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Tag Archives: Japanese

KUED’s VERVE features Rare Books in “Artists’ Books”

20 Friday Jul 2018

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accordion, acrylic paint, Alicia Bailey, Alise Alousi, altered books, American Southwest, American West, Arches 90 lb., artists' books, Barry McCallion, Basingwerk, BFK, binding, birch, blankets, bookseller, Bradypress, bullet, Canson, Carolyn Hull, Carrier Pigeon, chapbook, Chinese, CMC, collage, collector, Connecticut, Daniel Kelm, deceit, desert, East Hampton, embossed paper, enamel, feathers, felt tip marker, Ferrum Wheel Press, galley proofs, gelatin, gesso, goatskin, gold tooling, Goudy, Goudy Bold, Granary Books, graph paper, Graphite, handmade paper, Harvard, hatchet, hoax, ink, inkjet, James Turrell, Japanese, Jen Bervin, Joelle Webber, John Van Dyke, KUED, l;oop, Lake City, laserfoil, laserprinted, leather, leporello, letterpress, maps, metal, Middletown, mixed media, Mohawk Via, Nebraska, New York, New York City, Omaha, Owen Wister, paper-mache, pens, photograph, pigment, pistol, poem, Portland, rare books, Ravenpress, Richard de Bas, Rick Moody, rifle, Robin Price, Roden Crater, Rutgers University, Saint Armand, Santa Monica, shovel, silk, stones, suede, sumi, Thomas Ingmire, Timothy C. Ely, trains, VERVE, voyeurism, Walt Whitman, watercolor, Wave Books Poetry Bus Tour, wax, white-out correction, Wide Awake Garage, wooden nickel

“Artists’ books are…a blown-up conference of multiple elements.”

KUED‘s online video series, VERVE, features artist’s books from the rare book collections in “Artists’ Books,” episode 5, season 6, “Its All About the Book.”

Here are some of the pieces chosen by the Rare Books staff for this episode:


ARKA
Timothy C. Ely
Portland, OR: T. Ely, 1995
N7433.4 E35 A7 1995

The book is drawn on BFK gray paper that was brush-sized with gelatin and CMC, then under painted with CMC and acrylic paint. Other materials include ink, Graphite, and watercolor. Each folio is sewn onto four raised cords that, on completion of the sewing, were laced into birch plywood boards. The end bands are silk worked over cores of leather. The spine of the book is goatskin. The board pastedowns are painted paper. The boards have a small amount of gold tooling suggestive of one part of the history and technology of the art of binding. Otherwise the cover boards are painted. The book is contained in a wooden box.



Hunting the Burn
Alicia Bailey
Lake City, CO: Ravenpress, 1998
N7433.4 B22 H86 1998

Two-sided leporello with self in-folded covers and removable spines. One side is Carolyn Hull’s poem “Hunting the Burn,” laserprinted on Basingwerk, overcoated with wax and pigment; the other side is a panoramic painting by Alicia Bailey, digitally reworked and printed with color inkjet on Arches 90 lb. cover and overcoated with wax. Four of the twelve panels have hand-cut rectangular openings with mixed media insertions. Covers are black Canson with hand applied enamel. Title piece is laserfoil on black paper. Spine pieces are black embossed paper laminated to black Canson. The box is paper-mache, gesso and pigmented wax. Box top has metal mesh and hemp-wrapped, wax-covered bullet attached. Inside box are stones and feathers. Edition of twenty copies, signed by Alicia Bailey and Carolyn Hull. Rare Books copy is no. 10.



Surplus Value Books: Catalog Number 13
Rick Moody
Santa Monica, CA: Danger! Books, 2002
N7433.4 M644 S6 2002

Deluxe edition presented as a collector’s box, containing two pens, one felt tip marker, one white-out correction pen, one pencil, one wooden nickel, one photograph with loop, seven photographs of “original artwork for placement only,” and other items. Text is composed in the form of galley proofs. Upon removing the galley holding the text, the reader is presented with a removable panel resembling a hospital release checklist. Holes cut into this panel reveal the objects contained below. The collectible objects in the box act as literal illustrations to the story. The narrator of the story is a bookseller, collector, mental patient. The story is told through the description of books for sale in the bookseller’s catalog. Values are assigned to each item in the catalog according to the bookseller’s inherent personal desire for each item. Themes of value, voyeurism, and deceit are presented as a pathology of collecting through the multiple layering of information and the revealing of objects of desire that are contained in the collector’s box. This work was first published in offset. Collector’s box constructed by Daniel Kelm at Wide Awake Garage. Rare Books copy is lettered “H.”



43, According to Robin Price with Annotated…
Robin Price
Middletown, CT: Robin Price, 2007
N7433.4 P753 A15 2007

From the colophon: “Paper maps from locations along the 43rd parallel are bound in an accordion that structurally supports the main text, which is printed on graph paper and also hinged together as an accordion (opening to 20 ft.)…The unusual double-layer accordion, housed in a printed cloth-covered clamshell box, is co-designed and co-produced by Daniel Kelm at Wide Awake Garage…” Edition of eighty-six plus twelve deluxe copies. Rare books copy is no. 23.



The Desert: Further Studies in Natural Appearances
Jen Bervin
New York City: Granary Books, 2008
N7433.4 B47 D47 2008

An altered book is a form of mixed media artwork that takes a book from its original form into a different form, altering its meaning. The artist may take an old or new book and cut, tear, glue, burn, fold, paint, add collage, create pop-ups, rubber-stamp, drill, bolt or be-ribbon the book to create a new work that is the expression of the artist. In this case, it is the text that is altered — by sewing over certain passages and leaving others exposed. The text from which Jen Bervin’s poem emerges is The Desert, written by John Van Dyke (1856-1932), a professor of Art History at Rutgers University. Van Dyke, the author of several books on art theory of the Art-For-Art’s-Sake school, claimed to have spent three years in the American Southwest desert with only his fox terrier for company and a pony for transportation. According to Van Dyke, he carried with him a rifle, a pistol, a hatchet, a shovel, blankets, tin pans and cups, dried food and a gallon of water. His romantic rhapsody of this trip, published in 1901, was a big hit, extremely influential and remains in print. In fact, Van Dyke saw most of the great desert over which he swooned looking out the windows of trains on his way from one first-class hotel to another. The Desert, version 1901, is the fact-faulted, fantastic hoax of a well-bred, well-educated Easterner, in much the same way that Harvard-educated New Englander Owen Wister’s novel The Virginian (1902) is a glorification of an American West culture that didn’t exist. Prose poem adaptation with overlay of zig zag stitches in pale blue thread. Composed and sewn at James Turrell’s Roden Crater on the Wave Books Poetry Bus Tour in October, 2006. Housed in a hinged archival case. Issued in a wrapper of white muslim cloth and white felt stitched together with blue thread.



Justice: What is Justice?
Thomas Ingmire
T. Ingmire, 2009
N7433.4 I48 J87 2008

Handmade paper mounted over board, Chinese Sumi ink, wide-edged pen (Automatic pen), Japanese brush.



Tangent
Alise Alousi
Omaha, NE: Bradypress, 2011
PS3551 L665 T36 2011



The Latest Things in Kites
Christopher Fritton
Ferrum Wheel Press, 2014
PS3606 R58 L37 2014

Artist’s statement: “A chapbook produced for Carrier Pigeon magazine as as tip-in, The Latest Things in Kites borrows language and its title from a chapter in the book, Fun for Boys. The chapbook is a single-sheet, four-page fold-over with rounded corners and a small embroidery thread tail. Handset in 14pt Goudy Bold and 10pt Goudy with antique copper cuts on Mohawk Via vellum. Hand letterpressed.” Edition of 1200 copies.



Whitman Crosshatch
Walt Whitman (1819-1892)
East Hampton, NY: 2015
PS3222 A7 2015

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An Impression of Spring

20 Tuesday Mar 2018

Posted by rarebooks in Uncategorized

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Bertram Rota, British, cardboard, commercial, gesso, Gogmagog Press, Hosho, Japanese, landscape, leaves, London, Morris Cox, panorama, plywood, poetry, printer, private press, Prose, seasons, seeds, spring, twigs, varnish


“Now sprigs are pricked by bursting buds,
and threading the trees the wind’s weft
skittles, drops and spurts again,
rubbing along the ground to tease old leafings
of skittering litter, scratching swirl…

Between bettling sky and buxom earth —
a mazed and frilling lightning flash!
The eye bleaches and goes black.
A far-off tracking thunder rolls
and tight, hard raindrops teem and patter,
hiss an sheen in rimplin rods…
till overhead the ragging cloud thins off
in clean-washed grin, and sun-bowl tips
over the giggling earth its molten gold.”

An Impression of Spring: A Landscape Panorama
Morris Cox (1903-1998)
London: Gogmagog Press: Dist. by Bertram Rota, 1966
ND497 C748 A43 1966

Gogmagog Press was a one man operation: for more than forty years Morris Cox — artist, writer, and printer — worked alone, using simple tools and creating one of the most important of British post-war private presses. Cox experimented with various aspects of his craft,  always paying meticulous attention to detail.

Morris Cox’s poetry and prose rarely found commercial publication. For this reason, in middle-age, Cox began Gogmagog Press, in order to distribute his work. It was only then that his poetry began to be championed, for the poetry was as good as the press production. Word and image are so intertwined that one divorced from the other leaves only half an experience.

The texture of the prints derives from the unusual printing blocks used to create them. Cox mounted sheets of cardboard onto plywood and layered them with gesso, next adding materials from nature like seeds, leaves, and twigs. These elements were varnished to strengthen them.

Impressions is one of four works on the seasons, all considered to be the peak of Cox’s achievement as a printer. Printed on Japanese ‘Hosho’ paper. Edition of one hundred numbered and signed copies. Rare Books copy is no. 23.

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Book of the Week — Fairies I Have Met

16 Monday Oct 2017

Posted by rarebooks in Book of the Week

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British, Edmund Dulac, Fairies, France, Japanese, John Lane, London, Mrs. Rodolph Stawell, New York, Outlook, Penelope, textile design, Toulouse

PZ8-S488-Fa-1907-Surprise
“She noticed that the girls and boys in the books were not altogether like the girls and boys who played with her in the Square and came to tea with her. The children in the books were wonderfully brave and clever; and when they were having their magnificent adventures they always did exactly the right thing at the right moment.”

FAIRIES I HAVE MET
Mrs. Rodolph Stawell
London; New York: John Lane, 1907?
First edition
PZ8 S488 Fa 1907

Mrs. Stawell wrote these tales for a little girl named Penelope. This book is illustrated with eight color plates by Edmund Dulac (1882-1953), one of the premier illustrators of the golden age of children’s book. Born in Toulouse, Dulac studied art in France. He became a British citizen in 1912. He is, perhaps, best known for his illustrations for Fairies. Reviewed in the British journal Outlook in November 1907, the reviewer focuses on the detailed and whimsical illustrations of bold design. Dulac took inspiration from textile design and Japanese prints to depict the vibrant stories.

PZ8-S488-Fa-1907

Recommended reading: For a modern-day, adult fairy tale, appropriately creepy to the season, we recommend The Changeling by Victor LaValle, in the Browsing Collection, PS3562 A8458 C48 2017

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Book of the Week — Remember the Light

08 Monday May 2017

Posted by rarebooks in Book of the Week

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8th century, acrylic, Arches BFK, bamboo, Barcham Green Mill, bas-relief, California, Coleman Barks, concertina guards, copper, Dante, debossing, earthquake, egg tempura, Egypt, etchings, Florence, gouache, Goudy Engraved, Italy, Japanese, Jelaluddin Rumi, laced-cords, laser print, Laura Wait, Leonard Cohen, letterpress, light, mantras, Mary Laird, Michael Burke, Murshid, Nefertiti, ostrich, polymer plates, Quelquefois Press, relief roll etching, religion, Rosicrucian Museum, San Jose, sepia, Somerset, Sufi, sumi, Tibet, Valley of the Kings, Wisconsin, wooden board binding, Xerox

Yellow
“Thus shall ye think of this fleeting world:
A star at dawn, a bubble in a stream,
A flash of lightning in a summer’s cloud,
A flickering lamp, a phantom, and a dream.”
— Buddha Shakyamuni

REMEMBER THE LIGHT
Mary Risala Laird
Quelquefois Press, 2007

Artist’s statement in an email to the curator: “My best friend was diagnosed with non smokers lung cancer in 2005 and given 3 months to live. I asked myself what I would want to do if given the same. I had always wanted to make an artist book. So I spent two years letting an edition of 7 Remember the Lights come to fruition. I chopped up some etchings I made called Earthquake, the one of 1989 when I moved to California from Wisconsin.

Earthquake

And put another relief roll etching (when Murshid sings) in the back of the book, writing over it with acrylic matte or glossy, mantras of the world religions. The Mantras are written throughout the book. I incorporated 7 quotes on Light, and 6 poems I wrote when I went to Tibet with a Sufi group in 1986. The title page has a plate from the Rosicrucian Museum in San Jose. Another one from them appears as the image of the Valley of the Kings in Egypt, which is printed twice in grey, right side up and upside down, doesn’t matter where we are in space. Little holes of light, like Leonard Cohen suggested, let in the light, in this case by using Japanese hole punches. I had always wanted to add color to my traditional book making. So I brushed gouache on the pages with cotton balls. I also loved using colored pencils and straight lines to connect the pages, as well as printing blocks of wood used in printing, making them type high so the wood grain would shine through. Lobsong’s Mother’s page has a sumi painting I did of Japanese ink, of bamboo; I had a polymer plate made and printed it pink, because it is a color I don’t often use and I wanted to experiment.

LobsongsMother

I had fun drawing ladders into my etchings, connecting things, like thoughts, of planes of consciousness.
And stringing along the trajectory of human experience, you know, birth, life, death birth, life, death.

Life

In the signature where I have iconized my mother, and also did Xerox of her and me, I used end signatures I had left over from an edition of poems from a Rumi book I printed for Coleman Barks.
I like using Xerox and commercial papers in conjunction with the hand made papers (blue green) I made in Wisconsin many years ago.

Faces

I had learned a blanket stitch from Michael Burke and used that around the hole I cut with the hand showing through (One Handed Basket Weaving/Jelaluddin Rumi. Versions by Coleman Barks.)

Stitch

On the colophon page I started each line with a cap, spelling out my name, vertically as you read down.

Colophon

And hiding at the end of book is another poem about being on retreat in a hut, with an etching printed relief rolled and worked into, based on a courtyard in Florence, Italy, from a sepia print I inherited from my Grandfather who got it there in 1896.

The stories go on. My friend lived 5 years longer.”

Colophon: “Resurrected and transmogrified etchings form the basis for this Infinitesimal edition, primarily printed letterpress. Actual copies: Seven, using Dante and Goudy Engraved. Text papers include Arches BFK, and Somerset. Endpapers & concertina guards: Nefertiti, Long ago made by hand at Barcham Green Mill, and hoarded by me Awaiting the right project! Overprinted relief-roll etchings When Murshid Sings and Earthquake, may include laser-print, egg tempura, Assorted colored pencils, polymer plates, Xerox, cut-outs, sewing & Reticulated energy patterns. The laced-cords wooden board binding You are holding, is based on an 8th c. model. Hand-planed covers, Laboriously covered with deer or goatskin, are fitted with brass Ornaments. Thanks to both Laura Wait & Michael Burke, models of Undying inspiration. Copies are hand numbered.” Rare Books copy is no. 2.”

Artist’s addendum to colophon: “Maple and cherry covers are not covered. Bas-relief of right and left hand, carved into the front and back covers.

Hand

Books come enclosed in drop spine boxes. Trays are black calf or goatskin lined with white deer or golden elk skin. Outer covers: there are two purple ostrich and two of teal ostrich; two more of lime green bovine; and one in lime green goatskin.

Cover

Leather straps match the outer covers, and attach to brass hand-filed knobs on the fore-edge. A copper disc is inlaid on the front cover, a debossed crescent moon at its base. My Opus.”

Photographs by Scott Beadles

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

31 Friday Mar 2017

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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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Indigenous Peoples — student response

03 Tuesday May 2016

Posted by rarebooks in Courses

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accordion fold, American, ancient, animal hide, Ann Wilcox, Antonio del Rincon, Antonio Peñafiel (1831-1922), archaeology, Austria, background, bark paper, Book of Mormon, books, border culture, Brisa Zavala, cactus, Catholicism, Cecilia Vicuña, Chanccani, codex, Codex Tulane, códices, collage, colonial, colonized, colonizer, comic books, context, demographics, dictionary, English, Enrique Chagoya, experience, facsimiles, feathers, Felicia Rice, form, genealogical, genealogy, geography, grammar, Granary Books, Graz, Guillermo Gomez Peña, gum wrappers, handwritten, Incan kipu, indigenous peoples, indigenous populations, interdisciplinary, Isabel Dulfano, Japanese, Joe D'Ambrosio, knots, language, Latin America, library, linguistics, literature, Luise Poulton, manga, manuscripts, Marriott Library, Mary Elizabeth Smith, Maya, Mayan epigraphy, Melissa Gutierrez, Mesoamerican, metallic, Mexican, Mexico, Middle American Research Institute, Miranda Best, Mixtec, Moving Parts Press, Nahuatl, New Orleans, New York, Oaxaca, Pedro Balli, performance artist, Phoenix, pictographs, poem, pop-culture, pop-up, pre-Hispanic, priest, quipu, rare book collections, Rare Books Department, resources, saguaro, Salt Lake City, Santa Cruz, Spanish, surreal, Tulane University, University of Utah, wool, words, writing

These commentaries are excerpts from an assigned project for Humanities4900/6900, “Indigenous Peoples: Social and Cultural Perspectives,” taught by Isabel Dulfano, Spring semester 2016. Students studied demographics, Mayan epigraphy, Incan kipu, archaeology, linguistics and other topics as an interdisciplinary approach to critically expanding their understanding of indigenous peoples, historically and in a contemporary setting.

Dr. Dulfano arranged for two class periods to be devoted to working with pieces ranging from Mesoamerican codex facsimiles to 16th through 19th century books to 20th and 21st century artist’s books from the rare book collections. The students looked at books which reflected the colonized and the colonizer, the perspective of Church and State, and self-referential texts depicting imposed visions of time and place.

From Brisa Zavala:

F1219-P39-title
Nombres geograficos de Mexico…
Antonio Peñafiel (1831-1922)
Mexico: Oficina tip. De la Secretaria de foment, 1885
First edition
F1219 P39 1885

As part of a two-day class activity we visited the Marriott Library’s rare book collections and had the opportunity to interact with facsimiles and original copies of books pertaining to indigenous peoples of Latin America.

On the first day we interacted with pieces dating from the 8th century Common Era to 1899. One of the books that caught my eye was Nombres Geograficos de Mexico, 1885. This book contains names of various geographical places in Mexico, some of which still remain as the names of towns in present-day Mexico. The author, Antonio Peñafiel, was the Director General of the Census Department of Mexico. The book was bound and organized in a traditional western way, is about the size of a notebook, and written in Spanish. The first half contains detailed explanations of the meaning of each geographical name and the second half contains colored pictographs corresponding to each place name.

F1219-P39-pg11

I particularly enjoyed looking at this piece. I have traveled in Mexico and noticed many names of smaller towns in Nahuatl, but never knew the meaning of the name. I am studying Nahuatl at the University of Utah and I have some knowledge on how place names are formed but it was fascinating to not only learn the meaning behind the names but also see corresponding pictographs.

On the second visit to the Rare Books Department we looked at “contemporary” books, also pertaining to indigenous peoples of Latin America. My favorite piece was Codex Espangliensis: From Columbus to the Border Patrol.

N7433.4-G652-C63-1998-cover N7433.4-G652-C63-1998-Noctli
Codex espangliensis…
Guillermo Gomez-Peña
Santa Cruz, CA: Moving Parts Press, 1998
N7433.4 G652 C63 1998
Text in English and Spanish written by performance artist Guillermo Gomez-Peña, collage images by Enrique Chagoya and designed and printed by Felicia Rice.

This piece “confronts realities and surrealities of border culture, juxtaposing examples of graphic art from pre-Hispanic times to present-day Mexico with traditions of Western art and contemporary American pop-culture.” The book is structured as an accordion-fold similar to Mesoamerican codices. However, it is printed on one side only and thus can be read western-style. The print is black and red and the art style has a strong resemblance to Japanese manga and comic books. I plan to visit Rare Books soon and “read” this piece with more time to observe and pick up on the detail.

My experience with the rare book collections expanded my knowledge not only of what kinds of “books” exist, both in past and present times, but also how time periods effect contents and form.

As a student of the Nahuatl language it is very important to me to have access to codices and other material written in Nahuatl, from grammar to doctrines. It is also interesting to experience how the form of older texts, such as the accordion structure, has impacted contemporary texts and how these forms are used to make a statement. It is important to society to preserve these books in order to preserve knowledge and to allow for future studies of past societies. This opportunity was extremely enriching academically and all students should visit the rare book collections.

From Melissa Gutierrez:

At first I thought it was odd that we were going to the library to see old books, to be honest, at that moment I would rather have had a class discussion on the very many topics regarding the indigenous populations we had been learning about. However, going to see the rare book collections was a surreal experience. Having about 40 some books laid out on tables, waiting to be explored was an invitation to me. That invitation was to sit down and dive into history and discover. I found this experience to be powerful and enriching. The old books came to life, helping me picture and understand history on a whole new and different level. When I sat down with the books it gave me the opportunity to ask myself, “Do I value history?”

PM4063-R5-title

PM4063-R5
Arte mexicana
Antonio del Rincon (1556-1601)
En Mexico: en casa Pedro Balli, 1595
First edition
PM4063 R5

One of the books that I enjoyed analyzing was a book written in the 1500’s. This book was written by a Spanish priest who learned the language of Nahuatl. The book had grammar and a dictionary. The book was falling apart and not handwritten. While looking at this book I wondered what the Spanish priest thought as he was learning Nahuatl. Most Spanish priests believed that they were helping the indigenous peoples come to God by converting them to Catholicism. I wonder how it would have felt to be part of that project. Did the Spanish priest have indigenous people help him learn and understand Nahuatl? These are the kinds of questions I asked myself while analyzing the book.

From Ann Wilcox

N7433.4-V536-C48-2012
Chanccani quipu
Cecilia Vicuña
New York: Granary Books, 2012
N7433.4 V536 C48 2012

The piece that impressed me the most was Chancanni Quipu. It was a modern quipu that had writing on the wool, rather than knots in the wool. The writing was of a Chancanni poem. I thought this piece was interesting because it had a mix of the ancient system of writing of the quipu and modern system of writing with words.

The writing was a mix of Spanish and the Chanccani language. Accompanying the quipu was a translation of the poem and a brief history and explanation of how quipu are made.

The important thing about this piece is that it takes ancient culture and practice and puts a modern spin on it. The author, using diverse cultural cues, was able to communicate in a way that people from diverse cultures could understand. I think that it also shows that there are many forms of quipu now and authors can be creative while still connecting with their culture. It is an important piece because it wasn’t a bound book or words or illustrations on paper. This was a new medium that the author found to communicate and still be effective.

The experience of seeing the rare books, especially in the context of indigenous work, opened my eyes to the amount of types of book and recording methods there exist in the world. It impressed me that there were so many perspectives shown through the pieces. I valued that I got to touch and read the book in person and not through pictures. It was a very special experience and I don’t think that it can be replicated. I will always appreciate this experience, especially when I am visiting museums and see works of art and literature that are behind glass. I will think of this experience, when I got to handle the books myself.

From Miranda Best:

F1421-T95-no.61
Codex Tulane
Graz, Austria: Akademische Druck-u Verlaganstalt; New Orleans: Middle American Research Institute, Tulane University, 1991
F1421 T95 no. 61
Facsimile with introduction by Mary Elizabeth Smith (b. 1932)

The first piece I would like to discuss is the Codex Tulane, ca. 16th century. The codex, originally made from overlapping animal hide, is an early Colonial manuscript from the Mixtec-speaking region of southern Mexico. The manuscript presents genealogical information with a list of native rulers of two Mixtec communities. Within this list are contained more than one hundred male and female figures, seated opposite of their spouses.

The piece is beautifully made. Although we were only able to see a facsimile, it is wonderful to experience these pieces in physical form. How amazing it would have been to touch and see the original piece!

Something interesting about the experience I had was that when I approached the codex, the way it was rolled up was in a way so that I would be unrolling it from the bottom and opening it up. When I began to see the figures, they were very simply drawn, but further up, as I unrolled the codex, the figures began to be a little more elaborate. What I observed is that it was the same figures, but something was added onto them as it went up each row. I did not quite understand what was going on until Luise [Poulton] explained that it could be like genealogy and it made a lot more sense to me. I felt like I could connect with what I was seeing. I loved being able to see the advancement of the figures. It made me wonder if it meant that there was a connection with those who seemed to be of higher power (higher up on the codex) and those who were further down (with less details and figures added).

The first day in the library, I had a hard time finding pieces that I could really connect to. All of the pieces were beautiful and I thought they were interesting, but I did not feel anything super exciting about them. I enjoyed this codex after I understood a little more about it and I liked learning about the resources we have available to us. I would love to take more advantage of this and utilize it to learn more about the history of these people. I thought it was very interesting that Luise pointed out the importance of looking at the “who, what, where, when, why and how.” Not because it is something new to me, but rather something that Professor Dulfano is always pointing out to us. We cannot read a piece of literature without understanding the context and its background. It makes for a much more fulfilling experience.

BX8625-M39-1983-cover

BX8625-M39-1983-title

BX8625-M39-1983-2-3spread

Ump’it u yeybilil ti’ u libroil Mormon: hahil t’an Yo’olal Cristo
Salt Lake City: Dza’an ohetbil tumen u Iglesia Jesucristo ti’ le Ma’alob Maco’obo’ tu Dzo’oc kino’oba’, 1983
BX8625 M39 1983

The second day in the library was a real treat. I felt a connection with a lot of the pieces and definitely enjoyed the experience more that day than the first day. Of all the pieces I saw, my two most favorite were the Book of Mormon, written in a Maya language and the 1997 piece by Joe D’Ambrosio, Oaxaca and the Saguaro. It is one of one hundred and twenty five copies made. The University of Utah copy is numbered 19.

N7433.4-D34-O29-1996-cover
Oaxaca (Wa-ha-ka) and the saguaro (sa-wah-row)…
Joe D’Ambrosio
Phoenix, AZ: D’Ambrosio, 1996
N7433.4 D34 O29 1996

This book was hand bound by the author in a brown cloth and Mexican bark paper. The front cover has a beautifully structured cactus with twisted material to give more structure to the cactus.

N7433.4-D34-O29-1996-Feathers

Throughout this book, you will find beautifully crafted pop-up images and real feathers, as well as other illustrations.

This piece made me very excited for numerous reasons. First, I love books made from raw hide/leather, or other natural materials. I find them so beautiful and real. The cactus made it even more exciting to see what was inside. As I flipped through the pages, I really enjoyed seeing the illustration because they reminded me a lot of my childhood. Pop-up books were my favorite as a child, so it was a nice moment to reminisce. Other illustrations in this book continued to remind me of my childhood and some of the art projects I did. There was one page in particular that was decorated with a metallic material. It almost seemed to me to be made from gum wrappers. I used to peel apart gum wrappers and use the silver part to make figures on another piece of paper. This particular page reminded me of that.

N7433.4-D34-O29-1996-pg8-9apread

Generally speaking, it was a beautifully made book and very enjoyable to look at. But it was an even more delightful experience because it had a nostalgic feeling for me.

As I mentioned above, I had a better experience the second day than the first. I don’t know if it was because there were more pieces that caught my attention or if it was because we had more time to look at everything. But it really made me appreciate the resources we have and made me think how privileged we are to have access to such “rare objects.” Many of these books, codices, etc. are completely from “out of our world” and we have the opportunity to step inside the world of others and experience it. If we had had more time, I would have loved to look longer at all the books and discover what they were all about. As it was, I only got to observe a small portion of everything. I would love to be able to go back and see what more there is and learn more.

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Book Arts Exhibition – Glimpse

10 Tuesday Nov 2015

Posted by rarebooks in Physical Exhibitions

≈ 2 Comments

Tags

A Fowl Alphabet, Alan James Robinson, Allison Milham, Allyn Hart, Becky Williams Thomas, book artists, Book Arts Program, bookbinding, bookmaking, Cheloniidae Press, Claire Taylor, collage, Crane Giamo, Easthampton, Emily Tipps, encaustics, Glenville, Illinois, intaglio printing, J. Willard Marriott Library, Japanese, Julianna Christie, Karen Hanmer, Keiji Shinohara, leather bindings, letterpress printing, Luise Poulton, Marnie Powers-Torrey, Massachusetts, Michelle Macfarlane, National Endowment for the Arts, Pamela Smith, paper decorating, papermaking, photo engraving, photography, printers, rare books, relief printing, Special Collections Gallery, Stacy Phillips, Suzanne Moore, The University of Utah, type, wood engravings

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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Recommended Workshop – Quarter Leather Flatback Lap-Case Binding

22 Thursday May 2014

Posted by rarebooks in Recommended Workshop

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Acme Bookbinding, Alcoa, alum-tawed, aluminum, Austin, Ben Verhoeven, Book Arts Program, BookLab II, Bridgeport National Bindery, Brigham Young University, Cartier Magnani, Christopher Stern, cloth, Columbian handpress, Craig Jensen, Dartmouth College, Dearborn, Didot, Don Etherington, engraving, Environment Defense Fund Headquarters, flatback, Ford Motor Company, Gary Frost, Gary McLerran, Gaylord Schanilec, gold, Gregynog Prize, Harold B. Lee Library, Harry Ransom Humanities Research Center Conservation Department, Italy, Japanese, Jennifer Sorensen, Jensen Bindery, Jim Larsen, laid paper, lap-case binding, leather, lettering, letterpress, letterpress printed, Marnie Powers-Torrey, Michael Bixler, Michigan, Midnight Paper Sales, milling, Monotype Bembo, Monotype Univers, mould-made, National Design Award, Oxford Book Fair, paper mill, Paul Parisi, Peter Waters, Presidential Award for Sustainable Development, Provo, Rare Books Division, Red Butte Press, relief prints, Salt Lake City, San Marcos, slipcase, Smithsonian Cooper-Hewitt National Design Museum, sycamore, Texas, The Guild of Book Workers, The Library of Congress Restoration Office, tooled, trees, University of Texas, Utah, Utah State Board of Education, William McDonough, Winifred Bixler, Wisconsin, wood cuts, wood engravings, Yale University, Zerkall

The Book Arts Program presents
Quarter Leather Flatback Lap-Case Binding

Thursday, Friday, & Saturday, June 19-21
9PM – 5PM
Book Arts Studio, Level 4
J. Willard Marriott Library
Workshop fee: $240 plus materials fee

This workshop focuses on the construction of a flatback lap-case binding. The lap-case binding, sometimes mistakenly called a modified Bradel binding, has been used frequently over the years for editions bound by Jensen Bindery, BookLab, Inc. and BookLab II. The structure has continuously evolved through its many applications. This workshop tracks that evolution, specifically addressing structure, materiality, and the relationships between parts to make a beautiful looking and functioning book. Examples of various lap-case bindings are available for students to examine. Previous bookbinding experience required, preferably previous leather working skills.

Instructor Craig Jensen began his career in 1977 when he was appointed Library Conservator for the Harold B. Lee Library at Brigham Young University in Provo Utah. From 1977–1978 Craig served an internship at The Library of Congress Restoration Office under the direction of Peter Waters and Don Etherington. In 1981, Craig was recruited by Don to serve as Head of Book Conservation at the Harry Ransom Humanities Research Center Conservation Department at the University of Texas at Austin. In 1988 Craig became President and CEO of BookLab, Inc., a partnership with Gary Frost, Paul Parisi of Acme Bookbinding and Jim Larsen of Bridgeport National Bindery. BookLab expanded its offerings beyond edition binding and box making to include library repair services, and pioneered preservation photocopy and digital reproduction of out-of-print brittle books. BookLab was one of the first companies to digitize a book. Following the close of BookLab in 1998, Craig worked for Acme Bookbinding as Vice President for Imaging. In January 2003, Craig returned to his roots and predilection for hand work by forming BookLab II in San Marcos, Texas. He continues to produce custom designed housings and fine limited edition bindings for some of the best-known libraries and private presses in the world. In 2011 Craig received the Lifetime Achievement Award from The Guild of Book Workers.

http://www.oxfordamerican.org/articles/2014/feb/20/solost-most-beautiful-books/

Relicensure points are available from the Utah State Board of Education.

 For more information:bookartsprogram@utah.edu or 801-585-9191

The Rare Books Division supports the Book Arts Program through its collections.

Sylvae: Fifty Specimens Printed Directly from the Wood with Historical Anecdotes and…
Ben Verhoeven
Stockholm, WI: Midnight Paper Sales, 2007
N7433.4 V45 S9 2007

Artists’ statement: “Twenty wooded acres surround Midnight Paper Sales in western Wisconsin. This book documents the journey Ben Verhoeven and Gaylord Schanilec into the woods to create a work not only about these trees, but of these trees. In all, 24 species have been catalogued through image, historical anecdotes, and notes taken during the cutting, milling, engraving and printed. The 53 images consist primarily of long grain and end grain specimens which have been taken from this property. In each case the image is manipulated through either color, impression, engraving, or some combination of the above to emphasize a certain characteristic of a species. The text varies as well from tree to tree, focusing on what role each played in the local history and in this project.” Illustrated by Gaylord Schanilec with 53 relief prints (wood cuts and wood engravings) printed by reduction process engraving directly from the wood specimens; including two fold-out illustrations of the maple grove and a map of Farm 590 indicating where the wood was harvested. Letterpress printed by Ben Verhoeven and Gaylord Schanilec on Zerkall mould-made laid paper. Michael and Winifred Bixler cast the Monotype Bembo. Lapped case binding by Craig Jensen and Gary McLerran in quarter leather over bare quarter-sawn white oak boards, white alum-tawed goat skin spine with tooled title lettering in gold. Issued in a dark blue Japanese cloth slipcase, lined with black paper. Awarded the Gregynog Prize at the Oxford Book Fair, 2007. Edition of one hundred and twenty copies. University of Utah copy is no. 105, signed by the author and the artist.


 

Something Lived, Something Dreamed
William McDonough
Salt Lake City: Red Butte Press, 2004
HT167.5 W47 M33 2004

In 1981 William A. McDonough founded William McDonough + Partners which designs environmentally sustainable buildings and industrial manufacturing processes. He attended Dartmouth College and Yale University. His first major commission was in 1984 for the Environmental Defense Fund Headquarters. He re-engineered Ford Motor Company’s River Rouge Plant in Dearborn, Michigan, covering more than ten acres of the roof of the truck assembly plant with a low-growing ground cover. He is the only individual recipient (1996) of the Presidential Award for Sustainable Development. In 2004 he received a National Design Award from the Smithsonian Cooper-Hewitt National Design Museum. His essay, “Something Lived, Something Dreamed” was commissioned by the Red Butte Press. Printed with Monotype Univers and Didot on cotton paper commissioned from Cartier Magnani paper mill in Italy by Marnie Powers-Torrey and Jennifer Sorensen using an 1846 Columbian handpress. Illustrated by Christopher Stern (d. 2007). Bound at Book Lab II (San Marcos, Texas) by Craig Jensen in recycled aluminum donated by Alcoa, over sycamore boards. Edition of one hundred and twenty-five copies. University of Utah copies are nos. 34 and 47.


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