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Tag Archives: fine press

Exhibition — Travelers ~~ In Celebration of Peter and Donna Thomas ~~ Forty Years of Books to Go

24 Thursday May 2018

Posted by rarebooks in Physical Exhibitions

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artists' books, book artists, exhibition, fine press, hand-lettering, J. Willard Marriott Library, letterpress, miniature, papermaking, personal computer, Peter & Donna Thomas, printing, Rare Books Department, Santa Cruz, Song of the Open Road, technology, The University of Utah, travelers, Walt Whitman, Wandering Book Artists

N7433.3-W36-2011-Cover

TRAVELERS
~~~~~~~~~~
IN CELEBRATION OF PETER AND DONNA THOMAS
~~~~~~~~~~
FORTY YEARS OF BOOKS TO GO

Peter and Donna Thomas are book artists from Santa Cruz, CA. They work collaboratively and individually letterpress printing, hand-lettering and illustrating texts, making paper, and hand binding both fine press and artists’ books. Inspired by a quest for beauty and perfection, and by the potential of word, image, shape and texture to create an illuminating experience, their initial aim was to create limited edition fine press books made of the finest materials and produced to the highest standards of quality, in both full size and miniature format. This aesthetic continues to guide them as they work in new formats made possible by personal computer technology, exploring non-traditional book structures and shaped book objects as both limited editions and one-of-a-kind books. They travel the USA as the “Wandering Book Artists” giving talks, workshops and demonstrations to both academic and community-based audiences.
~~~~~~~~~~~~~~~~
Let the paper remain on the desk unwritten, and the book on the shelf unopen’d!
Let the tools remain in the workshop! let the money remain unearn’d!
Let the school stand! mind not the cry of the teacher!
Let the preacher preach in his pulpit! let the lawyer plead in the court, and the judge expound the law.

Camerado, I give you my hand!
I give you my love more precious than money,
I give you myself before preaching or law;
Will you give me yourself? will you come travel with me?
Shall we stick by each other as long as we live?
— Walt Whitman, Song of the Open Road
~~~~~~~~~~~~~~~~~~~~~

From the Rare Books Department
May 24 through September 1, 2018
Level 1 lobby, J. Willard Marriott Library, The University of Utah

Gallery talk
Thursday, June 21, 5:30pm
Level 1
Cosponsored by the Book Arts Program

 

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On Jon’s Desk – The Golden Cockerel Press Conquers an Anonymous Chronicle of the First Crusade

31 Wednesday Jan 2018

Posted by Jonathan Bingham in On Jon's Desk

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11th Century, 1945, Bee Blackburn, Christopher Sandford, Clifford Webb, Council of Clermont, Crusades, Ekkehard, engravings, Ethelwynne (Gay) Stewart McDowall, fine press, Francis J. Newbery, Gesta Francorum et aliorum Hierosolimitanorum, Golden Cockerel Press, Harold (Hal) Midgley Taylor, Jerusalem, Jon Bingham, Owen Rutter, Pran Pyper, Robert Gibbings, The First Crusade, The First Crusade: The Deeds of the Franks and other Jerusalemites, Thomas Yoseloff

 

 

 

 

 

 

Title: The First Crusade: The Deeds of the Franks and other Jerusalemites

Author: Anonymous

Publisher: London: The Golden Cockerel Press, 1945

Call Number: D161.1 G42 1945

The story of the Crusades is one of conquest. Although participants saw themselves as pilgrims, the endeavor quickly became an enterprise of establishing a new kingdom (that of Jerusalem). Setting out on the journey of reading the Crusade chronicles is often like starting a bibliographic pilgrimage that will invariably become something else. These accounts can become a collection of narratives needing to be conquered. And that is just what one group of talented book makers did with one account of the First Crusade recorded by an anonymous participant: the Golden Cockerel Press took the chronicle and mastered it — completely.

Operating between 1920 and 1961, the Golden Cockerel Press was initially a privately owned press (and then later a publishing house) that specialized in producing fine press editions of works completely by hand. The press printed on handmade paper using hand-set type, and often illustrated the works using hand-engraved woodblocks. The Golden Cockerel Press was founded by Harold (Hal) Midgley Taylor (1893-1925) in 1920, but was set up as a cooperative with three other partners in addition to Taylor: Bee Blackburn, Pran Pyper, and Ethelwynne (Gay) Stewart McDowall. After Taylor was no longer able to supervise the press due to suffering from tuberculosis it was sold to Robert Gibbings in 1924. Gibbings published 71 titles at the press, with the size of a run normally between 250 and 750 copies. The press enjoyed a brief period of strong success before once again succumbing to faltering markets and in 1931 it was taken over by Christopher Sandford, Owen Rutter, and Francis J. Newbery. It was at this point that the press transitioned from a privately owned press to a publishing house. 120 works were published during the Sandford era. In 1959 Sandford, for whom the financial pressures of keeping the press going had become too much, sold the publishing business to Thomas Yoseloff, an American publisher and at the time director of University of Pennsylvania Press. Yoseloff completed the publication of two titles in 1960 that had been previously commissioned by Sandford, and then the following year published two more titles before continuation of the business proved impractical. By the end of 1961 Yoseloff ceased operations, as the resources and fine bookcraft skills necessary for production of Golden Cockerel titles became too difficult and costly to obtain.

The illustrations in some Golden Cockerel titles, although tame by modern standards, were considered risqué for the time and necessitated the press taking precautionary measures against possible prosecutions for obscenity or provocation, such as disguising the names of translators and illustrators. The woodblock engravings for The First Crusade: The Deeds of the Franks and other Jerusalemites were done by Clifford Webb (14 February 1895 – 29 July 1972), who was an English artist, illustrator, and author. He primarily illustrated books for children, which makes his engravings for The First Crusade that much more interesting by comparison. The scenes captured by Webb in this work are striking, both artistically and from a standpoint of subject matter.

The anonymous chronicle Gesta Francorum et aliorum Hierosolimitanorum, the translation of which appears in the Golden Cockerel work The First Crusade, was written by a participant of the events for which it is named. Who wrote this account and why would The Golden Cockerel Press want to publish it? Let’s take a little closer look at it, shall we?

Shortly after the conclusion of the First Crusade, in 1101 CE, Ekkehard (d. 1126), later abbot of Aura, went to Jerusalem on pilgrimage and saw there what he described as “a little book,” in which an account of the three years preceding the taking of Jerusalem was given. Several other accounts refer to this “little book,” which was often described as rustic and written in an unpolished style. This account is accepted as the earliest chronicle of the First Crusade to be completed following the events of 1099, which included the capture of Jerusalem by the western Christians (i.e. pilgrims). It came to be known as the Gesta Francorum et aliorum Hierosolimitanorum (in translation, The Deeds of the Franks and the other Pilgrims to Jerusalem), and is now commonly referred to as the Gesta.

This chronicle is comprised of an account which begins with the Council of Clermont in November 1095 and ends with the Battle of Ascalon in August 1099. The account consists of ten books, of which the first nine are believed to have been written before the anonymous author left Antioch in November 1098 and the tenth at Jerusalem shortly after the Battle of Ascalon (certainly before the beginning of 1101). This work became an important source for other chronicles which followed. The Gesta also influenced, either in its original form or through those who used it as a resource in their own work, most of the chronicles written during the twelfth century. Its influence on the historical writings of the time has cemented it as an important source alongside even the more “polished” of its contemporary peers.

The anonymous author of the Gesta had little interest in autobiography and little is known about him beyond what can be discovered indirectly through the context of his account. Contextual evidence suggests that he was a vassal, most likely a mid-level knight, of Bohemond and that he came from southern Italy. This is made clear due to his description of the beginning of the Crusade and the position from which he participated in the battles up to June 1098. He identified a number of undistinguished men in Bohemond’s army while confusing the names and titles of important and powerful northern leaders.

Perhaps the most telling evidence of the author’s identity, however, is that throughout the first nine books he refers to Bohemond as “dominus” (in the feudal sense of “overlord”) and usually attached a laudatory epitaph such as “sapiens,” “prudens,” or “bellipotens” when describing him. This suggests that he either held Bohemond in the highest esteem or expected him to read, or at least hear of, the chronicle. The socio-political restraints of a vassal would have necessitated this treatment to the author’s lord. Additionally, the author fought in the ranks of Bohemond’s knights at the Battle of Dorylaeum and the Lake of Antioch, and he was one of the band of hand-picked men Bohemond took with him to enter Antioch by night in order to obtain control of the city through stealth. In reference to Pope Urban II’s journey to Clermont he described the destination as “across the mountains,” showing that he considered Italy to be his home. This evidence indicates that the author was a member of a Norman family that had followed Tancred de Hauteville into southern Italy in the eleventh century. Bohemond’s father was Robert Guiscard, who was one of Tancred’s sons. It seems likely that Bohemond’s immediate followers were of Norman descent despite many of them having been born in Italy.

It is also likely that the anonymous author of the Gesta was a layman as opposed to clergy, who usually authored chronicles. That he was a knight is obvious from the account. Less obvious is how he became educated enough to write the account, even with it being written in a simple, unadorned style. It was possible, although uncommon, for knights to be educated (milites literati), usually in cases where younger sons who had been trained for service in the church were recalled to a military career upon the death of an older brother so long as they had not progressed beyond minor orders. This may be the case for the anonymous author of the Gesta. While it is primarily a tale of heroic deeds, it does have the feeling of being written by a devout man familiar with passages in the Vulgate. When Bohemond decided to stay at and rule Antioch, the anonymous author chose to abandon his lord, possibly giving up the prospects of enfeoffment in the Principality of Antioch, to continue on to Jerusalem and fulfill his pilgrim’s vow. If true, this would lend credibility to the hypothesis of a devout layman who had become literate through church training.

The Gesta is comprised of a fascinating account of the events of the First Crusade, delightfully presented in this edition – an edition of the highest quality printing – done by the The Golden Cockerel press. Clifford Webb’s masterfully engraved illustrations put the reader right in the middle of the action. One can imagine a Golden Cockerel there, in the middle of it all, as the Crusaders stormed the walls of Jerusalem in July of 1099. If only Ekkehard had been so lucky as to have found such an edition rather than the “little book” he came across in Jerusalem in 1101.

~Contributed by Jon Bingham, Rare Books Curator

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Edgar Allan Poe (Jan. 19, 1809-Oct. 7, 1849) – The Raven

07 Saturday Oct 2017

Posted by Jonathan Bingham in Uncategorized

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Alan James Robinson, Cheloniidae Press, Daniel E. Kelm, Daniel Keleher, Edgar Alan Poe, fine press, Harold McGrath, Lorimer Graham, Magnani Paper, poetry, Sarah Pringle, The Raven

 

 

 

 

 

“Deep into that darkness peering, long I stood there wondering, fearing”

THE RAVEN
Edgar Allan Poe (1809-1849)
Easthampton, MA: Cheloniidae Press, 1986

First published in 1845, Poe’s narrative poem The Raven tells of a talking raven’s mysterious visit to a distraught lover, mourning the loss of his love named Lenore, and traces the man’s slow descent into madness. Although the poem did not bring Poe much financial success, its publication made him widely popular in his lifetime. While critical opinion is divided as to the poem’s literary status, it remains one of the most famous poems ever written.

Fully redesigned by Alan James Robinson, this edition of The Raven was issued in a new edition of 225 copies by Chelondiidae Press. The text, printed by Daniel Keleher at Wild Carrot Letterpress, is the original Lorimer Graham version with the author’s corrections. Wood engravings and etchings are by Alan James Robinson and printed by Harold McGrath. The paper is Magnani mould made letterpress. Bound in full leather by Daniel E. Kelm and Sarah Pringle at the Wide Wake Garage. Signed by the artist. Rare Books copy is Artist Proof number VI.

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DOC/UNDOC — Part 4/6, “Ambiguous, Unclassifiable, Undefinable Identity”

29 Tuesday Dec 2015

Posted by rarebooks in Uncategorized

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ambiguous, ancestry, apprentice, Ars Shamánica Performática, art, artistic, artists' books, audience, blood, borders, boundaries, Catholicism, Chicanos, collaboration, comb, complancence, country, crucifix, Dallas Fawson, Doc/Undoc, DOC/UNDOC: Documentado/Undocumented Ars Shamánica Performática, DVD, English, European, Felicia Rice, fine press, Guillermo Gomez Peña, hat, heritage, identity, iguana, indigenous, Isabel Dulfano, J. Willard Marriott Library, Luise Poulton, mask, metaphor, Mexican, mirror, Moving Parts Press, music, mustache, oils, performance art, poems, rare books, Rare Books Classroom, residence, shamans, skull, snakes, soundtrack, Spanish, spectator, sweat, symbol, tattoos, underground, United States, University of Utah, video, world

During Fall Semester, 2015, University of Utah graduate students in SPAN6900-2 Analyzing Texts: Form and Content visited Rare Books. During the third and final session with Rare Books, the students were introduced to late 20th century/early 21st century fine press and artists’ books. The session ended with the premiere viewing of our copy of DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática, purchased in September. Student response was so strong that managing curator Luise Poulton, in her typical, over-enthusiastic way, exclaimed, “You should post your thoughts on Open Book!” Prof. Isabel Dulfano, in her own enthusiastic way, immediately took up the suggestion and made this a new assignment, right then and there. Bless the beleaguered grad students! Rare Books is pleased to present these responses, one post at a time.

From Dallas Fawson

Doc/Undoc photo courtesy of Moving Press Parts

DOC/UNDOC photo courtesy of Moving Press Parts

In the Rare Books Classroom at the J. Willard Marriott Library, The University of Utah, our Spanish 6900 class had the pleasure of experiencing DOC/UNDOC: Documentado/Undocumented Ars Shamánica Performática (2014), a multi-genre work of art which is the ultimate expression of the central theme of Guillermo Gómez-Peña’s collective body of work: crossing borders. This theme is central to the piece, an unclassifiable combination of artists’ books, performance art videos, underground music, and what the collaborators have called “a traveling case for apprentice shamans,” a heavy container which includes a plethora of objects such as a mirror, a Luchador mask, a comb, and the dried foot of an iguana. With this work, Gómez-Peña and the various artists with whom he collaborated have created a piece of art which crosses both thematic and aesthetic borders, and in that way challenges notions of genre, authorship, and the relationship between a work of art and its spectator.

Given his mixed ancestry and current country of residence, it is unsurprising that the idea of crossing borders has permeated Gómez-Peña’s artistic world. As a Mexican residing in the United States, Gómez-Peña has literally and symbolically crossed borders: his mixture of Spanish and Indigenous blood, as well as his decision to reside in the United States, have given him a flexible identity which is typical of Chicanos, people of Mexican descent residing in the United States. I believe that, in many ways, Documentado/Undocumented serves as an elaborate metaphor for this unclassifiable identity.

Due to the fact that he is a performance artist, it is unsurprising that the theme of crossing borders exists not only in Gómez-Peña’s writing, but also on his own body in the form of tattoos. On the DVD which forms part of Documentado/Undocumented, the viewer has several opportunities to glimpse the artist’s heavily tattooed torso. On one half of his chest, we see a man with a European style hat and mustache; on the other, a skull. And connecting these two images is a crucifix intertwined with snakes. This symbol is useful in two ways: first, it serves as an intriguing artistic representation of the mixture of heritages which make up Gómez-Peña’s identity. The European imagery, such as the mustached man with the hat, contrasts with the Indigenous Mexican symbolism found in the skull. Furthermore, the snake-entwined crucifix which joins these two images can be seen as a symbol for the mixture of Indigenous beliefs and European Catholicism which help to define the identities of many Mexicans today, and in this way showcases Gómez-Peña’s mixed heritage.

This complex tattoo also reveals the way in which Gómez-Peña has crossed borders with his art. Rather than limiting himself to a single genre, Gómez-Peña writes poetry, collaborates with visual artists, and even creates visceral performances using his own body to push artistic boundaries- that is, to cross borders. In fact, Documentado/Undocumented itself is not exclusively a work by Guillermo Gómez-Peña, but rather a collaboration with several other artists, such as Felicia Rice, who designed the artists’ books which form part of the collection. In this way, the work not only pushes the boundaries of art, but also of artistry: what exactly is Documentado/Undocumented, and who should receive credit for it? I believe the work is meant to be ambiguous and undefinable, and therefore serve as a metaphor for the mixed identity of Guillermo Gómez-Peña and other Chicanos, who do not necessarily have a single culture with which they identify.

This artistic border crossing is present in every aspect of Documentado/Undocumented, including the title, which contains a dual binary: the juxtaposition of being documented and undocumented, and the mixture of the English and Spanish languages, two presences which reflect the reality of many Mexicans living in the United States. In spite of the various references to European and Mexican culture, however, it should be noted that Gómez-Peña does not limit himself artistically to these influences. One fascinating aspect of the work is the soundtrack which accompanies it, which includes aggressive, underground musical genres, such as death metal and electro-industrial. Although this may seem arbitrary, it is important to realize that these are genres which also push artistic boundaries. Electro-industrial, for example, is an eclectic genre which mixes elements of heavy metal, electronic dance music, and hip-hop style production. By including these disparate elements, it is a genre which defies classification.

The inclusion of such polarizing musical genres serves at least two purposes. First, it further pushes the boundaries of genres: not only does Documentado/Undocumented include a soundtrack, something which is already atypical of artists’ books, but one containing genres of extreme music with limited audiences. Secondly, it prevents complacence from the audience. In his writing, Gómez-Peña makes it clear that he wants to push people from all sides of the political and social spectrum. In fact, one of the poems included in the work directly addresses the ways in which he is able to offend both liberal and conservative audiences, something which he presents as an artistic obligation on his part. By pushing boundaries from every direction, Gómez-Peña and his collaborators insure that no one will walk away from the work unmoved.

It is important to discuss a final way in which Gómez-Peña and the other artists who worked on this project have crossed borders, and that is with respect to the relationship between a work of art and its spectators. Rather than something which is meant to be admired from afar, the “traveling case for apprentice shamans” is meant to be heavily interacted with. In one of the videos which is included with the set, Gómez-Peña expresses his desire for the spectators to leave some of their sweat and oils behind on the objects included in the case. This desire demonstrates another way in which the artists have crossed borders: rather than the common view that works of art are meant to be perfectly preserved, interaction with this piece is not only possible, but encouraged. This element, which in my opinion is what truly makes Documentado/Undocumented unique, is a final symbol of how Guillermo Gómez-Peña, Felicia Rice and the other collaborators have created an indefinable work of art which crosses aesthetic and thematic borders.

20151201_155144

“Doc/Undoc | Art | UC Santa Cruz.” Web. 14 Dec. 2015.
Gómez-Peña, Guillermo, et al. DOC/UNDOC: Documentado/Undocumented Ars Shamánica
Performática. Santa Cruz, CA: Moving Parts Press, 2014.

Coming soon: Julia Menendez Jardon

alluNeedSingleLine

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DOC/UNDOC — Part 1/6, “Peruse, Inspect, Handle, Consider”

18 Friday Dec 2015

Posted by rarebooks in Uncategorized

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1552, 1770, 1859, 1885, 1934, 1998, Aristotle, Ars Shamánica Performática, artists' books, Baroque, Bartolomé de las Casas, book artists, books, codex, Codex Espangliensis, Codex Ixtilxochitl, communication, Doc/Undoc, documentation, Emily McVarish, Enlightenment, ethnography, Felicia Rice, fine press, format, Gobierno General, Granary Books, Greco-Roman, Grolier Club, Guillermo Gomez Peña, Hernan Cortés, history, ideas, image, Isabel Dulfano, Jae Jennifer Rossman, Jed Birmingham, Jennifer González, Johanna Drucker, journal, Kathy Walkup, Kyle Schlesinger, language, Latin, Latin America, literary analysis, literary criticism, literature, Luise Poulton, Managing Curator, manuscript, Mimeo Mimeo, Moving Parts Press, multimedia, Nombres Geografico de Mexico, Open Book, parchment, political, printing press, rare books, Rare Books Department, readers, rhetoric, scroll, sequence, Spanish, stone, story, suitcase, text, The Bonefolder, type, University of Utah, Webster's Dictionary, Women's Studio Workshop, writing

During Fall Semester, 2015, University of Utah graduate students in SPAN6900-2 Analyzing Texts: Form and Content visited Rare Books. During the third and final session with Rare Books, the students were introduced to late 20th century/early 21st century fine press and artists’ books. The session ended with the premiere viewing of our copy of DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática, purchased in September. Student response was so strong that managing curator Luise Poulton, in her typical, over-enthusiastic way, exclaimed, “You should post your thoughts on Open Book!” Prof. Isabel Dulfano, in her own enthusiastic way, immediately took up the suggestion and made this a new assignment, right then and there. Bless the beleaguered grad students! Rare Books is pleased to present these responses, one post at a time, beginning with comments from Dr. Dulfano.

Introduction
Isabel Dulfano, Ph.D
Associate Professor of Spanish, The University of Utah

This commentary tells the story of how our class came to view the artist book, DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática (2014, Moving Parts Press) by Guillermo Gomez Peña, Jennifer González and Felicia Rice at the Rare Books Department in the University of Utah’s J. Willard Marriott Library. Our reading of this extraordinary, groundbreaking book object came as the culmination of our interrogation of form and content of literary works during a class called “Analyzing Texts: Form and Content.”

Doc/Undoc photo courtesy of Moving Parts Press

Doc/Undoc photo courtesy of Moving Parts Press

During three library sessions, Luise Poulton, Managing Curator of Rare Books, provided an eclectic sampling of Latin American-themed pieces for the students to peruse, inspect, handle, and consider. Touching and examining a wide variety of books from over a 600-year period turned literary analysis into a visceral as well as intellectual practice. Luise challenged us to think about the history of books, from technological milestones and inventions, to the conceptual remapping and physical reshaping of the concept of book over time.

Webster’s Dictionary defines books as “a handwritten or printed work of fiction or nonfiction, usually on sheets of paper fastened or bound together within covers” as well as a “division of a literary work.” However the artist book transforms a known form of the book, “which once toyed with, interrogated, or in any way manipulated, reveals itself as a complex composition, a work produced, upon reading, by the orchestration of its parts” (Rossman 10). Artists’ books rely on the reader’s operation of the component parts in a continuously generative process, which pushes the limits of what literary analysis may have to take into account in the contemporary world.

The first of three meetings in the Rare Books Classroom began with the hands-on display of original and facsimile copies of classic canonical texts, masterfully printed at the time of inscription and in the distinctive style of the individual printing press. Titles by Bartolomé de las Casas and Hernan Cortés or the Codex Ixtlilxochitl revealed historical and ethnographic information that maintained conventional print production formats and content appropriate to known genres. Acknowledging books as one of the principle forms of documentation used to convey and disseminate ideas, we queried the relationship between the use of a medium (stone, parchment, scroll, codex, manuscript, printed bound book) and its’ content (genre, message, symbols, themes, subject/stylistics) in these celebrated texts.

Entre los remedios q do Fray Bartolome de Las Casas, 1552

Entre los remedios q do Fray Bartolome de Las Casas, 1552

Histoira de Nueva-Espana, 1770

Historia de Nueva-Espana, 1770

The next sessions shifted in time to the late Baroque/Enlightenment period through the late XIXth century, eventually reaching the present-day. A gradual disruption of structure (physical and conceptual) followed this chronological timeline. Older documents were logical in their coherence and assemblage, adhering to what Johanna Drucker identifies as the two fundamental structural elements of a book: finitude and sequence (257). Sequence “participates in the distribution of elements into an organized system where location helps provide access” (258 Drucker). A hybrid book includes language and image (text, type, and format) to tell a story, which challenges conventional notions of sequence. The resulting fragmentation in the articulation of narrative sequence provides an “integral part of its meaning” (Drucker 262).

Gobierno General, 1859

Gobierno General, 1859

Nombres geograficos de Mexico, 1885

Nombres geograficos de Mexico, 1885

Contemporary ouevres may appeal partially to traditional literary print formats by utilizing canonical forms as at least one component, however simultaneously they reject the limitations and conventional parameters implicit in a manuscript. Modern works disavow orthodox arrangement, organization or configuration. Some recent examples even repudiate documentation aligned with the standard regimented form of a bounded print book, and instead experiment with democratizing form and defamiliarization techniques (McVarish, 2008). Many deconstruct authorial privilege, since the reader operates and manipulates the text to produce meaning. As Jae Jennifer Rossman points out “in artist’s books the hallmark of the medium is endowing the physical attributes of the book with part of the message” (86), thereby interleaving form and content inextricably together. The artist book uniquely transmits message through myriad surfaces, spaces, materials, concepts, and sequences.

West Indies, Ltd., 1934

West Indies, Ltd., 1934

Codex Espangliensis, 1998

Codex Espangliensis, 1998

As literary critics and scholars of literature we are engaged in the practice of approaching, analyzing and appraising literature, as well as instructing students to do the same. The act of literary criticism is a technical and esthetic evaluation of the oral and written forms of articulation of narrative sequence, discourse, and message of an author’s perspective on the human condition and spirit. It is based on certain known principles, outlined originally by Greco-Roman intellectuals in the Western tradition. The utilization of the tools of this trade, such as identification of, and interpretation of, structural elements or rhetorical and literary devices has taken place since Aristotle. Literary analysis involves a process of extracting meaning from literature, a word derived from the Latin littera, referring to an esthetic represented in written documents of one type or another. The book manuscript, principal medium used for conveying and disseminating ideas, especially in the Leporello and Concertina style, have served as the predominant Western medium for millennia.

In this class, we were able to witness the evolution of book formats as the concept passed through multiple permutations from scroll and parchment to bounded manuscript to the extreme case of DOC/UNDOC housed in a suitcase, with multimedia such as: “A traveling case for apprentice shamans, A reliquary for imaginary saints, A toolbox for self-transformation, A quiet call to heal yourself with fetishes and antidotes, A border kit to face the uncertainty of future crossings.” In fact, in DOC/UNDOC the abundant mixed media, hybridity of language and image, amalgamation of a hand-written contemporary codex, interactive suitcase with mirrors and paraphernalia, CD, and DVD video of (director, writer, performance artist, activist, and docent) Guillermo Gomez Peña’s Daliesque performance, destabilizes our quotidian understanding of the process of documentation. Many features of Doc/Undoc insist on deviation from the typical privileged form of written, sequenced, and finitely orchestrated communication.

Doc/Undoc -- photo courtesy of Moving Parts Press

Doc/Undoc photo courtesy of Moving Parts Press

In this manner it participates in what The Bonefolder, a journal dedicated to book artists, describes as the constant “challenge of defining art and craft, looking to the past for tradition and forward for new possibilities” (Fox, Krause, & Simmons 2009). As a consequence, the auto-referential title of Doc/Undoc is explored thematically and structurally to demystify the legal, political, literary, and philosophical ramifications of being documented or not having documentation. The outcome of this creation sui generis raises a host of questions about how to read, what reading is, what literature is, identity, genre, legitimate/illegitimacy, forms of documentation, the role of readers, and the mutability of the authorial/director’s hand that remain unresolved.

The history of literature begins with the history of writing. Analysis emerges as individuals start to engage in the interpretation and valuation of literary works. We have analytical tools that enrich and expand our comprehension of the informative, communicative, linguistic, stylistic, and aesthetic components of a literary work. For instance, we can determine the genre of a given oeuvre; or try to discern the author or oeuvres’ intention with respect to art for art’s sake, didactic/instructive ends, or postulation of an engagé committed message. These are rudimentary points of departure in analysis, yet as literature evolves, and documentation itself is brought into question, the entire repertoire of analytic tools will be needed in order to grapple with the changing format, structure and content.

Our interactions, alias sessions in Rare Books, with “books” from pre-conquest Latin America to more modern examples forced the class to think about literary analysis in a whole new manner rarely addressed in standard textbooks. Bringing home the very concrete, tangible aspect of a book, through our physical engagement, incited a distinct appreciation of the knowledge and wonder incarnate in hard copy, electronic, virtual, artists’ books or otherwise. Our task was to unlock their universe by questioning the implications of the form and meaning – the how and what – of their documentation or lack thereof. Coincidentally, DOC/UNDOC invites the reader to participate in a similar kind of intellectual endeavor; the analysis and reading of a provocative revalorization of the act of documentation in the twenty-first century.

20151201_155114

Drucker, Johanna, Granary Books, and Press Collection. The Century of Artists’ Books. 2nd ed. 2004: 257-285. Print.
Fox, A., Krause, D., and Simmons, S.K. (Fall 2009),The Hybrid Book: Intersection and Intermedia,The Bonefinder: An e- Journal For The Book Binder And The Book Artist,Volume 6, Number 1. Retrieved Dec.4, 2015 from http://digilib.syr.edu/cgi-bin/showfile.exe?CISOROOT=/bonefolder&CISOPTR=76&filename=78.pdf
Gómez-Peña, Guillermo, Rice, Felicia, Vazquez, Gustavo, González, Jennifer A., Watkins, Zachary, and Moving Parts Press, Publisher. DOC/UNDOC : Documentado/Undocumented Ars Shamánica Performática. 2014. Print.
McVarish, Emily. (Autumn 2008). Artist books Mimeo Mimeo No. 2 Jed Birmingham and Kyle Schlesinger
Rossman, Jae Jennifer. 2010. Documentary Evidence: The Aura of Veracity in Artists’ Book. In Walkup, Kathy., and Grolier Club. Hand, Voice & Vision: Artists’ Books from Women’s Studio Workshop 2010. Print.

Coming soon: Response from Sam DeMonja

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We recommend – Book Arts Program lecture

02 Tuesday Jun 2015

Posted by rarebooks in Recommended Lecture

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Tags

Anna Embree, Audrey Niffenegger, Baskerville, Beth Grabowski, Bonnie Thompson Norman, bookmaking, Bull's Head & Branch, By His Own Labor, Caren Heft, Catherine May, Cathleen Baker, Colleen Dwire, College Book Art Association (CBAA), Coriander Reisbord, Cuba, Dard Hunter III, David Moyer, Deborah Mae Broad, Dennis Ruud, Eileen Wallace, Elsi Vassdal Ellis, Eric Bealer, fine press, Fond du Lac, Gray Parrot, hand papermaking, handmade, Havana, Heartbreak Thursday, Helene Hanff, Izel Marino Gonzales, Jack Malloy, James Horton, Joe Sanders, John DePol, Judi Conant, Julio César Peña Peralta, Karla Elling, Katrin Braun, letterpress printing, linocuts, Luis Francisco Diaz Sanchez, Maria Vargas, Mark Hark, Marriott Library, Mary Jo Pauly, Meriden-Stinehour, Michael and Winifred Bixler, Michael Sean Fallon, Minneapolis, Minnesota, Minnesota Center for Book Arts, North Carolina, Olga Broumas, Parallel Editions, Paula Maria Gourley, Penland School of Crafts, Pinkney Herbert, pochoir, Rafael Suan Lazo, Rare Books Classroom, Red Hydra Press, Red Ozier Press, Robert Bly (b.1926), Ruth Lingen, Sara Owen, Saturday Nights in Marietta, Steve Miller, T. Begley, Taller Experimental de Papel Artesanal (TEPA) de la oficina de Historiador de la Cuidad, TEPA, The Perishable Press, The University of Alabama, The University of Alabama School of Library and Infomration Studies Book Arts Program, The University of Wisconsin-Madison, Timothy Geiger, Travis Becker, Tuscaloosa, University of Alabama Center for Cuba Collaboration and Scholarship, University of Utah, Uso Ilegal del Alma, Van Dijk, vellum, Walter Hamady, Wisconsin

Why Books?
Steve Miller
June 4
Thursday, 6:30–7:30
Rare Books Classroom, Marriott Library, Level 4

Steve Miller was born in Fond du Lac, Wisconsin and educated at The University of Wisconsin-Madison. Having taken letterpress printing classes with Walter Hamady of The Perishable Press, he founded Red Ozier Press in 1976—a fine press devoted to publishing literary first editions in handmade limited editions.
Steve came to The University of Alabama in Tuscaloosa in 1988. He teaches letterpress printing, hand papermaking, and coordinates the MFA in the Book Arts Program. Although his primary focus at the university is in the teaching of traditional bookmaking, he is also the proprietor of Red Hydra Press and collaborates on various limited edition publishing projects with authors and artists. Steve is a co-director of Paper and Book Intensive, a nationally-recognized annual series of summer workshops in the book arts. He is also a trustee of the Penland School of Crafts in North Carolina and co-directs the University of Alabama Center for Cuba Collaboration and Scholarship. Steve was awarded the 2012 Distinguished Career Award from the College Book Art Association (CBAA)


ML422-S76-H36-1993

Heartbreak Thursday
Helene Hanff (1916-1997)
Tuscaloosa, AL: Parallel Editions, 1993
ML422 S76 H36 1993

Printed by Steve Miller and Timothy Geiger with Baskerville types. Cap calligraphy and pochoir by Paula Marie Gourley. Bound in purple cloth-covered boards, printed cover label by Paula Marie Gourley with Catherine May and Coriander Reisbord. Edition of seventy-five copies. University of Utah copy is no. 69, signed by the author. Gift of Eileen Wallace.


PS3552-E377-U64-1995-covers

unfolding the tablecloth of god
T. Begley (b. 1956) and Olga Broumas (b. 1949)
Tuscaloosa, AL: Red Hydra Press, 1995
PS3552 E377 U64 1995

Printed and bound by Steve Miller. Wrapper drawing by Pinkney Herbert. Edition of eighty-seven copies. University of Utah copy is no. 1, signed by the poets and printer. Gift of Eileen Wallace.


PS3552-L9-S28-1999-ArtistsStatement

Artist’s Statement:
“The first time I read Bly’s poem Singing Late at Night at Chuck and Phil’s Farm, I saw a thunderous tornado sweeping across the fields, and poem lines swirling from it. No matter how hard I tried to rid myself of the image, it stayed. And so I made the reduction linocut with words swirled in photopolymer types around it. The words all come from several of Bly’s poems in his book Iron John, and one of his translations of Kabir in the same book. What I saw in Singing Late at Night…unleashed a riff of Bly words for me.” – Steve Miller

Saturday Nights in Marietta
Robert Bly (b. 1926)
Minneapolis, MN: Minnesota Center for Book Arts, 1999
PS3552 L9 S28 1999

Poems by Robert Bly accompanied by visual interpretations by Bonnie Thompson Norman, Steve Miller, David Moyer, Ruth Lingen, Colleen Dwire, Jack Molloy, Karla Elling, Beth Grabowski, James Horton, Elsi Vassdal Ellis, Audrey Niffenegger, Eric Bealer, Deborah Mae Broad, Joe Sanders, and Caren Heft. Poems printed by Michael Sean Fallon on handmade paper by Mark Hark. Type is Van Dijk from The Press and Letterfoundry of Michael and Winifred Bixler. Bound by Dennis Ruud with leather spine and vellum lacing; housed in box of barn board. Designed by May Brooks Kirkpatrick under the direction of MCBA Artistic Director Mary Jo Pauly. Deluxe edition of 26 lettered copies, signed by the poet. University of Utah copy is “Z.”


TS1098-H8-B34-2000b-title-portrait

By His Own Labor
Cathleen Baker
Tuscaloosa, AL: Red Hydra Press, 2000
TS1098 H8 B34 2000b

From the colophon: “John DePol cut the Hunter portrait in wood, Michael and Winifred Bixler cast the types, Kathryn and Howard Clark and Travis Becker made the paper, Dard Hunter III made the endsheets using his grandfather’s Bull’s Head & Branch watermarked mould…designed and printed by Steve Miller and Cathleen Baker and the plate volume was printed by Meriden-Stinehour. Both the text and the plate volumes were bound at Gray Parrot; the box was made by Judi Conant.” Edition of one hundred and fifty numbered copies and twenty-six lettered copies. Numbered copies are quarter-bound in leather with printed pattern papers created from a single leaf & stem punch cut by the author. University of Utah copy is no. 45.


PQ7392-D53-U76-2006-skeletonspread

Uso Ilegal del Alma
Luis Francisco Diaz Sanchez
Tuscaloosa, AL: Parellel Editions, 2006
PQ7392 D53 U76 2006

From the colophon: “This book is a collaboration between The University of Alabama School of Library and Information Studies Book Arts Program, and our colleagues in Havana, Cuba. The collaborators from Alabama are Book Arts faculty bookbinder Anna Embree, faculty letterpress printer Steve Miller, graduate students Katrin Braun and Sara Owen, and translator Maria Vargas. The collaborators from Cuba are Luis Francisco Diaz Sanchez, artist Julio César Peña Peralta, and, from the Taller Experimental de Papel Artesanal (TEPA) de la oficina de Historiador de la Cuidad, Izel Marino Gonzales, Dra del TEPA, and Rafael Suan Lazo, Tecnico del TEPA…letterpress printed at The University of Alabama. Linocuts…printed in Havana by UA printers and the artist…Binding…done in Havana by UA binders and our Cuban friends.” Edition of fifty-five copies. University of Utah copy is no. 34, signed by author.

Rare Books is pleased to support the Book Arts Program with its fine press and artists’ books collections.

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We recommend – Fantasies & Hard Knocks

29 Friday May 2015

Posted by rarebooks in Recommended Reading

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Alabama, Anthony Burgess, Arnaldo Pomodoro, Biblioteca di via Senato, Book Arts Program at the University of Alabama, Brendan Gill, C. F. Cavafy, Cottondale, Dana Gioia, Ecuador, Ex Ophidia, Ex Ophidia Press, Fantasies & Hard Knocks, fine press, Fulvio Testa, handpress, Italo Calvino, Italy, J. Willard Marriott Library, Jack Spicer, John Cheever, Jorge Luis Borges, Milan, New York, Oregon, Paul Zweig, Plain Wrapper Press, Port Townsend, printers, Quito, R. B. Kitaj, rare books, Richard-Gabriel Rummonds, Rome, San Francisco, Special Collections, University of Utah, Verona

 




FANTASIES & HARD KNOCKS: MY LIFE AS A PRINTER
Richard-Gabriel Rummonds (b.1931)
Port Townsend, OR: Ex Ophidia Press, 2015

Richard-Gabriel Rummonds is recognized as one of the world’s pre-eminent handpress printers of the late twentieth century. For nearly twenty-five years, using the imprints of Plain Wrapper Press and Ex Ophidia, he printed and published illustrated limited editions of contemporary literature on iron handpresses, primarily in Verona, Italy and Cottondale, Alabama. Rummonds’ work has been exhibited in Rome, New York, and San Francisco. In 1999, a retrospective exhibition of his work was held at the Biblioteca di via Senato in Milan, Italy. His books are held in museums, libraries and private collections worldwide.

Rummonds was appointed founding director of the MFA in the Book Arts Program at the University of Alabama in 1984. He has taught workshops around the world, including the University of Utah.

Fantasies & Hard Knocks, “embellished with over 450 images [most in color] and 65 recipes,” is a candid autobiography chronicling the printing and publishing of Rummonds’ pieces issued with Plain Wrapper Press and Ex Ophidia imprints.

In 1966, Rummonds founded Plain Wrapper Press in Quito, Ecuador, moving it to Verona, Italy in 1970, where he mastered his craft on nineteenth-century handpresses and established a worldwide reputation for excellent fine press productions. In 1982, Rummonds established Ex Ophidia in Cottondale, Alabama.

pg568-569spread

His memoir is filled with deeply personal anecdotes of working closely with many of the most acclaimed and renowned authors and artists of the time, including Jorge Luis Borges, Anthony Burgess, Italo Calvino, C. F. Cavafy, John Cheever, Brendan Gill, Dana Gioia, Jack Spicer, Paul Zweig, Arnaldo Pomodoro, Fulvio Testa, R. B. Kitaj and others.

pg746-747spread

Rare Books, Special Collections, J. Willard Marriott Library holds a significant archive of the works, library, and ephemera of Richard-Gabriel Rummonds.

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Book of the Week – The Morning Road

04 Monday Nov 2013

Posted by rarebooks in Book of the Week

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Alden Noble, Armour Institute, Blue Sky Press, bookmaking, Chicago, fine press, Fred Langworthy, handmade, Hyde Park, Thomas Wood Stevens, William Morris

Stevens, The Morning Road, 1902, Cover
Stevens, The Morning Road, 1902, Title Page
Stevens, The Morning Road, 1902, Poems

The Morning Road
Thomas Wood Stevens (1880- – 1942)
Chicago: The Blue Sky Press, 1902
PS3537 T475 M67 1902

Drawing from the great number of Chicago artists and writers of the time, three ambitious young men, Fred Langworthy, Tom Stevens, and Alden Noble – all students at the new Armour Institute – produced almost fifty books and a monthly magazine, under the name of The Blue Sky Press of Hyde Park, between 1899 and 1907.  The publications, part of the international renaissance of bookmaking led by William Morris, represent a successful press producing handmade limited editions and a significant chapter in the history of American fine press in the early twentieth century.

 

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Book of the Week – A Leaf from the Gutenberg Bible

31 Monday Dec 2012

Posted by rarebooks in Book of the Week

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Bible, Bruce Rogers, Centaur, fine press, font, Grolier Club, Gutenberg Bible, Johann Gutenberg, medieval manuscript, moveable metal type, Niclas Jenson, printed, printer, Riverside Press, textura, type, typeface, typographer, William Edwin Rudge

Gutenberg Bible, 1450-1455
Gutenberg Bible, 1450-1455

A Noble Fragment, Being a Leaf of the Gutenberg Bible 1450-1455; With a Bibliographical Essay by A. Edward Newton
New York: Gabriel Wells, 1921
Z241 B581 1921, oversize

A leaf from the Old Testament, Samuel, 2nd, xxii-xxiii, from a Latin translation dating to about 380. The first book printed from moveable metal type, the Biblia Latina or 42-line Bible (in reference to the number of lines in a column) was based on medieval manuscript design. The typeface was developed after a book-hand used in western Germany during the fifteenth century for liturgical works. Known as “textura,” this formal upright and angular hand features letters that have pointed feet and almost no curvature. The first font of type, made by goldsmith Johann Gutenberg, consisted of nearly three hundred characters, including variant forms of letters, ligatures, and abbreviations to simulate as much as possible manuscript conventions. Gutenberg’s choice of the Bible as his first printed publication was a good business decision. All copies (approximately one hundred and eighty) had sold before they were off the press. Forty-eight full copies are known to exist today, thirty-six on paper and twelve on vellum. A. Edward Newton’s bibliographical essay for this leaf book was printed under the direction of Bruce Rogers at the shop of William Edwin Rudge. Bruce Rogers (1870-1957), the distinguished American printer and typographer, is widely recognized as one of the most talented book designers of all time. He spent his earliest years as a designer with Riverside Press, then as a freelance artist during which time he worked with the printing house of W.E. Rudge of Mt. Vernon, New York, the Grolier Club, and the Limited Editions Club of New York. Rogers established American fine press standards, insisting that the design of a book – its type, illustrations, and format should reflect and enhance the author’s text. He designed more than seven hundred books. Rogers also designed Centaur type for the Metropolitan Museum of Art in 1914. Released by Monotype in 1929, Centaur is modeled on letters cut by the fifteenth-century French printer Nicolas Jenson. Centaur has a beauty of line and a proportion that has been widely acclaimed since its release. An attractive typeface for books in particular, it is effective for shorter texts. Bound in black morocco, lettered in gold on front cover.

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