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Re: more book art criticism



Dear Friends, i have been reading the list with interest, sometimes with not
enough time to give the letters justice, but nevertheless with interest.  In
the last several months I have finished my first artists book, it sprang out
of a series of paintings I had been painting during the last several years.
The narratives are all stories that I wrote in the process of producing the
images.  The book is 28 pages long, 12" x 7", and includes four wood
engravings and four etchings on wood panels that were produced using
image-on film.  The text was raised using photopolymer plates, and some
limited lead type.  It was all printed on a Vandercook proofing press, on
Arches 88 paper.  That's a quick summary.  Anyways, I'd love to show it to
some people, maybe even sell a few copies. it's an edition of 32, but I am
still in the process of binding the full edition (I have 15 sewn and glued,
with hard covers, so far).  I don't really know much about this world,  and
appreciate suggestions and interest.  At some point I may finally get around
to mounting the book on the web, but for now, time is short, and it's always
more fun to use the little time that one can steal to work on artwork,
marketing is such a bore and I've proven not to be too adept so far.
Greetngs to all, Nathan
----------
>From: Richard Minsky <minsky@MINSKY.COM>
>To: BOOK_ARTS-L@LISTSERV.SYR.EDU
>Subject: Re: more book art criticism
>Date: Sun, Sep 24, 2000, 10:20 AM
>

> Linda Newbown wrote:
>
>>but if (like on a see-saw) you have greater emphasis on=20
>>Image and less on Material you can still get the piece to
>>balance if you move the Image further from your fulcrum=20
>>and the Material closer to it.=20
>
> Yes. And that is part of the balancing act. It's a vector.
>
>> In the Arts and Craft movement emphasis was on materials.
>> In books like the Book of Kells maybe emphasis is on image.
>> Would books like these not be considered good art
>
> The Wm. Morris tradition includes Burne-Jones and a strong emphasis on
> illustration. Additionally, the typography is a huge element in the
> composition (image), and the A&C movement was very particular to stress
> that. In the USA, Elbert Hubbard incorporated that aesthetic into the
> Roycrofters' work. The Book of Kells is very strong in material presence,
> what with vellum, gold leaf, paint, and ink. It is not by any means a "flat"
> surface.
>
> I have added a few more artists to the "Book Arts in the USA" online
> exhibit. Those interested in this discussion might like to read what each of
> these artists has to say about how they approach their work. It sheds a lot
> of light from many angles. It now includes:
>
> Kathleen Amt
> Barton Lidic=E9 Bene=9A
> John Eric Broaddus
> Betsy Davids
> William Drendel
> Walter Hamady
> Andrew Hoyem
> Hedi Kyle
> Edna Lazaron
> Antonio Martorell
> Clarissa T. Sligh
>
> Try starting with Andrew Hoyem (Arion Press) at:
> http://centerforbookarts.org/exhibits/USA/hoyem.html
>
> Texte en fran=E7ais:=20
> http://centerforbookarts.org/exhibits/USA/hoyem-f.html
>
> Only 40 more to go! ;>)  Sorry it's taking so long. It's hard to find free
> time right now.=20
>
>         Richard
>         http://www.minsky.com
>
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>             BOOK_ARTS-L: The listserv for all the book arts.
>       For subscription information, the Archive, and other related
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             ***********************************************
            BOOK_ARTS-L: The listserv for all the book arts.
      For subscription information, the Archive, and other related
            resources and links go to the Book_Arts-L FAQ at:
                      <http://www.philobiblon.com>
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