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Tag Archives: text

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

01 Friday Jul 2016

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

Text & Image in Flag Books
Karen Hanmer, instructor

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

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

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

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

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

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

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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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We recommend — Book Arts Program workshop, “Letterpress Printing: Text + Image”

07 Tuesday Jun 2016

Posted by rarebooks in Recommended Workshop

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Tags

acrylic, artists' books, book arts, Book Arts Program, Book Arts Studio, bookbinder, collographs, Colorado State University, Crane Giamo, creative writing, Delete Press, design, edition, hand-painted, handbound, image, imprint, ink, iron oxide pigment, J. Willard Marriott Library, Japanese stab-stitch, letterpress, linoleum blocks, metal type, paper, papermaker, photopolymer plates, Pocalypstic Editions, poetry, pressure prints, printer, printing, prints, publishing, Red Butte Press, relief, text, Tuscaloosa, University of Alabama, University of Buffalo, University of Utah, Vandercook #4, wood type, zinc cuts

Letterpress Printing: Text + Image
Crane Giamo, Instructor

June 14—August 2
Tuesdays, 5:00—8:00
Book Arts Studio, J. Willard Marriott Library, Level 4
$340, register here.

Get a handle on what it takes to crank out an edition of gorgeous letterpress prints. This active, eight-week class introduces the fundamentals of letterpress, from paper selection and cutting to mixing ink and printing. Guided by Crane Giamo, participants design and produce several individual projects using a variety of relief techniques and tools including metal and wood type, zinc cuts, linoleum blocks, pressure prints, photopolymer plates, and collagraphs.
– – – – –
Crane Giamo is the studio manager and faculty instructor in the Book Arts Program at the University of Utah, and the lead printer for Red Butte Press. He is the co-founder of Delete Press, a poetry publishing outfit for which he works as letterpress printer, bookbinder, and papermaker. Crane’s own artists’ books can be located under the imprint Pocalypstic Editions. He holds an MFA in Book Arts from the University of Alabama, an MFA in Creative Writing from Colorado State University, and an MA in Poetics from the University at Buffalo.

N7433.4-G474-P73-2014-coverN7433.4-G474-P73-2014-image

Psalm 13-20
Crane Giamo
Tuscaloosa, AL: Pocalypstic Editions, 2014
N7433.4 G474 P73 2014

Text printed from photopolymer plates on a Vandercook #4 letterpress. Red paint slashing across the book is hand-painted using iron oxide pigment mixed with acrylic medium. Handbound in Japanese stab-stitch structure. Edition of twenty-five. University of Utah copy is no. 8.

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Looking Forward to Book Arts Program Workshop, “Up-cycled Stories: Books as Process”

20 Friday May 2016

Posted by rarebooks in Recommended Workshop

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Tags

Arches Text Wove, artists' books, Big Caslon, binding, blind-embossed, Book Arts Program, Book Arts Studio, bookmaking, books, Boston College, Bugra, Center for Book Arts, collage, College Book Arts Association, color, Emily Tipps, English, Granary Books, handmade, Harvard, High5 Press, ink, J. Willard Marriott Library, Julianna Christie, letterpress, literature, Marnie Powers-Torrey, New York City, photograpy, photopolymer plates, pochoir, Red Butte Press, Salt Lake City, shape, Stonehenge, storytelling, text, texture, University of Alabama, University of Colorado, University of Utah, Utah, Vandercook SP-15, Wellesley College, Wesleyan University

Rare Books is proud to support the Book Arts Program with its collections. For more information about the Book Arts Program and future workshops, visit their website or like them on Facebook.

Up-cycled Stories: Books as Process
Julianna Christie, Marnie Powers-Torrey & Emily Tipps

May 28 
Saturday, 10:00–6:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Free spots are limited; please apply here. The application deadline is April 14.
Additional spots: $110, register here.
Registration is closed!

Bring a personally challenging story to retell in a new light or a daily routine to reconsider and reframe. With a focus on finding joy and beauty in the everyday, participants stamp out insecurities, recontextualize shortcomings, and re-imagine the self in book form. In this workshop, employ ink, brushes, stamps, mark-making tools, text, and re-collected common objects to produce process pages. Through a reimagining of the past, reinvent present perspective with an open heart, mind, and eyes toward gratitude and compassion. Instructors demonstrate a binding to be completed post-workshop from produced sheets. Come with a willingness to play with color, shape, narrative, and texture.
– – – – –

Julianna Christie graduated from Wellesley College and holds a BA in English Literature and Studio Art, with an emphasis in bookmaking. Upon graduating, she worked at the Center for Book Arts and Granary Books in New York City. She has been making books for over 20 years, with books held in Special Collections libraries at Wellesley College and Harvard. She incorporates collage, photography, sewing and love into her books. Julianna is also a life coach, specializing in personal growth and transformation. In her coaching, she invites clients to explore the art of storytelling, using words and imagery to examine and ultimately re-conceive a happy life.

Marnie Powers-Torrey holds an MFA in photography from the University of Utah and a BA in English and Philosophy from Boston College’s Honors Program. She is the Managing Director of the Book Arts Program and Red Butte Press, an Associate Librarian (Lecturer), and academic advisor for minor and certificate students in Book Arts. Marnie teaches letterpress printing, artists’ books, and other courses for the Book Arts Program and elsewhere. She is master printer for the Red Butte Press, harnessing the mighty printing power of a full staff of excellent printers. A founding member of the College Book Arts Association, she served as Awards Chair for three years and currently serves on the board of directors. Her work is exhibited and held in collections nationally.

N7433.4-P69-E8-2000-Front
N7433.4-P69-E8-2000-back

Evidence
Marnie Powers-Torrey
Salt Lake City, UT: M. Powers-Torrey, 2000
N7433.4 P69 E8 2000

Edition of ten copies. University of Utah copy is no. 4, signed by the author.

Emily Tipps is the Binding Instructor, Program Manager, and an Assistant Librarian (Lecturer) at the Book Arts Program at the University of Utah, as well as the proprietor of High5 Press, which publishes innovative writing in the form of handmade artists’ books. She holds a BA in English from Wesleyan University, an MA in Creative Writing from the University of Colorado, and an MFA in Book Arts from the University of Alabama. Emily’s work is exhibited and held in collections nationally.

N7433.4-T574-O73-2007-spread
N7433.4-T574-O73-2007-spread2

Orders
Emily Tipps
Tuscaloosa, AL: High5 Press, 2007
N7433.4 T574 O73 2007

Letterpress printed from photopolymer plates on a Vandercook SP-15. Paper is Arches Text Wove and Stonehenge. Text type is Big Caslon. Pochoir illustrations. Endsheets are gray Bugra paper. Handsewn binding in black Stone Henge paper covers. Front cover blind-embossed. Edition of sixty copies. University of Utah copy is no. 42.

alluNeedSingleLine

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

18 Friday Dec 2015

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Tags

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

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

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

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

Doc/Undoc photo courtesy of Moving Parts Press

Doc/Undoc photo courtesy of Moving Parts Press

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

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

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

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

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

Histoira de Nueva-Espana, 1770

Historia de Nueva-Espana, 1770

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

Gobierno General, 1859

Gobierno General, 1859

Nombres geograficos de Mexico, 1885

Nombres geograficos de Mexico, 1885

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

West Indies, Ltd., 1934

West Indies, Ltd., 1934

Codex Espangliensis, 1998

Codex Espangliensis, 1998

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

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

Doc/Undoc -- photo courtesy of Moving Parts Press

Doc/Undoc photo courtesy of Moving Parts Press

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

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

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

20151201_155114

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

Coming soon: Response from Sam DeMonja

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  • Book of the Week — Home Thoughts from Abroad
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  • Medieval Latin Hymn Fragment, Part D: “…of the holy found rest through him.”

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