hudson Valley’s Shawangunk Mountains. Artists can take workshops, rent the studios, schedule private instruction, or apply for artist residencies.

Rare Books featured work from the Women’s Studio Workshop in its 2009 exhibition, “The Feminine Touch: Women and the Work of the Book.”

N7433.4-K5-Q84a

Queen of Wands: a paper sculpture
Susan Elizabeth King (b. 1947)
Rosendale, NY: Women’s Studio Workshop; Santa Monica, CA: Paradise Press, 1993
N7433.4.K5 Q84 1993

Issued in clear plastic envelope with seal bearing title and author. Two cards are enclosed which bear publication information and instructions for operating. Paper construction uses the tetra-tetraflexagon form. Printed offset by Paul Muhly.

PS3568-A97-T78-1998

Truly Bone: poems
Hilda Raz
Rosendale, NY: Women’s Studio Workshop; Lincoln, NE: Blue Heron Press, 1998
PS3568 A97 T78 1998

Two attached sheets, folded accordion style into twenty pages attached front and back to tan-colored endpapers. Sheets and endpapers are within tan and beige-colored wrappers with flaps. Text is letterpress printed in black typeface. The type is Romulus 11 point. Images are etching, aquatint spit bite, and drypoint from multiple copper plates using sixteen colors. The paper is cream Italian Alcantara. The production of this book was supported in part by the National Endowment for the Arts, the New York State Council on the Arts, and the Research Council, University of Nebraska at Lincoln. Book production by Karen Kunc with the help of interns Ryan Ninete and Lynda Sock. Edition of fifty copies, signed by the poet and Karen Kunc. University of Utah copy is no. 47.

Shared Memories
Lori Spencer
New York: Women’s Studio Workshop, 1998
N7433.4.S691 S53 1998

Short prose pieces on a simple pop-up structure. Illustrated with photographic images. Handbound and issued in paper slipcase. Edition of 90 copies. University of Utah copy is no. 30, signed by author.

N7433.4-D535-B6-2001-FoldOutImage-180

A Book of Myths and Fates
Nancy W. Diessner
N7433.4.D535 B6 2001

New York?: Women’s Studio Workshop, 2001
Inspired by three characters in Sophocles’ ancient Greek tragedy, Oedipus Rex. The Oracle, Jocasta, and Oedipus correspond respectively to the spiritual, sensual and intellectual elements of the human experience. Three sections illustrate each state. In each section, the pages fold out from a central pair of black and white images. Digitally printed. Bound with a soft, wrap-around cover. Edition of eighty copies. University of Utah copy is no. 26.

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Book of the Week – Anything From Anywhere

31 Monday Aug 2015

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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.

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On Display — Student work

24 Wednesday Jun 2015

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On Display, Levels 1 & 2 Wall Cases, J. Willard Marriott Library
Student work for SPAN4900-3, “Indigenous Writing and Culture,” Spring Semester 2015, Prof. Isabel Dulfano, Dept. of Languages and Literature, in collaboration with Luise Poulton, Rare Books and Emily Tipps, Book Arts Program.

Professor Dulfano’s statement: This class examined Latin American indigenous writing and culture to make manifest the wide spectrum of representation and depiction of the indigenous in canonical and non-canonical letters. Our visits to the library coincided with a chronological approach taken toward analysis of the images and documents shaping the contemporary imaginary about, and by the Indigenous in the region. The historical chronicles authored by the Spanish conquerors, ecclesiastical documents, treatises about the Black Legend and violent conquest, facsimiles of accordion style codices elaborated by native informants and priests on amatl paper, first-edition testimonials, dramas, poetry, and contemporary art books brought the subject to life as students engaged with the content and distinct formats utilized since the conquest. We held history and various forms of knowledge in our hands, turned the pages and interacted directly with the manuscripts containing these ideas. As we learned about literary production in class, the sessions held in the library reinforced and made real the ideas that have shaped our understanding of the conquest of the indigenous peoples and their colonized worldview.

Photographs of display by Scott Beadles, Rare Books assistant

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Mimeo Mimeo 8: Curator’s Choice

07 Friday Jun 2013

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Rare Books worked with the Book Arts Program to contribute to Mimeo Mimeo 8: Curator’s Choice. Mimeo Mimeo editors asked “librarians, publishers, poets, printers, book dealers, book collectors, and others bibliographically inclined” from around the country “to curate six pages of Mimeo Mimeo with six items from their personal or institutional collections.” Rare Books Managing Curator Luise Poulton joined Marnie Powers-Torrey, David Wolske, Emily Tipps (Book Arts Program faculty);  Prof. Craig Dworkin (Dept. of English, University of Utah); and Becky Thomas (graduate student, Dept. of English, University of Utah) as part of the “Utah posse” of contributors. Each chose one book from the rare book collections.

Luise wrote about Kenneth Patchen’s An Astonished Eye Looks Out of the Air, Waldport, OR: Untide Press, 1945 PS3531 A764 A77 1944

Marnie Powers-Torrey wrote about Bridget Elmer’s Fibre Libre, Tuscaloosa, AL: Flatbed Splendor, 2010 N7433.4 E545 F5 2010

David Wolske wrote about Rebecca Brown’s Excerpts from a Family Medical Dictionary, Sedro-Wooley, WA: Grey Spider Press, 2001 RC265.6 B76 B76 2001

Emily Tipps wrote about Ruth Laxson’s A Hundred Years of: LEX FLEX, Atlanta, GA: Nexus Press, 2003 N7433.4 L39 H8 2003

Craig Dworkin wrote about Robert Grenier’s Sentences, Cambridge, MA: Whale Cloth Press, 1978 N7433.4 G797 S4 1978

Becky Thomas wrote about Jen Bervin’s The Desert, New York City: Granary Books, 2008 N7433.4 B47 D47 2008

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Book of the Week – Wo/Men at Work

03 Monday Jun 2013

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Wo/Men at Work
Salt Lake City: Red Butte Press, 2012
N7433.4 W65 2012

Three texts (“Consuming labor: a preface to Wo/Men at Work” by Matt Basso and Andrew Farnsworth, “Cooking from Scratch” by Judy Blunt, and “Everything’s dangerous: an essay from the 1941 collection Men at Work” by Ralph Powell) printed in a W-fold pamphlet. Titles printed on opposite covers. From the colophon: “…Book Arts Program staff contributors are Managing Director Marnie Powers-Torrey, Creative Director David Wolske, Laura Decker, Claire Taylor, Becky Thomas and Emily Tipps. David designed and typeset the text. The typefaces, evocative of the 1930s and ‘40s printshop vernacular, are as follows: bold titling is Hamilton, a revival of a popular 19th century wood type; bylines and colophon are Franklin Gothic, a workhorse sans serif found in printshops across America; italic subheadings are Cheltenham Italic, a ubiquitous early 20th century serif design; and the main body typeface is a version of Fairfield, released in 1939 and designed for the Linotype machine. Claire and Laura produced the saddle and pressure cooker drawings, respectively, in dialogue with the essays and one another…Andrew [Farnsworth], Dayna Kerns, and Chris Dunsmore, under the direction of Book Arts staff, letterpress-printed the imagery and text from photopolymer plates on Rives Heavyweight and BFK papers. Emily oversaw binding design and production of the W-fold pamphlet…Associate Director for Special Collection Greg Thompson provided the committed support that helped make this endeavor a reality.” Edition of twenty-six copies. University of Utah copies are letters ‘U’ and ‘V.’

Congratulations to the Book Arts Program and Red Butte Press staff for receiving one of 7 AIGA 100 Show Professional Copper Ingot awards for Wo/men at Work. The AIGA 100 Show showcases the year’s best design, advertising, and digital media. Of those pieces, a select few are awarded the Copper Ingot, one of the most sought-after communication awards in the Intermountain West. Visit http/aigaslc100show.com for information, to view pictures from the awards ceremony, and download the 100 Show Book PDF.