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

OPEN BOOK

Tag Archives: Rare Books Classroom

Eclipses from Trio

17 Thursday Aug 2017

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Audrey Holden, Barcham Green, Catamount Arts, Claire Van Vliet, Copenhagen, Department of Phyics and Astronomy, diagrams, digital, Eclipse, Ellen Dorn Levitt, Epson, J. Willard Marriott Library, Janus Press, Leland Kinsey, letterpress, lithographs, Northern Atlantic, Oslo, poems, prints, Rare Books Classroom, Rare Books Department, SKHS, solar eclipse, St Johnsbury, St. Armand, stars, The University of Utah, UMGrafik, Vermont

 

 

 

 

 

 

 

“There is something moving between us,
But we hurtle on in close conjuction for a while.”
–from “Eclipse” by Leland Kinsey

Eclipses from Trio
Leland Kinsey
The Janus Press: VT, 2014
N7433.4 A1 T75 2015

From the colophon: “These poems appeared previously in Northern Almanac published by Catamount Arts in St Johnsbury Vermont This edition is illustrated with original digital prints and lithographs by Claire Van Vliet (covers printed at UMGrafik in Copenhagen and solar eclipse at SKHS in Oslo) and the digital prints printed on an Epson by Ellen Dorn Levitt who also made the eclipse diagrams; binding executed by Audrey Holden; and printed letterpress at The Janus Press on handmade papers from Barcham Green and St Armand in an edition of one hundred and forty of which this is for the University of Utah.” Inscribed by Leland Kinsey.

The sun, the moon, the stars!

Please join the Rare Books Department for a hands-on display of stars from our collections, representing more than one thousand years of cosmological gazing. This open house is in conjunction with a solar eclipse gathering hosted by the J. Willard Marriott Library and The University of Utah’s Department of Physics and Astronomy.

Rare Books Department
Monday, August 21, 10AM to 1PM
Rare Books Classroom, Level 4
J. Willard Marriott Library, The University of Utah

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The Cosmic Sidereal Galactic Abecedarium of the Universe & Other Tangential Star Ephemera

16 Wednesday Aug 2017

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abecedarium, Bay Park Press, Clarendon, cosmic, Department of Physics and Astronomy, digital imaging, ephemera, Fabriano Rosapina Blanco, flexagon, galactic, J. Willard Marriott Library, Jim Goode, Jim Machecek, letterpress, monogramming, photopolymer plates, Printing Shoppe, Rare Books Classroom, Rare Books Department, Rives BFK, San Diego, Sibyl Rubottom, sidereal, solar eclipse, Somerset Book, stars, The University of Utah, universe, Vandercook Universal I, Venus, wood type, zinc intaglio plate

 

 

 

 

“Adore the sun, rising with all his rays, receiving the obeisance of gods and demons, the shining maker of light.”
— The Ramayana

The Cosmic Sidereal Galactic Abecedarium of the Universe & Other Tangential Ephemera
Sibyl Rubottom and Jim Machacek
San Diego: Bay Park Press, 2001
N7433.4 R73 C67 2001

From the colophon: “This ABC book of the universe was created from March to November 2001. During this period Jim’s mother Agnes died and took her place among the stars, Sibyl’s husband Al had successful open-heart surgery, and then the Sept. 11 tragedy occurred. Throughout it all the stars remained our constant as we created visuals with photopolymer plates, wood type, monogramming, digital imaging, and a zinc intaglio plate for the cover. Text was printed on a Vandercook Universal I letterpress in various fonts of Venus and Clarendon type. The flexagon was offset printed at the Printing Shoppe with thanks to Peter & Darryl. Thanks also to Jim Goode for his computer genius and Rhiannon for typesetting help. A galaxy of thank-yous for Jerry and Al for computer assistance, editing & their cosmic patience during our sidereal voyage. The Abecedarium was printed at Bay Park Press on Somerset Book, Fabriano Rosapina Blanco and Rives BFK papers. This is copy Q of 26.”

The sun, the moon, the stars!

Please join The Rare Books Department for a hands-on display of stars from our collections, representing more than one thousand years of cosmological gazing. This open house is in conjunction with a solar eclipse gathering hosted by the J. Willard Marriott Library and The University of Utah’s Department of Physics and Astronomy.

Rare Books Department
Monday, August 21, 10AM to 1PM
Rare Books Classroom, Level 4
J. Willard Marriott Library, The University of Utah

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We Recommend — One for the Books

05 Wednesday Jul 2017

Posted by rarebooks in Recommended Lecture

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"graphic designer", Alabama, assisted living, book artist, book arts, Book Arts Program, bottles, cotton rag handmade paper, dolls, farm implements, fossils, Glenn House, Gordo, J. Willard Marriott Library, Jessica Peterson, lecture, letterpress printer, Ma'Cille House, memento, miscellanea, museum, New Orleans, newspaper archives, Northport, Paper Souvenir, Prince Edward County, Prince Edward School Foundation, public education, pull-outs, Rare Books Classroom, Rare Books Department, stab binding, t-shirts, taxidermy, The School of Art Institute of Chicago, The Southern Letterpress, University of Alabama, Virginia, workshop

N7433.4-P475-M33-2011-Digging

Jessica Peterson, book artist, letterpress printer, and graphic designer is the owner of The Southern Letterpress in New Orleans. She holds an MFA in Book Arts from the University of Alabama and a BFA from The School of Art Institute of Chicago.

While visiting the J. Willard Marriott Library to teach a workshop for the Book Arts Program, she will also give a lecture on non-traditional letterpress techniques.

Thursday
July 13
6PM
Rare Books Classroom
Level 4
J. Willard Marriott Library
The University of Utah

Free and open to the public

The Rare Books Department is pleased to support the Book Arts Program with its collections and services.


N7433.4-P475-M33-2011-cover

Ma’Cille’s Museum of Miscellanea
Jessica Peterson (b. 1976), compilar
Gordo, AL: J. Peterson, 2011
N7433.4 P475 M33 2011

This book is an attempt to catalog Ma’Cille’s Museum of Miscellanea ten years after it closed, based on memories of people who visited the museum and newspaper archives. Ma’Cille House (d. 1999), whose formal education ended in 7th grade, began collecting miscellanea in the 1950s, including such things as dug-up bottles, dolls, farm implements, taxidermy, and fossils. After she had raised seven children, she established her museum, in the early 1960s, on a rural back road near Gordo, Alabama. By the time the museum closed forty years later, it was world famous – a multi-building institution visited by thousands of people. In 1998, the Ma’Cille’s family, facing the costs of assisted living care for her, and other financial burdens, auctioned off the museum’s contents. The story of the museum was preserved through stories that circulated about Gordo. Drawings by Glenn House, Sr. Letterpress printed on textblock cotton rag handmade paper from Alabama clay-colored t-shirts. Book contains pull-outs, including one printed memento from Ma’Cille’s. Paper covered boards with exposed stab binding. Laid in a printed four-flap paper folder. Issued in paper slipcase. Edition of thirty copies. Rare Books copy is number 6, signed by the compilar, who also researched, wrote and designed it.

N7433.4-P475-M33-2011-Finale

 


N7433.4-P475-U53-2014-PrinceEdward

Unbound
Jessica Peterson (b. 1976)
Northport, AL: Paper Souvenir, 2014
N7433.4 P475 U53 2014

From the introduction: “In the fall of 1959, the public schools of Prince Edward County, Virginia were closed in response to a court order to desegregate. The schools remained closed for five years. Many white children began attending a system of private schools established by the Prince Edward School Foundation. As permitted by state law, tuition for these schools was almost completely subsidized by the government. No one elected to attend the private academy for black students organized by the same group of white leaders…lawsuits about the intersection of public education and race circulated through the state and federal courts. Edition of one hundred copies. Rare Books copy is no. 81.

N7433.4-P475-M33-2011-Children

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Rare Books goes to Argentina!

22 Wednesday Jun 2016

Posted by rarebooks in Uncategorized

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Argentina, artists' books, bookstores, bookworm, characterization, Comparative Literature/Cultural Studies, creative writing, creativity, English, Faulkner, fight, Fulbright Scholarship, Hemingway, J. Willard Marriott Library, Jonathan Safran Foer, La Lucha, language, Latin America, libraries, literary analysis, literature, Luise Poulton, Lydia Davis, Lyuba Basin, magical, materiality, rare books, Rare Books Classroom, Rare Books Curator, Rare Books Department, setting, short story, story, strikes, students, teachers, teaching assistant, text, textbooks, Universidad Nacional de la Pampa, University of Utah, UNLPam, whiteboard, Wolfe

“Rare Books helped me develop a different perspective on literary analysis.” – Lyuba Basin (Class of 2015 and graduate student in Comparative Literature/Cultural Studies, The University of Utah)

Lyuba Basin, former Rare Books Curator, writes from Argentina, where she is spending eight months on a Fulbright Scholarship.

“Today marks 12 weeks in Argentina. When I look back at it now, it seems like nothing. Yet, I can clearly remember the daily struggle of trying to adapt to this new culture, to adjust my ears and tongue to this new language, and to push aside the loneliness that often attached itself to my mind when I felt so far away from home. Despite the struggles and the cultural differences, I have relished my position as a teaching assistant at the Universidad Nacional de La Pampa. Unlike the large campus back home, UNLPam is a small and simple building located in the very center of the small and simple city. Standing only five stories tall, it blends in with the other shops and apartments located around the plaza; but what makes it distinct is the colorful murals that decorate the entrance and the classrooms inside. On top of that, the students and teachers, with their weekly strikes, create a sense of theatrics, a performance we call La Lucha, the fight.

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I have come to realize that this fight, while manifesting in a variety of ways, is universal. The fight to grow up, to succeed, to get ahead, to make ends meet. I see the same look of desperation in the eyes of my students that I had just one year ago. It is the same look of fear as they sit and wonder “What I am going to do with my life?” I look back in silence, because I’m afraid to tell them that after graduation, you probably still won’t know. I look back with the same question in my mind. However, of all the things I don’t know, I do know this: there will always be a constant in my life, regardless of where I travel or how far.

My love of literature.

As an English language teaching assistant at UNLPam I have transformed into a self-proclaimed literary expert. Of course, expertise is relative when you are one of two native English speakers in a university of thousands. Nonetheless, I am proud of the insight I have been able to provide and glad to see my bookworm tendencies finally come to fruition. I have been lucky enough to teach my students short stories by some great classics, such as Faulkner, Hemingway and Wolfe.
PS3511-A86-T6-1957-coverPS3511-A86-I5-1948-coverPS3511-A86-H38-cover
PS3515-E37-F6-coverPS3515-E37-F37-coverPS3515-E37-O4-1952-cover
PS3573-O558-U5-1975-cover

But what makes the experience all the more fulfilling is being able to introduce new, contemporary literature into the classroom, with works by Lydia Davis and Jonathan Safran Foer, demonstrating to the students the diverse ways we can use and play with language.

As my lesson plans evolved I realized that the students did not have the same exposure to literature as I was fortunate to have back home. With only three small bookstores, two libraries, and no access to online orders, contact with literature outside of Latin America is quite difficult.

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In order to expand my students’ horizons I had to think creatively. Luckily, I still had an amazing team back home to help me out. The Rare Books Department at the J. Willard Marriott Library, University of Utah, was where I learned how to truly appreciate literature, and now I hope to share that with my students, and hopefully with the University of La Pampa as a whole.

In my most recent lecture, I decided to focus on my time as a Rare Books employee and remembered the presentations Luise Poulton gives on the ‘Materiality of the Book’. So I reached out and desperately asked Luise for help. I wanted to introduce the topic of Artists’ Books and explain why materiality could be as important to consider in the process of creative writing as characterization or setting. Using my own book arts project as an example and Luise’s notes from the Rare Books Classroom whiteboard, I was able to illustrate the magical thing that occurs when text becomes material. I was ecstatic to find the students wide-eyed with amazement, none of them having seen or even heard of such things before. Students excitedly came to me after class to discuss ideas, and even the professor encouraged them to develop their own creative interpretations for the short story assignment ahead.

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Working in Rare Books taught me that there is not just one way to tell a story; that creativity does not have to be stifled by what we learn in tedious textbooks. I was able to share what I have learned and bring it all the way to Argentina, changing the perspectives of fifteen students and one professor. While it seems like a small number now, I know that the experience I have passed down will continue to flow, from student to student, year to year, until the Universidad Nacional de La Pampa has a Rare Books department of its own.”

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

29 Tuesday Dec 2015

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

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

From Dallas Fawson

Doc/Undoc photo courtesy of Moving Press Parts

DOC/UNDOC photo courtesy of Moving Press Parts

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

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

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

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

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

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

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

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“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

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Join Us! – “Alphabets of Creation”

20 Tuesday Oct 2015

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Albrecht Dürer, alphabets, American Academy of Arts and Letters, American Publishers Association, Arabic, Berkeley, Christian, creation, Gould Auditorium, Grolier Club, Guggenheim Foundation fellowship, Gyles Calvert, Harold Bloom, Hebrew, J. Willard Marriott Library, Jacob Behmen, Jakob Bohme (1575-1624), Jelaluddin Rumi, Jerusalem, libraries, London, M. Simmons, MacArthur Fellowship, Miryam Bartov, Muslim, mysticism, National Jewish Book Award, New Jersey, New York, Paterson, PEN Translation Prize, Peter Cole, poetics, poetry, Quelquefois Press, rare books, Rare Books Classroom, Seattle, Sefer Otiyot Shel Rabi Akiba, Sinai, Spain, Special Collections Gallery, Tabula Rasa Press, Tel-Aviv, The Nation, The University of Utah, Zohar

“Alphabets of Creation: Libraries, Mysticism, Poetics”

How might archives give rise to art? Is obsession with the letter a threat to spirit? When does the lamp shed light on life, and when does it simply make learning stink? In a playful and probing presentation, poet and translator Peter Cole will explore the role of language, libraries, and mystical linkage in the process of poetic creation.

Peter Cole has been called an “inspired writer” (The Nation) and “one of the most vital poets of his generation” (Harold Bloom). He is the author of four books of poetry. Cole’s translation from Hebrew and Arabic, The Dream of the Poem: Hebrew Poetry from Muslim and Christian Spain, c. 950-1492, received the National Jewish Book Award and the American Publishers Association’s Award for Book of the Year. He has received numerous honors for his work, including a Guggenheim Foundation fellowship, an American Academy of Arts and Letters Award in Literature, and the PEN Translation Prize. In 2007 he was named a MacArthur fellow. Born in Paterson, New Jersey, Cole now divides his time between Jerusalem and New Haven, where he tends small gardens that fill his poetry.

PeterCole2
Wednesday, October 21

Lecture
5:30-6:30PM
Gould Auditorium, Level 1
J. Willard Marriott Library
The University of Utah

Reception, book signing, and Rare Books presentation
6:30-8PM
Special Collections Gallery & Rare Books Classroom, Level 4
J. Willard Marriott Library
The University of Utah

Free and open to the public.

These pieces and others from our rare book collections helped inspire Peter. How will they inspire you?


THE EPISTLES OF JACOB BEHMEN
Jakob Böhme (1575-1624)
London: Printed by M. Simmons, for G. Calvert, 1649
BV5080 B6 1649


BM517-O8-1708-Title
SEFER OTIYOT SHEL RABI AKIBA
BM517 O8 1708




OF THE JUST SHAPING OF LETTERS
Albrecht Dürer (1471-1528)
New York: Grolier Club, 1917
NK3615 D7313 1917


PZ90-H3-B323-1958
ALEF BET
Miryam Barṭov
Tel-Aviv: Sinai, 1958
PZ90 H3 B323 1958




THE ALPHABET OF CREATION: AN ANCIENT LEGEND FROM THE ZOHAR
Seattle: Tabula Rasa Press, 1993
N7433.3 A46 1993


PK6480-E5-C6-1993
ONE-HANDED BASKET WEAVING
Jelaluddin Rumi
Berkeley: Quelquefois Press, 1993
PK6480 A21 1993

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We recommend – Women’s Studio Workshop presentation and lecture

16 Wednesday Sep 2015

Posted by rarebooks in Recommended Lecture, Recommended Workshop

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Ann Kalmbach, Book Arts Program, Book Arts Studio, J. Willard Marriott Library, Rare Books Classroom, Tatana Kellner, The University of Utah, Women's Studio Workshop

WomensWorkshop

Welcome, Tatana Kellner and Ann Kalmbach, Women’s Studio Workshop

Thursday, September 17

2PM – 5PM
Hands-on look at book work
Book Arts Studio & Rare Books Classroom, Level 4
J. Willard Marriott Library
The University of Utah

6PM – to 7:30PM
Lecture
Rare Books Classroom, Level 4
J. Willard Marriott Library
The University of Utah

Presentation and lecture sponsored by the Book Arts Program. Both events are free and open to the public.

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We recommend – Book Arts Program lecture

02 Tuesday Jun 2015

Posted by rarebooks in Recommended Lecture

≈ 2 Comments

Tags

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

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

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


ML422-S76-H36-1993

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

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


PS3552-E377-U64-1995-covers

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

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


PS3552-L9-S28-1999-ArtistsStatement

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

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

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


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

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

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


PQ7392-D53-U76-2006-skeletonspread

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

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

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

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Join Us!

09 Monday Feb 2015

Posted by rarebooks in Events

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Tags

Armando Solorzano, Arturo Valenzuela, Ethnic Studies, European, Gabriel Garcia Marquez, Gould Auditorium, Hinckley Caucus Room, Hinckley Institute, Hinckley Institute of Politics, Jim Hinckley, Latin America, Latinos, Lyn Hinckley, Marriott Library, Mexican Revolution, Mexico, NSC Special Assistant to the President for Latin Affairs, Orson Spencer Hall, rare book collections, Rare Books Classroom, Rare Books Division, Rocco C. and Marian S. Siciliano Forum, Sabino Osuna, United States, University of Utah, Utah

SicilianoForumhttp://www.hinckley.utah.edu/siciliano-forum

The Rare Books Division is pleased to participate in the 17th Annual Rocco C. and Marion S. Siciliano Forum: The Future of U.S. – Latin American Relations.

MONDAY, FEB. 23

9:45 AM FORUM

“Marching to a Unified Future: Latinos in Utah and the Nation.” Armando Solorzano, University of Utah Associate Professor of Ethnic Studies

Hinckley Caucus Room, Orson Spencer Hall, 255

12:00 PM KEYNOTE ADDRESS

Arturo Valenzuela, former U.S. Asst. Secretary of State for the Western Hemisphere and former NSC Special Asistant to the President for Latin Affairs

Marriott Library, Gould Auditorium

1:00 PM ART EXHIBIT RECEPTION

“Mexico at the Hour of Combat: Photographs of the Mexican Revolution by Sabino Osuna” Presented by Jim and Lyn Hinckley

Marriott Library, 5th Floor 

1-2:30PM Rare Books Display

“What Seems Fantastic”

Visit the Rare Books Classroom, Level 4, for a hands-on display of selections from the rare book collections documenting European and United States encounters with Latin America from the 8th century to the 21st.

“My most important problem was destroying the lines of demarcation that separate what seems real from what seems fantastic.” – Gabriel Garcia Marquez

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