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RE: GBW Exhibitions

Artemis, thank you for writting back. I think you've made some good comments
and have really appreciated your participation on the list.

>>From my point of view, the two most important aspects of a good catalog
> are good reproductions (hopefully in color) and ease of viewing.  By the
> latter I mean, how can I store it and look at it.  In regard to the
> second point, I'm not sure I can support a poster format as I would have
> a hard time storing it.  I would probably wind up folding it (which would
> be very hard for the conservator in me to do) or cutting it into pieces
> and binding it somehow (more work than I want to do).  I do think there
> are alternatives to the expense of the catalog produced for the FINE
> PRINTERS exhibit.

I really like the postcard format too, and their catalog was really well
done. The poster thing was an idea and I agree with your points. The FINE
PRINTERS catalog would been cheaper if we hade done it in b/w, but someone
promised a gift of $5000 to pay for the color which never materialized. I
learned a lesson from that one for sure. The other factor was the size of
the press run, 1500. I retrospect I would have printed 500, but then the
unit cost would have been much higher. EIther way, it seems, you lose.
> I was in San Francisco for the Standards and heard some of the discussion
> concerning the issue of themes.  I think themes are fine if they're not
> used all the time.  I've enjoyed exhibits where the same text was used by
> different binders.  It's fun to see the different treatments of the same
> text.

I understand your feeling about themes in shows, although the last one was
pretty much way open. Artists book types could have done a very small run
(I specified at least edition of 5), or done artists book type bindings,
calligraphers could have done stuff as well. What the intent was was to
raise the overall level of work (people doing fantastic bindings on
paperbacks) and also to be a bit more inclusive of the other segments of the
field. We are after all the Guild of Book WORKERS not BINDERS. The other
thing which has happened is that more and more chapters hare having exhibits
(as are the California Hand Bookbinders), so there are now more outlets for
people to exhibit than there were 5 years ago, and the quality of the work
is really going up. One thing I encourage people to do is get involved in
the process, and make suggestions. If no one participates, then you'll
always have a situation where a few people decide for all.

> Three cheers for your work to get the GBW library catalog online.  Those
> of us geographically-challenged will be forever in your debt.

The real thanks for putting the catalog online go to Pamela Spitzmueller and
her staff at the University of Iowa Center for the Book Arts where the GBW
Library is held. You must be a member to borrow books, but making it's
contents known might encourage people to join.....hint. It's a great

| Peter D. Verheyen, Rare Books Conservator, Cornell University Library |
|                B-39 Olin Library, Ithaca, NY 14850                    |
|     <wk> 607/255-2484 Email: pdv1@cornell.edu <fax> 607/255-9346      |
                                || ||
                               ooO Ooo

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