• Marriott Library
  • About
  • Links We Like

OPEN BOOK

~ News from the Rare Books Department of Special Collections at the J. Willard Marriott Library, The University of Utah

OPEN BOOK

Tag Archives: Mexican

Indigenous Peoples — student response

03 Tuesday May 2016

Posted by rarebooks in Courses

≈ Comments Off on Indigenous Peoples — student response

Tags

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.

alluNeedSingleLine

Share this:

  • Click to share on Tumblr (Opens in new window)
  • Click to share on Pinterest (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)

Like this:

Like Loading...

Exhibition — “Tunnel Vision”

01 Friday Apr 2016

Posted by rarebooks in Physical Exhibitions

≈ Comments Off on Exhibition — “Tunnel Vision”

Tags

accordion fold, Allison Milham, altar, bands, Berkeley, Book Arts Program, Book Arts Studio, California, City Center of San Francisco, cut-out, desert, envelope, fan-folds, Flying Fish Press, Gloria Morales, J. Willard Marriott Library, Julie Chen, Kathy Walkup, land art, Lois Morrison, Luise Poulton, Maryline Poole Adams, Mexican, miniature book, movable books, Nancy Holt, oil-cloth, paper hinges, peephole, photograph, Poole Press, pop-up, rare book collections, Rare Books Department, San Francisco, Scott Beadles, Sun Tunnels, The University of Utah, tunnel book, Utah, Utah Museum of Fine Arts, Virgin, workshop

 

TUNNELVISION_slide

Tunnel Vision: A Selection of Tunnel, Pop-up and Movable Books from the Rare Books Department

Tunnel Vision features a selection of pieces from the rare book collections produced using various paper manipulations to create the illusion of depth — framing and narrowing the viewers’ perspective. This exhibition is the result of a collaboration between the Book Arts Program, the Utah Museum of Fine Arts, and the Rare Books Department. It coincides with two events (see below) inspired by Nancy Holt’s famous land art piece, Sun Tunnels, located in Utah’s west desert.

March 23 through June 3, 2016
Level 1, J. Willard Marriott Library
The University of Utah
Co-curated by Luise Poulton and Allison Milham

DSCF8939
A Maze in Mystery: An Amazing Peep-Show
Maryline Poole Adams
Berkeley, CA: Poole Press, 1992
N7433.4 A23 M29 1992

Boards connected by fan-folds; views are through a door in the first board. Edition of one hundred copies. University of Utah copy is no. 22.

DSCF8923
The Gadarene Swine: Luke 8:26-33 & Later
Lois Morrison
Berkeley, CA: Flying Fish Press
N7433.4 M66 G3 1993

DSCF8931DSCF8932
Jardin de Guadalupe
Lois Morrison
San Francisco, CA: L. Morrison, 1994
N7433.4 M66 J37 1994

Paper cut-out see-through scene with accordion fold hinges on both sides and photograph of altar with Virgin at back. In oil-cloth envelope, fastened with ties. Edition of twenty-five copies. University of Utah copy is no. 19.

DSCF8947
Life Time
Julie Chen
Berkeley, CA: Flying Fish Press, 1996
N7433.4 C44 L54 1996

Miniature book enclosed in a decorated sea green paper box with a hinged window lid. Text printed on a series of eight concentric discs attached by paper hinges in an accordion-fold format designed to be read through a center hole when the construction is fully extended. Edition of one hundred copies, numbered and signed by the author. University of Utah copy is no. 15.]

DSCF8941
Ya Viene la Banda
Gloria Morales
San Francisco, CA: City College of San Francisco, 1998
N7433.4 M648 H47 1998

Tunnel book inspired by popular Mexican bands. Printed and bound by the author. Produced in Kathy Walkup’s Book Arts class at CCSF. Six leaves of color illustrations mounted with accordion-folded paper between boards, to be viewed through a peephole in the cover. One leaf of text laid-in. Edition of seven copies, numbered. University of Utah copy is no. 4.

Exhibition photographs by Scott Beadles

Sun Tunnels Educators’ Workshop and Family Day
April 23, 2016, 10am — 12pm
Free for teachers and their families (kids ages 5 and up)
The Book Arts Studio, J. Willard Marriott Library, Level 4

One of the most famous land art works in the world is right in our backyard! Nancy Holt’s iconic Sun Tunnels explores themes of light, perspective, time, space, geography, and more — perfect topics for interdisciplinary teaching. Bring your family and join the Utah Museum of Fine Arts for this hands-on workshop. Start the day together experiencing nature, then explore teaching through tunnel books while the family makes their own Sun Tunnels inspired art.

To register for this workshop contact: Allison Milham (Allison Milham @utah.edu) or schoolprogram@umfa.utah.edu

For more information visit umfa.utah.edu/teacherworkshops

ARTLandish: Sun Tunnels Community Meet-up
April 30, 2016, 1pm 00 4pm
Free and open to the public

Join the UMFA for a day of art and science at Sun Tunnels, the iconic land art by Nancy Holt in Utah’s west desert. UFMA members, families, teachers, and students of all ages are invited to explore the landscape, create art, and learn about the environment of the desert. Meet at site.

For driving directions visit: umfa.utah.edu/suntunnels_selfguide
For more information contact: virginia catherall@umfa.utah.edu

alluNeedSingleLine

Share this:

  • Click to share on Tumblr (Opens in new window)
  • Click to share on Pinterest (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)

Like this:

Like Loading...

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

29 Tuesday Dec 2015

Posted by rarebooks in Uncategorized

≈ Comments Off on DOC/UNDOC — Part 4/6, “Ambiguous, Unclassifiable, Undefinable Identity”

Tags

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

Share this:

  • Click to share on Tumblr (Opens in new window)
  • Click to share on Pinterest (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)

Like this:

Like Loading...

Congratulations, Lyuba!

26 Thursday Mar 2015

Posted by rarebooks in Uncategorized

≈ 1 Comment

Tags

American, Andean, Argentina, Argentine, Cuba, Dominican Republic, English, Frida Kahlo, Fulbright, Gabriel Garcia Marquez, Jorges Borges, Latin America, Lyuba Basin, Mexican, Mexico, Pablo Neruda, Quechua, Rare Books Division, scholarship, Scott Beadles, Spanish, United States

Lyuba Hemingway

Photograph by Scott Beadles, Rare Books assistant

Congratulations to Lyuba Basin, Rare Books assistant, who received a Fulbright Scholarship for 2016. Writes Lyuba,

“It was through literature that I discovered that the world…was much larger than I first imagined. I began to read and write so as to travel to distant places…only accessible to me through my imagination…When I encountered Latin America, I realized that traveling around the world…no longer [need be] an imaginative endeavor, but a possibility within my reach. I looked for every opportunity…to learn more about many Latin American countries and their unique cultural differences. I have learned Spanish and studied abroad in the Dominican Republic and Cuba; I have been introduced to Andean cultures and the indigenous language of Quechua; I found work in a Mexican restaurant named after the influential artist Frida Kahlo, and in my free time became acquainted with authors such as Neruda, Borges, Cortázar and García Márquez. I have roamed across Latin America both mentally and physically, but now I am searching for a unique experience that will allow me to give back to a culture that has awarded me so much.

As an aspiring educator, I believe in the importance of introducing the English language and American culture in a way that does not undermine the languages and cultures of others. With this in mind, what I would bring to the classroom is a practice of sharing personal narratives cross-culturally and cross-linguistically, without judgment and without fear. For my supplementary project I intend to organize a weekly, after-school creative writing workshop…With my background in literature and writing I hope that I may encourage the students to bridge the gap between nations and share stories, poems, and songs…By providing this outlet for expression, I feel that the students will be able to apply what they learn in the classroom in a relatable way. The workshop would also allow me to get to know the students and the Argentine culture on a personal level, beyond anything I can find in books. Bringing this knowledge back with me to the United States as a collection of student work which would…[enable] others to get to know the culture intimately…”

We know Lyuba is awesome. Now the world will.

alluNeedSingleLine

Share this:

  • Click to share on Tumblr (Opens in new window)
  • Click to share on Pinterest (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)

Like this:

Like Loading...

Books of the Week – Philip Zimmermann

08 Monday Dec 2014

Posted by rarebooks in Book of the Week

≈ Comments Off on Books of the Week – Philip Zimmermann

Tags

Arizona, gilded edges, HP Indigo, Lukeville, Mexican, Mexican immigrants, Mohawk Superfine, New Mexico, offset lithography, Phillip Zimmermann, Rhinebeck, Sonoran desert, southern Arizona, Spaceheater Editions, Tuscon, United States

 


Shelter
Philip Zimmermann
Rhinebeck, NY: Spaceheater Editions, 2006
N7433.4 Z54 S54 2006

Colored illustrations on long continuous strip, viewed through a 13 x 9 cm. hole in cut in the center of each page of text. Printed by HP Indigo digital printing on Mohawk Superfine archival paper. Handbound. Edition of fifty copies. University of Utah copy is no. 21.

 


Sanctus Sonorensis
Philip Zimmermann
Tucson, AZ: Spaceheater Editions, c2006-2009
N7433.4 Z54 S36 2009

From the colophon: “The cover image is part of the Sonoran desert in Southern Arizona about 50 miles from Lukeville, and just a couple of miles from the Mexican border. It is one of the most heavily trafficked and dangerous entry points for illegal Mexican immigrants entering the United States, and many die there each year from exposure and lack of water. The skyscapes are [sic] all photographed in New Mexico and Arizona during 2003 and 2004.” Self-covering board book with rounded and gilded edges in four-color offset lithography.

alluNeedSingleLine

Share this:

  • Click to share on Tumblr (Opens in new window)
  • Click to share on Pinterest (Opens in new window)
  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)

Like this:

Like Loading...

Follow Open Book via Email

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 172 other subscribers

Archives

  • April 2019
  • March 2019
  • February 2019
  • January 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • January 2018
  • December 2017
  • November 2017
  • October 2017
  • September 2017
  • August 2017
  • July 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • February 2017
  • January 2017
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • July 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • August 2015
  • July 2015
  • June 2015
  • May 2015
  • April 2015
  • March 2015
  • February 2015
  • January 2015
  • December 2014
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • July 2014
  • June 2014
  • May 2014
  • April 2014
  • March 2014
  • February 2014
  • January 2014
  • December 2013
  • November 2013
  • October 2013
  • September 2013
  • August 2013
  • July 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • February 2013
  • January 2013
  • December 2012
  • October 2012
  • September 2012
  • August 2012
  • June 2012
  • May 2012
  • April 2012
  • March 2012
  • February 2012
  • January 2012
  • September 2011
  • April 2011

Categories

  • Alice
  • Awards
  • Book of the Week
  • Chronicle
  • Courses
  • Donations
  • Events
  • Journal Articles
  • Newspaper Articles
  • On Jon's Desk
  • Online Exhibitions
  • Physical Exhibitions
  • Publication
  • Radio
  • Rare Books Loans
  • Recommended Exhibition
  • Recommended Lecture
  • Recommended Reading
  • Recommended Workshop
  • TV News
  • Uncategorized
  • Vesalius
  • Video

Meta

  • Register
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.org
  • RSS - Posts

Recent Posts

  • Book of the Week — Home Thoughts from Abroad
  • Donation adds to Latin hymn fragments: “He himself shall come and shall make us saved.”
  • Medieval Latin Hymn Fragment: “And whatever with bonds you shall have bound upon earth will be bound strongly in heaven.”
  • Books of the week — Off with her head!
  • Medieval Latin Hymn Fragment, Part D: “…of the holy found rest through him.”

Recent Comments

  • rarebooks on Medieval Latin Hymn Fragment: “Her mother ordered the dancing girl…”
  • Jonathan Bingham on On Jon’s Desk: Pioneers and Prominent Men of Utah, A Celebration of Heritage on Pioneer Day
  • Robin Booth on On Jon’s Desk: Pioneers and Prominent Men of Utah, A Celebration of Heritage on Pioneer Day
  • Mary Johnson on Memorial Day 2017
  • Collett on Book of the Week — Dictionnaire des Proverbes Francais

Proudly powered by WordPress Theme: Chateau by Ignacio Ricci.

 

Loading Comments...
 

You must be logged in to post a comment.

    %d bloggers like this: