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Tag Archives: Harvard University

Looking forward to — Book Arts Program workshop, “The Practice of Ukiyo-e Woodblock”

28 Thursday Jul 2016

Posted by rarebooks in Recommended Workshop

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barrens, Book Arts Studio, brayers, brushes, calligraphy, Cleveland Museum of Art, Connecticut, copperplate engravings, Daniel Kelm, Fogg Museum, Francis Willughby, Franklin Nichols Woodworking, Gerald Lange, handmade, Harvard University, Henryk Goreski, ink, J. Willard Marriott Library, Japan, Japan Foundation, Japanese paper, John Wareham, Keiichiro Uesugi, Keiji Shinohara, kozo paper, Krystyna Carter, Kyoto, Library of Congress, Middleton, Milwaukee Art Museum, Osaka, pallet knives, Paul Shaw, poetry, Polish, polymer plates, presses, printing, printmaker, rag papers, Robin Price, triptych, Ukiyo-e, United States, University of California, Wesleyan University, William Everson, woodblock, woodcut

The Practice of Ukiyo-e Woodblock
Keiji Shinohara, instructor

August 5-6
Friday & Saturday, 10:00-6:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Registration for this workshop is closed.

Leave the brayers, pallet knives, rag papers, and presses behind, and journey eastward. With brushes and barrens, master printmaker Keiji Shinohara guides participants gently through the traditional Ukiyo-e technique of woodblock printing on Japanese papers. As new practitioners, participants have time to carve small, simple blocks using one or two colors. The focus of the workshop is on observance and practice of process rather than on a producing a masterful print.
– – – – –
Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United States. Shinohara’s nature-based abstractions are printed on handmade kozo paper using water-based pigment onto woodblocks in the ukiyo-e style–the traditional Japanese printmaking method dating to 600 CE. Though Shinohara employs ancient methods in creating his woodblock prints, he also diverges from tradition by experimenting with ink application and different materials to add texture to his prints. He is currently teaching printmaking at Wesleyan University in Middletown, Connecticut and has been a visiting artist at over 100 venues and 30 solo shows. He has received grants from the Japan Foundation and the National Endowment for the Arts and his work is in many public collections, including the Cleveland Museum of Art, the Fogg Art Museum at Harvard University, Milwaukee Art Museum, and the Library of Congress.

Rare Books is pleased to support the Book Arts Program with its collections.

N7433.98-A48-1996

Altar Book of Gorecki
Middleton, CT: Robin Price, Publisher, 1996

Inspired by a 1992 recording of Henryk Goreski’s Symphony No. 3. English translation by Krystyna Carter. Calligraphy of Polish lyrics by Paul Shaw. Bird illustrations are from seventeenth-century copperplate engravings by Francis Willughby. Photographed by John Wareham, the illustrations were digitally adapted and made into polymer plates by Gerald Lange. Woodcut designed and carved by Keiji Shinowara. Triptych structure with the consultation of Daniel Kelm. Box design and construction by Franklin Nichols Woodworking. Designed, printed and bound by Robin Price. Edition of sixty copies.

PS3509-V65-R38-1998-Bird-Spread

PS3509-V65-R38-1998-Socket-Of-Consequence

Ravaged With Joy
William Everson (1912-1994)
Middletown, CT: R. Price, 1998
PS3509 V65 R38 1998

A record of the poetry reading at the University of California, Davis, on May 16, 1975. Woodcuts by Keiji Shinohara. Issued in slipcase. Edition of one hundred and fifty copies, signed by the artist. University of Utah copy is no. 62.

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Looking forward to Book Arts Program workshop, “All Shook Up: Text & Image in Flag Books”

01 Friday Jul 2016

Posted by rarebooks in Recommended Workshop

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1954, American, Anchorage Museum of History and Art, artist, artists' books, Book Arts Studio, Brooklyn Museum, Canadian Bookbinders & Artists' Guild, Center for Book Arts, Designer Bookbinders (US), digital printing, flag book structure, Florence, Florida Atlantic University, Fogg Museum of Art, Glenview, Graceland, Guild of Book Workers, Harvard University, Hedi Kyle, history, Illinois, image, Italy, J. Willard Marriott Library, jig, Karen Hanmer, Kentucky Museum of Art and Craft, Les Amis de la Reliure d'Art du Canada, Library of Congress, military, New York City, non-adhesive, photograph, Photoshop, politics, science, Tate Britain, text, UCLA, University of West England Bristol

Text & Image in Flag Books
Karen Hanmer, instructor

July 7
Thursday, 9:00–5:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Application for this workshop is closed.

The foundation of Hedi Kyle’s deceptively small and simple book flag book structure is an accordion folded spine. Flaps attached to both sides of each of the spine’s mountain folds allow the artist to fragment and layer a number of complementary or contrasting images and narratives. When the flag book spine is pulled fully open, the fragmented images on the flaps come together to create a large, panoramic image. Participants experiment with complementary and contrasting text and images and discuss the effects of different spine and page dimensions, direction of motion, and which images are most successful. Students learn a tidy, non-adhesive method of covering boards and use a jig to facilitate quicker, more precise assembly. While this is not a computer class, digital printing and setting up Photoshop templates for pages, covers and spines is demonstrated.
– – – – –
Karen Hanmer’s artists’ books are physical manifestations of personal essays intertwining history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Hanmer exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Solo exhibition venues include Florida Atlantic University, University of the West of England Bristol, and the Center for Book Arts (NYC). Curated exhibition venues include the Anchorage Museum of History and Art, Brooklyn Museum, Harvard University’s Fogg Museum of Art, the Kentucky Museum of Art and Craft; and traveling exhibitions sponsored by the Guild of Book Workers (US), Designer Bookbinders (UK) the Canadian Bookbinders and Book Artists’ Guild, and Les Amis de la Reliure d’Art du Canada.

Rare Books is proud to support the Book Arts Program with its collections.

N7433.4-H357-L48-2004-front N7433.4-H357-L48-2004-back

Letter Home
Karen Hanmer
Glenview, IL: K. Hanmer, 2004
N7433.4 H357 L48 2004

Hedi Kyle flag book structure. One side of each flag has text, the other side of each flag has a color image which is part of a family photograph. The family photograph becomes whole when the accordion folds are stretched and the pages fall open. Text is from a letter written from Italy in 1954 by a military wife to her relatives. Upper and lower boards are covered in reproduction of a photograph of an American woman [the artist’s mother] on a balcony overlooking Florence, Italy. Issued in an artist-made phase box of green map folder stock with fabric hook-and-loop fasteners.

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Recommended Lecture — In the Workshop of the Mind

05 Thursday Sep 2013

Posted by rarebooks in Events, Uncategorized

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Ann Blair, collaboration, Department of History, France, Harvard University, history of the book, O. Meredith Wilson Lecture in History, University of Utah

The Department of History, University of Utah, hosts the O. Meredith Wilson Lecture in History on Thursday, September 19, 2013.

Harvard University professor Ann Blair is the guest lecturer. Dr. Blair’s specialty is early modern France, early modern European intellectual and cultural history; the history of the book, and the history of science. The title of her lecture is, “In the Workshop of the Mind: Methods of Collaboration in Early Modern Europe.”

Dr. Blair writes,  “Today we are well aware of the collaborative nature of intellectual work: the majority of scientific papers are co-authored; in the humanities interdisciplinary initiatives and digital methods of research have all encouraged collaboration. We generally have the sense that collaborative work is a recent development, that in the past scholarship was a solitary activity. Indeed in paintings and descriptions of the early modern period scholars were typically depicted working alone, but the working papers and letters that survive tell a different story. Through these sources we can appreciate how early moderns worked collaboratively through correspondence and in person, with peers, with patrons, and with helpers (amanuenses, students, family members). Collaborations worked differently in early modern Europe, and with different conceptions of credit and authority from ours today, but in this talk illustrated from early modern paintings, manuscripts, and printed books I will argue that collaboration was even more widespread and essential to scholarship than it is today.”

When: Thursday, September 19, 2013, 4:00PM

Where: Eccles Auditorium, Room 109, Carolyn Tanner Irish Humanities Building (CTIHB), University of Utah

History logo

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