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[BKARTS] Book cover how to



Hi! I took a basic book binding course a while back. Looking to make
some books. I need some advice on how to make the book cover. I
purchased some nice paper and rice paper. My teacher said I can just use
paste (flour + water boiled). She put the paste on rice paper, then
misted some water on the cover paper then used a brush to flatten it.

Does anyone else have other ways of doing this?
Thanks. Nina

-----Original Message-----
From: Automatic digest processor [mailto:LISTSERV@xxxxxxxxxxxxxxxx]
Sent: Monday, November 17, 2003 12:01 AM
To: Recipients of BOOK_ARTS-L digests
Subject: BOOK_ARTS-L Digest - 15 Nov 2003 to 16 Nov 2003 (#2003-315)


There are 10 messages totalling 1409 lines in this issue.

Topics of the day:

  1. Displaying Books
  2. An open book
  3. BOOK_ARTS-L Digest - 14 Nov 2003 to 15 Nov 2003 (#2003-314) (3)
  4. gloves for exhibitions
  5. Gold line on bands
  6. handling books in exhibitions
  7. "Mining the Lloyd Library" Book arts exhibit
  8. Bay Area event: Library of Discards

             ***********************************************
        See the Book_Arts-L FAQ at: <http://www.philobiblon.com>

     *Postings may not be re-printed in any form without the express
     consent of the author - Please respect their contributions & (c)*

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----------------------------------------------------------------------

Date:    Sun, 16 Nov 2003 08:11:58 EST
From:    Zoe Hecht <ParsifalsSister@xxxxxxx>
Subject: Displaying Books

Interestingly I just had the opportunity of visiting a show at Cask
Foundation in Lynbrook, New York (Long Island)
http://www.karenmichel.com/  where I was able to see all the books, or
nearly so, without glass.  One of the pleasures of this show was my
being able to
"touch" each and every one and experience them as living words and
pictures.   I
took this opportunity seriously, handling each with respect, slowly and
carefully, and it added a dimension to a book arts show I had never
experienced before.  The show itself was not large, less than 20 books,
and several were over-sized, 4 feet or so.  Each was an artists' book, 6
from a recent publication entitled, "True Colors," and several were
artist's journals, the others were the work of Karen Michel and Carlo
Thertus.  All were thought provoking.  I am certain that my ability to
touch these books will have a far more lasting impression on me than
other shows because of the nature of my relationship with them.  I
remember thinking at the time how I was "one with the book" rather than
outside the book.  It would be a thrill to have more shows like this,
and have Centers continue to question how the book arts can be displayed
in a more animated way, the CD, as Roberta recommended just one of
several potential imaginative means to bring the book and the reader
into closer proximity.

Zoe
www.itsmysite.com/parsifalsSister



Zoe
www.itsmysite.com/parsifalssister
'The present moment is the only moment available to us, and it is the
door to all moments.' - Thich Nhat Hanh How we spend our days is, of
course, how we spend our lives - Annie Dillard

------------------------------

Date:    Sun, 16 Nov 2003 09:41:54 -0500
From:    Chuck & Julie Basham <charlesB@xxxxxxxxxx>
Subject: Re: An open book

I am very interested in the discussion about An Open Book. I am the
organizer of this juried show and I came up with this idea because of my
experiences in showing my own books.

I have had very disappointing experiences in seeing how my books have
been displayed in galleries. If I am not able to set up the books
myself,  I have come to the gallery - or museum- and seen the books
crowded together on small pedestals, kept in their folios or generally
not shown to their best advantage. Many times when I am at an opening
reception of my work I still see people look at a piece from all angles-
but not touch or open it, even with a sign that urges them to do so- and
say" Oh how nice" but walk away without seeing all that I labored over
inside the covers. I have grown very frustrated with the medium because
of this.

But instead of giving up making books, I have decided to take the
display issue into consideration when creating a book. Luckily it has
not been a problem because the structure and the concept have always
been integral to the whole process and has worked well for me. I have
also made some interesting discoveries and structures while pursuing
this avenue.

I am  organizing this show at Cuyahoga Community College in Cleveland
Ohio, where I am the director,  because I love making books and want to
expose others to the medium. We have no budget to speak of though we
have a great space located within the library. My co- director and I
have been brainstorming ideas of how to display the work when we open
the show. We have some very nice glass cases and pedestals. We may
design and build some kind of shelf units to attach to walls. We may
have guided tours, as was suggested, where people, or the tour guides,
can touch the work. BUT, with the concept behind the show, hopefully
your intent as an artist can be fully explored by the
viewer- without interaction, which would need to be overseen by a
gallery crew or security that we don't have.

I thank Roberta, Laurie, Tom and Barbara for their thoughts and
suggestions about how to display books in a gallery setting. They have
put forth  some great ideas and I hope that we can  incorporate some of
them. But I also hope that artists can take advantage of this idea of an
AN OPEN BOOK and create some fascinating new books.

I hope you  continue the discussion  because this is an ongoing problem
that should be addressed.

If you would like more information about An Open Book please go to the
website- <http://www.tri-c.edu/art/docs/index_exhibitions.htm>

Julie Friedman
Director - Gallery West- Western Campus
Cuyahoga Community College
Cleveland, Ohio

Stone Fence Press Book Arts
--

------------------------------

Date:    Sun, 16 Nov 2003 11:07:26 -0800
From:    Maureen Eppstein <maureene@xxxxxxx>
Subject: Re: BOOK_ARTS-L Digest - 14 Nov 2003 to 15 Nov 2003 (#2003-314)

At 12:01 AM 11/16/2003 -0500, Roberta wrote:
>In my version of a perfect world, books would be exhibited in a large
>room full of comfortable sitting areas and visitors with clean hands
>and basic knowledge about how to handle the materials. A place where a
>market for book arts could be expanded by socializing people into the
>richly satisfying elements of time and touch that separate books from
>paintings, prints and sculpture - a place of active participation.

Last spring my husband and I curated the show "Betty Storz and Friends:
The Art of the Book" at Mendocino Art Center, Mendocino CA. We gave
exhibitors the option of having their work under glass or available to
be handled. Nearly all were happy to have visitors pick up their books.
We bought a big bundle of cheap white cotton gloves from Light
Impressions
(www.lightimpressionsdirect.com) and arranged them in baskets throughout
the gallery. We also had a few comfortable chairs where people could sit
to browse.

The show was a great success. Visitors commented that they loved putting
on the gloves and they appreciated the chance to spend time quietly
looking through the books.

Maureen Eppstein

------------------------------

Date:    Sun, 16 Nov 2003 11:42:09 -0800
From:    Signa Houghteling <judy@xxxxxxxxxx>
Subject: Re: BOOK_ARTS-L Digest - 14 Nov 2003 to 15 Nov 2003 (#2003-314)

I guess in that setting the white gloves were useful, but the
conservators I know don't like them because they are slippery.  Good,
clean hands are the best, they say.

Signa/Judy Houghteling

-----Original Message-----
From: Book_Arts-L [mailto:BOOK_ARTS-L@xxxxxxxxxxxxxxxx]On Behalf Of
Maureen Eppstein
Sent: Sunday, November 16, 2003 11:07 AM
To: BOOK_ARTS-L@xxxxxxxxxxxxxxxx
Subject: Re: BOOK_ARTS-L Digest - 14 Nov 2003 to 15 Nov 2003 (#2003-314)


At 12:01 AM 11/16/2003 -0500, Roberta wrote:
>In my version of a perfect world, books would be exhibited in a large
>room full of comfortable sitting areas and visitors with clean hands
>and basic knowledge about how to handle the materials. A place where a
>market for
book
>arts could be expanded by socializing people into the richly satisfying

>elements of time and touch that separate books from paintings, prints
>and sculpture - a place of active participation.

Last spring my husband and I curated the show "Betty Storz and Friends:
The Art of the Book" at Mendocino Art Center, Mendocino CA. We gave
exhibitors the option of having their work under glass or available to
be handled. Nearly all were happy to have visitors pick up their books.
We bought a big bundle of cheap white cotton gloves from Light
Impressions
(www.lightimpressionsdirect.com) and arranged them in baskets throughout
the gallery. We also had a few comfortable chairs where people could sit
to browse.

The show was a great success. Visitors commented that they loved putting
on the gloves and they appreciated the chance to spend time quietly
looking through the books.

Maureen Eppstein

             ***********************************************
        See the Book_Arts-L FAQ at: <http://www.philobiblon.com>

     *Postings may not be re-printed in any form without the express
     consent of the author - Please respect their contributions & (c)*

        Archive maintained and suppported by Conservation OnLine
                    <http://palimpsest.stanford.edu>
             ***********************************************

------------------------------

Date:    Sun, 16 Nov 2003 12:29:48 -0800
From:    Guffey <dguff@xxxxxxxxxxxxx>
Subject: gloves for exhibitions

Regarding using gloves for exhibitions, Signa/Judy Houghteling wrote:

> I guess in that setting the white gloves were useful, but the
> conservators
I
> know don't like them because they are slippery.  Good, clean hands are

> the best, they say. Signa/Judy Houghteling

Our Book Arts Guild has had two exhibits and have provided gloves for
both of them.  I know that others have mentioned that gloves can become
dirty and hence not very useful.  What we found by providing the gloves
was that the patron became immediately part of the exhibit just by
putting on the gloves.

Given "permission" now to pick up the books brought much joy and they
felt an interaction with the art they wouldn't have just by looking.
Some books beg to be examined, others (such as an accordion structure)
can sit on a shelf and just be admired.  We were very fortunate not to
have damaged books at the end of the month long exhibits and did put
some "under glass" if requested by the artist.

If the book is also for sale and is one-of-a-kind, then handling becomes
a problem.  A person who purchases the book during the exhibit has to
agree to leave it until the end of the show.  In this case it is
probably not a good idea to have it handled and possibly be damaged.

Obviously, there is no clear cut solution.

d. guffey
North Redwoods Book Arts Guild

------------------------------

Date:    Mon, 17 Nov 2003 11:01:14 +1100
From:    Peter Krantz <restore@xxxxxxxxxxxxxxxxxxx>
Subject: Re: Gold line on bands

Greetings,

Just a little note to thank all those who answered our question on and
off List. To abbreviate what has been written, the accepted technique is
to blind tool the ridge of the band, and then stretch the foil over the
band.  The blind tooling is revealed through the foil, enabling one to
use the pallet or roll with a good degree of accuracy.


Best to all in your work.



Peter Krantz

***********************************************
Book Restorations.
Sydney,
Australia.
Email:  restore@xxxxxxxxxxxxxxxxxxx

Established 1976

------------------------------

Date:    Sun, 16 Nov 2003 19:11:48 -0500
From:    Richard Minsky <minsky@xxxxxxxxxx>
Subject: handling books in exhibitions

If you like the direct touch clean hands method and not the slippery
gloves that keep you from really touching the work, you can have the
alcohol wipes on hand like you get at the gas station in little foil
packets.
--
 Richard
 http://minsky.com
 http://www.centerforbookarts.org

------------------------------

Date:    Sun, 16 Nov 2003 19:40:21 EST
From:    Diane Stemper <DStemp7@xxxxxx>
Subject: "Mining the Lloyd Library" Book arts exhibit

PRESS RELEASE
Date:November 16, 2003

Mining the Lloyd: Book Artists Reveal Secrets and Treasures from the
Lloyd Library and Museum downtown Cincinnati, Ohio

December 1, 2003 - February 28, 2004

Opening Reception and Public Talk: December 5,  5:30 - 7:30 p.m. with
Thom Collins, Senior Curator at the Rosenthal Center for Contemporary
Art, Cincinnati and Dr. G. Doug Winget, medical botanist and professor
emeritus
of the University of Cincinnati   (Talk will begin at 6:30 p.m.)

An exciting exhibition of artists' books will be on view at the Lloyd
Library this winter. Mining the Lloyd: Book Artists Reveal Secrets and
Treasures from the Lloyd Library and Museum opens December 1, 2003 and
continues through February 28, 2004.  The invitational show will feature
book works by contemporary artists of national and regional reputation
along with selected rare and unusual texts from the Lloyd Library and
Museum.  Co-curators Diane Stemper and Susan Brumm members of the
Cincinnati Book Arts Society invited eighteen artists to explore the
Lloyd Library's holdings and select a book to investigate and use as
inspiration for creating a new book.  Each artist's unique work is a
reinterpretation of the content, theme or scientific treatise of the
Lloyd text they chose.  The Lloyd - one of the gems of downtown
Cincinnati - is a science research library specializing in pharmacy,
botany and horticulture.  Mining the Lloyd will bring long overdue
attention to the collection and will speak to the natural alliance
between the visual arts, science and creativity.  The exhibition was
inspired by similar shows at the Smithsonian Dibner Library and Johns
Hopkins University.  Thom Collins, curator at the Rosenthal Center for
Contemporary Art and Dr. G. Doug Winget, medical botanist will conduct a
public talk regarding science and creativity during the opening.

Local artists include Kate Kern (Cincinnati) and the collaborative team
of Holmes and Riordan.  Kern's books have been exhibited widely and are
included in the collections of the Museum of Modern Art in New York, The
Getty Research Institute and the Museum of Contemporary Art in Chicago.
Diana Duncan Holmes and Timothy Riordan (Cincinnati), whose
collaborative artists' books have been exhibited at the Miami University
Art Museum and are in the collections of the Museum of Modern Art and
The New York Public Library, will display Monkey
Business: A Revised Text inspired by Darwin's The Origin of Species and
The Holy Bible.  Nationally-known book artist Carol Barton (Maryland)
will be creating a small edition ABC book of chemical synonyms and trade
names.  Barton's work is avidly collected and has been exhibited at the
National Museum of Women in the Arts, The Houston Center for
Contemporary Craft and the Center for Book Arts in New York.  Artist
George Gessert (Oregon), also inspired by Origin of Species, will show
his artist's book Origin, Streptocarpus Breeding Project. Gessert's
books are found in major collections and his art and science essays have
been published in The Northwest Review and Art Papers.  Additional
artists
include: Beth Brann, Susan Brumm, Jack Campbell, Gabrielle Fox, Rhonda
Gushee, Celene Hawkins, Peg Rhein, Carolyn Whitsel (Cincinnati), Ed
Hutchins (New York), Karen Fuhrman ( Lexington), Rebecca Morton
(Columbus), Ellen Sheffield (Gambier), Diane Stemper (Oxford), and Karen
Wirth (Minneapolis).

The Lloyd Library and Museum, located at 917 Plum Street, downtown
Cincinnati , is a cherished Cincinnati secret. The current collection is
based on a collection started by John Uri in 1864. The publications were
used by the Lloyd Brothers, John Uri, Curtis Gates and Nelson Ashley
Lloyd, and were an integral part of their pharmaceutical manufacturing
business. The Lloyd Brothers established a trust in 1919 that continues
to support the Library's operations. Today, the Lloyd Library and Museum
is recognized worldwide by the scientific community as a vital research
center. Housing thousands of volumes on the subject of pharmacy, botany,
and horticulture, it has a vast collection of scientific texts - many of
which date back hundreds of years.  Included in this rare book
collection is an original copy of the ten volume Flora Graeca (1840) by
John Sibthorp, an original copy of Origin of Species (1859) by Charles
Darwin, and Elizabeth's Blackwell's A Curious Herbal (1739).

Along with the funding from the Lloyd Library, the Ohio Arts Council
helped fund this exhibition with an Artists Project Grant. The mission
of the Ohio Arts Council is to build Ohio through the arts and to
encourage economic growth, educational excellence and cultural
enrichment for all Ohioans.

Contact: Susan Brumm,
Cincinnati Book Arts Society
513.321.4449    or  brummfound@xxxxxxxxxxxx

Lloyd Library and Museum
917 Plum Street, Cincinnati, Ohio 45202
513.721.3707
Open Monday through Friday 8:30 a.m. - 4 p.m.

------------------------------

Date:    Sun, 16 Nov 2003 17:05:33 -0800
From:    Judith Hoffberg <umbrella@xxxxxxxxxxxxx>
Subject: Re: BOOK_ARTS-L Digest - 14 Nov 2003 to 15 Nov 2003 (#2003-314)

In 30 years of exhibiting bookworks, I have found that the respect
viewers approach the exhibition is manifest only through the gloves
situation--I have always provided gloves with everyone of my shows and
it has worked.  In 30 years, I have lost one book in the United STates
and two books in Australia and New Zealand--not a bad record.  There is
that affinity to touch with and without gloves, and with gloves, you
protect the works.  Of course, I have always had a table with those
multiples which can be replaced, yet can be perused at length with a
gloved hand or two. Of course, there are those bookworks which should
never be touched--and as such I have used a system of color codings or a
way of having the gallery assistant be asked to turn the pages for the
viewer.  I also am present a great deal the first week of any traveling
show and teach the docents (students or those volunteers who want to sit
the show) the stories of each of my bookworks and how to deal with each
for the public.  AS such, it has made it much more secure for me to
leave and know that the show is in "good  hands" to turn a phrase.  I
have been successful in traveling shows because I usually go with the
show, install it, and then interpret it and then teach those who are
securing the gallery how to interpret the show in their own way as well.
Respect is built in in that way.

Barbara Metz has also perfect the way of installing the show by doing a
CD-Rom to show those who will install the show without her to do so the
correct way.  CDs are wonderful for a great many reasons.  I do recall
the Vollard show at MOMA in 1977 when they used videos to turn the pages
of those precious books which could not be touched by anyone, but where
each and every page of those magnificent books were turned on monitors
for people to appreciate.  Then too, those huge bookworks of Ansel
Kiefer were turned by gorgeous turners in every show they appeared--from
MOCA in Los Angeles to everywhere else.  Respect is instilled by such
motives.  Not bad for a day's work, but it works.

Judith A. Hoffberg
Judith A. Hoffberg
Umbrella
P.O. Box 3640
Santa Monica, CA 90408
http://colophon.com/journal
http://colophon.com/ediblebooks/books2eat2003.html
(310)399-1146, fax: 399-5070
Let a smile be your umbrella!
----- Original Message -----
From: "Automatic digest processor" <LISTSERV@xxxxxxxxxxxxxxxx>
To: "Recipients of BOOK_ARTS-L digests" <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
Sent: Saturday, November 15, 2003 9:01 PM
Subject: BOOK_ARTS-L Digest - 14 Nov 2003 to 15 Nov 2003 (#2003-314)


> There are 14 messages totalling 863 lines in this issue.
>
> Topics of the day:
>
>   1. The Center for Book Arts
>   2. Hand Bookbinders of California 31st Members' Exhibit Now Online
>   3. Open book... (3)
>   4. New England Lecture and Seminar
>   5. Open book... ways to display and experience the works ... (3)
>   6. ICOM-CC-Wood, Furniture and Lacquer NEWSLETTER.
>   7. Paper the Art and the craft
>   8. Etymology of the term "Three-piece binding"
>   9. A recommendation
>  10. Author Artifact Auction on ebay - unique purpose - unique items
>
>              ***********************************************
>         See the Book_Arts-L FAQ at: <http://www.philobiblon.com>
>
>      *Postings may not be re-printed in any form without the express
>      consent of the author - Please respect their contributions & (c)*
>
>         Archive maintained and suppported by Conservation OnLine
>                     <http://palimpsest.stanford.edu>
>              ***********************************************
>
> ----------------------------------------------------------------------
>
> Date:    Sat, 15 Nov 2003 07:39:46 -0500
> From:    Richard Minsky <minsky@xxxxxxxxxx>
> Subject: The Center for Book Arts
>
> Please help the Center for Book Arts to continue providing outstanding

> exhibitions, classes, workshops, studio space, artist-in-residence
programs
> and publications. The annual end-of-year campaign is underway. Details

> are at http://centerforbookarts.org/eoy-2003.htm
>
> Contributions can be made online by credit card
> on the phone at 212 481-0295
> or by mailing your check to
>
> The Center for Book Arts
> 28 West 27th Street, 3rd Floor
> New York, NY  10001
>
> Center for Book Arts, Incorporated 1974 is a 501 (c)(3) not-for-profit

> organization. Contributions are tax-deductible to the extent allowed
> by law.
>
> --
>  Richard
>  http://minsky.com
>  http://www.centerforbookarts.org
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 08:38:13 -0500
> From:    "Peter D. Verheyen" <verheyen@xxxxxxxxxxxxxxx>
> Subject: Hand Bookbinders of California 31st Members' Exhibit Now
> Online
>
> The fully illustrated Web catalog of Hand Bookbinders of California
> 31st Members' Exhibit is now online at:
<http://www.philobiblon.com/hbc31st.htm>.
>
> If you're in the San Francisco Bay Area and looking for an exciting
bookish
> event the exhibit is on display at at Thomas A. Goldwasser Rare Books
> through December 27, 2003. A map, directions, and regular viewing
> hours
can
> be found at <http://www.philobiblon.com/hbc31st>.
>
> The exhibit features the work of:
>
> Jane Aaron, Patrice Baldwin, Nancy Bloch, Patricia Bolt, Carolee
> Campbell, Heidi Ferrini, Patricia Galante, Steve Heimerle, Signa I.
> Houghteling, Constance Hunter, Mary Laird, Hisako Nakazawa, Joanne
> Page, Robert S. Rosenzweig, Lily Stevenson, Carla J. Tenret, Peter &
> Donna Thomas, Peter
D.
> Verheyen, Pamela S. Wood, and Constance Wozny.
>
> If you are in the area, please take the opportunity to view this fine
> exhibition of book works, or stop by via the web.
>
> Peter Verheyen
>
> __________________________________
>
> Peter D. Verheyen
> Bookbinder & Conservator
> <verheyen@xxxxxxxxxxxxxxx>
> The Book Arts Web & Book_Arts-L Listserv <http://www.philobiblon.com>
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 09:44:13 -0800
> From:    RLavadour <paper@xxxxxxxxxxxxxxx>
> Subject: Open book...
>
> I've been mulling this around since seeing the call for entries for
> "An
Open
> Book" and thought I'd toss it out for discussion.
>
> For those that missed the call, the organizers have adopted a creative

> approach to the problem of displaying books.
>
> From the prospectus: "...One of the major problems with showing books
> in
an
> exhibition is that too often the books are shown under glass, closed
> up so that just the cover is exposed or one page of a book is
> displayed. Think about how your book is to be displayed. One of the
> most accessible book forms is the accordion fold but there are many
> other forms that can be displayed so that a book can be seen in its
> entirety when displayed in a case or on a pedestal..."
>
> Let me say from the beginning that I applaud the organizers for
confronting
> this issue and for instigating a discussion on the nature of book arts

> exhibit.
>
> It also opens the door to lots of other questions.
>
> One of the things that compells me to make books is the way the
> element of time is involved. When you experience a book, there is
> often a moment(s)
of
> discovery that occurs in due time, and if the book is particularly
> successful, you are compelled to return to that experience over and
> over again. Other books rely on the fact that all the visual
> information can't
be
> taken in at one sitting and demand long, repeated visits.
>
> The other element that I love about books is their tactile quality.
> It's a thrill to see someone pick up your work and move their hands in

> a way that shows they're taking in information through their skin that

> will add to
the
> experience.
>
> The turning of a "page" (which can be interpreted as broadly as
> possible) plays into all the above.
>
> In my version of a perfect world, books would be exhibited in a large
> room full of comfortable sitting areas and visitors with clean hands
> and basic knowledge about how to handle the materials. A place where a

> market for
book
> arts could be expanded by socializing people into the richly
> satisfying elements of time and touch that separate books from
> paintings, prints and sculpture - a place of active participation.
>
> In the real world, this would entail sometimes elaborate and
> impractical things like asking artists to submit an extra "exhibition
> copy", making facimilies (like the Russian Avant-Garde books at MOMA
> last year), dealing with damage and theft, etc. While many exhibits
> are successfully adopting
a
> "hands-on" approach, I suspect it's more geared toward lower-priced
> work.
>
> Another alternative being used is employing a second media in an
> attempt
to
> virtually communicate the qualities of the book. At the Bibliocosmos
exhibit
> at Reed College in Portland this summer, a book that consisted of text
that
> was watermarked on each page was displayed in a case and an image of
> an illuminated page was viewed on an adjacent video monitor.
>
> In attempting to grow the market for book arts within the mainstream
gallery
> and collector community and with the general public (as opposed to
> simply other book artists), do we make things as easy as possible for
> the viewer, making touch and time secondary? Would an accordion folded

> page, printed
on
> one side, be more suited to being displayed on a wall as a print, the
> way Enrique Chagoya presents some of his "codices"? Do we submit work
> to wear, tear, theft, etc. to get it into the hands of the potential
> collector?
What
> about one-of-a-kind work? Or does an "open book" concept allow for a
glimpse
> into book arts that will compell viewers to treat their future
> encounters with artist's books differently, and entice them to take
> the time to
explore
> the work more thoroughly?
>
> I'd be very interested in hearing other people's thoughts.
>
> Roberta
> -------------------------------------------------------
> Roberta Lavadour
> Mission Creek Press / Pendleton, Oregon
> http://www.missioncreekpress.com/newwork.htm
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 13:28:33 -0500
> From:    Jeffrey Altepeter <jeff@xxxxxxxxxxxxxxxxxxx>
> Subject: New England Lecture and Seminar
>
> The New England Chapter of The Guild of Book Workers invites you to a
> = two part program with Dr. John Sharpe to be held at Harvard
> University = in Cambridge, MA.  The lecture, on December 12, 2003, is
> free and open = to the public.  Registration and a $125 fee is
> required for the hands-on = seminar to be held the following day.
> Please read on for more = information.
>
> Lecture and Seminar:
> The Development of the Early Codex=20
> with Dr. John L. Sharpe=20
> Harvard, University=20
> Cambridge, MA=20
> 12, 13 December 2003
>
> The New England Chapter is very pleased to announce a two part program

> = on the history and development of the early codex with Dr. John
> Sharpe, = one of the foremost authorities on early book materials and
> structures.
>
> In 1980 Dr. Sharpe commenced a study of Coptic bindings, and this =
> continued in the form of a survey of all binding materials that have =

> survived from before the end of the first millennium of the Common
> Era.  = He has been preparing a revision of Theodore Petersen's
> Catalogue of = Coptic Bindings in the Morgan Library.  These Coptic
> bindings include = the Hamouli collection, one of the largest groups
> of early Coptic = bindings ever recovered.  The Catalogue, augmented
> by Dr. Sharpe with an = examination of the important findings since
> Petersen concluded his work = in the 1950's, will present the
> preserved witness to how the book was = made when the codex finally
> supplanted the roll as the accepted format = for publication.
>
> On the evening of Friday, December 12th, at 7pm in the Langdell North
> = classroom at Harvard University, Dr. Sharpe will present a lecture
> on = this subject. He will discuss the Coptic binding evidence and the

> = ramifications and theories that these binding materials prompt. This

> = lecture will act as an introduction to the Saturday seminar.  This =

> lecture is free and open to the public.
>
> On Saturday, December 13th, from 9-5 in the Lamont Forum Room at
> Harvard = University, Dr, Sharpe will hold a seminar on the transition

> from Coptic = binding styles to Byzantine, Islamic and Ethiopic
> binding styles.  This = seminar will involve the examination of
> relevant materials and bindings = from the Houghton Library's
> collection.  It will act as a kind of = practicum to the lecture's
> introduction and theory.  The fee for = participation in the seminar
> is $125.  Space is limited.
>
> Dr. Sharpe studied at Wofford College, Duke University, St. Andrews =
> University (Scotland), Friederich Alexander University (Erlangen, =
> Germany), and Cambridge University.  He spent one year as visiting =
> scholar at Oxford University.  He was curator of Rare Books at Duke =
> University, and later, Academic Librarian for Research Affairs.  He =
> spent years researching in Patmos at the library of the Monastery of
> St. = John, examining and recording those codices with Byzantine
> bindings.  = Dr. Sharpe co-edited and contributed to Roger Powell: The

> Compleat = Binder.  He retired from Duke in January 1998, and since
> then has been = working as a researcher, writer, consultant and
> appraiser of books and = manuscripts with his own company: CPRM,
> Inc.--Cultural Properties and = Resources Management, Inc.
>
> If you would like to register for the seminar send a check for $125, =

> made out to the New England Chapter of the Guild of Book Workers, to =

> Barry Spence, Events Chair, 3 Masonic Ave, Shelburne Falls, MA 01370.
>
> If you have questions about either of these events, please contact
> Barry = at bspence@xxxxxxxxxxxxxxxxxxx, or 413-625-2980.
>
> A map showing the location of  the Langdell North Classroom at the =
> Harvard Law Library is available on the New England Chapter website:
> =
> http://palimpsest.stanford.edu/byorg/gbw/chapters/newengland/index.sht
> ml.=
>
>
> General directions to the law library may be found on their website at

> = http://www.law.harvard.edu.
>
> Directions to Lamont Library at Harvard University: =
> http://hcl.harvard.edu/lamont/about/directn.html.
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 11:11:18 -0800
> From:    Laurie Mullikin <laurie.mullikin@xxxxxxxxxxx>
> Subject: Re: Open book... ways to display and experience the works ...
>
> My first experience with  book arts  had  aspects of what Roberta
describes
> and it was an awesome introduction to the art form. On the closing day

> of the  Los Angeles Book Arts Center's first exhibit, the creator of
> "Thirty books in 30 days" (there with family and friends) took down
> each work from it's individual protected case on the wall and paged
> through most
explaining
> her inspiration for it, choice of media, etc. ... and allowing some to

> be passed around. It was the difference between viewing duck under
> glass and eating the duck.
>
> A few quick thoughts that don't come close to addressing Roberta's
> wishes, but would allow a little more viewing in the current context
> of many book exhibits ...
>
> - create a limited number of special "tours" where exhibit personnel
> are authorized to take the book out of it's protective shield and show

> tour members more of the book ... maybe a fund raise with extra
> charge??
>
> - Stand up books  under glass on a  turnstile/lazy susan mechanism so
> at least front, back and a few inside sections can be seen.
>
> - Mirrored backdrop for books on display for similar effect as above.
> Has anybody seen a mirrored folding screen which could be used for
> this?
>
> -photocopy of key parts of the book (either bound or sequentially
displayed
> on the wall ) that accompanies the real thing under glass. Creating
> such
an
> "exhibit supplement" to the book might also inspire artists to include

> background on the inspiration, choice of media, etc.
>
> I'm interested in  thoughts and experiences of others re Roberta's
> post.
>
> Laurie
>
> ----- Original Message -----
> From: "RLavadour" <paper@xxxxxxxxxxxxxxx>
> To: <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
> Sent: Saturday, November 15, 2003 9:44 AM
> Subject: Open book...
>
>
> > I've been mulling this around since seeing the call for entries for
> > "An
> Open
> > Book" and thought I'd toss it out for discussion.
> >
> > For those that missed the call, the organizers have adopted a
> > creative approach to the problem of displaying books.
> >
> > From the prospectus: "...One of the major problems with showing
> > books in
> an
> > exhibition is that too often the books are shown under glass, closed

> > up
so
> > that just the cover is exposed or one page of a book is displayed.
> > Think about how your book is to be displayed. One of the most
> > accessible book forms is the accordion fold but there are many other

> > forms that can be displayed so that a book can be seen in its
> > entirety when displayed in a case or on a pedestal..."
> >
> > Let me say from the beginning that I applaud the organizers for
> confronting
> > this issue and for instigating a discussion on the nature of book
> > arts exhibit.
> >
> > It also opens the door to lots of other questions.
> >
> > One of the things that compells me to make books is the way the
> > element
of
> > time is involved. When you experience a book, there is often a
> > moment(s)
> of
> > discovery that occurs in due time, and if the book is particularly
> > successful, you are compelled to return to that experience over and
> > over again. Other books rely on the fact that all the visual
> > information
can't
> be
> > taken in at one sitting and demand long, repeated visits.
> >
> > The other element that I love about books is their tactile quality.
> > It's
a
> > thrill to see someone pick up your work and move their hands in a
> > way
that
> > shows they're taking in information through their skin that will add

> > to
> the
> > experience.
> >
> > The turning of a "page" (which can be interpreted as broadly as
possible)
> > plays into all the above.
> >
> > In my version of a perfect world, books would be exhibited in a
> > large
room
> > full of comfortable sitting areas and visitors with clean hands and
basic
> > knowledge about how to handle the materials. A place where a market
> > for
> book
> > arts could be expanded by socializing people into the richly
> > satisfying elements of time and touch that separate books from
> > paintings, prints
and
> > sculpture - a place of active participation.
> >
> > In the real world, this would entail sometimes elaborate and
> > impractical things like asking artists to submit an extra
> > "exhibition copy", making facimilies (like the Russian Avant-Garde
> > books at MOMA last year),
dealing
> > with damage and theft, etc. While many exhibits are successfully
adopting
> a
> > "hands-on" approach, I suspect it's more geared toward lower-priced
work.
> >
> > Another alternative being used is employing a second media in an
> > attempt
> to
> > virtually communicate the qualities of the book. At the Bibliocosmos
> exhibit
> > at Reed College in Portland this summer, a book that consisted of
> > text
> that
> > was watermarked on each page was displayed in a case and an image of

> > an illuminated page was viewed on an adjacent video monitor.
> >
> > In attempting to grow the market for book arts within the mainstream
> gallery
> > and collector community and with the general public (as opposed to
simply
> > other book artists), do we make things as easy as possible for the
viewer,
> > making touch and time secondary? Would an accordion folded page,
> > printed
> on
> > one side, be more suited to being displayed on a wall as a print,
> > the
way
> > Enrique Chagoya presents some of his "codices"? Do we submit work to
wear,
> > tear, theft, etc. to get it into the hands of the potential
> > collector?
> What
> > about one-of-a-kind work? Or does an "open book" concept allow for a
> glimpse
> > into book arts that will compell viewers to treat their future
encounters
> > with artist's books differently, and entice them to take the time to
> explore
> > the work more thoroughly?
> >
> > I'd be very interested in hearing other people's thoughts.
> >
> > Roberta
> > -------------------------------------------------------
> > Roberta Lavadour
> > Mission Creek Press / Pendleton, Oregon
> > http://www.missioncreekpress.com/newwork.htm
> >
> >              ***********************************************
> >         See the Book_Arts-L FAQ at: <http://www.philobiblon.com>
> >
> >      *Postings may not be re-printed in any form without the express
> >      consent of the author - Please respect their contributions &
(c)*
> >
> >         Archive maintained and suppported by Conservation OnLine
> >                     <http://palimpsest.stanford.edu>
> >              ***********************************************
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 11:58:33 -0800
> From:    Signa Houghteling <judy@xxxxxxxxxx>
> Subject: Re: Open book... ways to display and experience the works ...
>
> And here is another thought or two on the subject of exhibiting books.
>
> Judy Houghteling
> Hand Bookbinders of California
>
> -----Original Message-----
> From: Book_Arts-L [mailto:BOOK_ARTS-L@xxxxxxxxxxxxxxxx]On Behalf Of
> Laurie Mullikin
> Sent: Saturday, November 15, 2003 11:11 AM
> To: BOOK_ARTS-L@xxxxxxxxxxxxxxxx
> Subject: Re: Open book... ways to display and experience the works ...
>
>
> My first experience with  book arts  had  aspects of what Roberta
describes
> and it was an awesome introduction to the art form. On the closing day

> of the  Los Angeles Book Arts Center's first exhibit, the creator of
> "Thirty books in 30 days" (there with family and friends) took down
> each work from it's individual protected case on the wall and paged
> through most
explaining
> her inspiration for it, choice of media, etc. ... and allowing some to

> be passed around. It was the difference between viewing duck under
> glass and eating the duck.
>
> A few quick thoughts that don't come close to addressing Roberta's
> wishes, but would allow a little more viewing in the current context
> of many book exhibits ...
>
> - create a limited number of special "tours" where exhibit personnel
> are authorized to take the book out of it's protective shield and show

> tour members more of the book ... maybe a fund raise with extra
> charge??
>
> - Stand up books  under glass on a  turnstile/lazy susan mechanism so
> at least front, back and a few inside sections can be seen.
>
> - Mirrored backdrop for books on display for similar effect as above.
> Has anybody seen a mirrored folding screen which could be used for
> this?
>
> -photocopy of key parts of the book (either bound or sequentially
displayed
> on the wall ) that accompanies the real thing under glass. Creating
> such
an
> "exhibit supplement" to the book might also inspire artists to include

> background on the inspiration, choice of media, etc.
>
> I'm interested in  thoughts and experiences of others re Roberta's
> post.
>
> Laurie
>
> ----- Original Message -----
> From: "RLavadour" <paper@xxxxxxxxxxxxxxx>
> To: <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
> Sent: Saturday, November 15, 2003 9:44 AM
> Subject: Open book...
>
>
> > I've been mulling this around since seeing the call for entries for
> > "An
> Open
> > Book" and thought I'd toss it out for discussion.
> >
> > For those that missed the call, the organizers have adopted a
> > creative approach to the problem of displaying books.
> >
> > From the prospectus: "...One of the major problems with showing
> > books in
> an
> > exhibition is that too often the books are shown under glass, closed

> > up
so
> > that just the cover is exposed or one page of a book is displayed.
> > Think about how your book is to be displayed. One of the most
> > accessible book forms is the accordion fold but there are many other

> > forms that can be displayed so that a book can be seen in its
> > entirety when displayed in a case or on a pedestal..."
> >
> > Let me say from the beginning that I applaud the organizers for
> confronting
> > this issue and for instigating a discussion on the nature of book
> > arts exhibit.
> >
> > It also opens the door to lots of other questions.
> >
> > One of the things that compells me to make books is the way the
> > element
of
> > time is involved. When you experience a book, there is often a
> > moment(s)
> of
> > discovery that occurs in due time, and if the book is particularly
> > successful, you are compelled to return to that experience over and
> > over again. Other books rely on the fact that all the visual
> > information
can't
> be
> > taken in at one sitting and demand long, repeated visits.
> >
> > The other element that I love about books is their tactile quality.
> > It's
a
> > thrill to see someone pick up your work and move their hands in a
> > way
that
> > shows they're taking in information through their skin that will add

> > to
> the
> > experience.
> >
> > The turning of a "page" (which can be interpreted as broadly as
possible)
> > plays into all the above.
> >
> > In my version of a perfect world, books would be exhibited in a
> > large
room
> > full of comfortable sitting areas and visitors with clean hands and
basic
> > knowledge about how to handle the materials. A place where a market
> > for
> book
> > arts could be expanded by socializing people into the richly
> > satisfying elements of time and touch that separate books from
> > paintings, prints
and
> > sculpture - a place of active participation.
> >
> > In the real world, this would entail sometimes elaborate and
> > impractical things like asking artists to submit an extra
> > "exhibition copy", making facimilies (like the Russian Avant-Garde
> > books at MOMA last year),
dealing
> > with damage and theft, etc. While many exhibits are successfully
adopting
> a
> > "hands-on" approach, I suspect it's more geared toward lower-priced
work.
> >
> > Another alternative being used is employing a second media in an
> > attempt
> to
> > virtually communicate the qualities of the book. At the Bibliocosmos
> exhibit
> > at Reed College in Portland this summer, a book that consisted of
> > text
> that
> > was watermarked on each page was displayed in a case and an image of

> > an illuminated page was viewed on an adjacent video monitor.
> >
> > In attempting to grow the market for book arts within the mainstream
> gallery
> > and collector community and with the general public (as opposed to
simply
> > other book artists), do we make things as easy as possible for the
viewer,
> > making touch and time secondary? Would an accordion folded page,
> > printed
> on
> > one side, be more suited to being displayed on a wall as a print,
> > the
way
> > Enrique Chagoya presents some of his "codices"? Do we submit work to
wear,
> > tear, theft, etc. to get it into the hands of the potential
> > collector?
> What
> > about one-of-a-kind work? Or does an "open book" concept allow for a
> glimpse
> > into book arts that will compell viewers to treat their future
encounters
> > with artist's books differently, and entice them to take the time to
> explore
> > the work more thoroughly?
> >
> > I'd be very interested in hearing other people's thoughts.
> >
> > Roberta
> > -------------------------------------------------------
> > Roberta Lavadour
> > Mission Creek Press / Pendleton, Oregon
> > http://www.missioncreekpress.com/newwork.htm
> >
> >              ***********************************************
> >         See the Book_Arts-L FAQ at: <http://www.philobiblon.com>
> >
> >      *Postings may not be re-printed in any form without the express
> >      consent of the author - Please respect their contributions &
(c)*
> >
> >         Archive maintained and suppported by Conservation OnLine
> >                     <http://palimpsest.stanford.edu>
> >              ***********************************************
>
>              ***********************************************
>         See the Book_Arts-L FAQ at: <http://www.philobiblon.com>
>
>      *Postings may not be re-printed in any form without the express
>      consent of the author - Please respect their contributions & (c)*
>
>         Archive maintained and suppported by Conservation OnLine
>                     <http://palimpsest.stanford.edu>
>              ***********************************************
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 14:02:01 -0700
> From:    Tom Trusky <TTRUSKY@xxxxxxxxxxxxxx>
> Subject: Re: Open book...
>
> Hi, Roberta,
>
> Thought I'd share with you some display experiences I've had with
> "Booker's Dozen," the biennial, juried, traveling book show sponsored
> by the Idaho Center for the Book.  "Booker's" travels to twelve venues

> in Idaho throughout the calendar year and consists of fourteen
> artists' books made by Idahoans.
>
> Sharing your belief that books are meant to be handled,
> experienced-in-time, etc., I have in the past, with consent of the
> book makers, advised host institutions that they might allow
> patrons/viewers/readers to "work" books on display--sometimes gloved,
> sometimes with bare, nekkid hands--but always under supervision.  One
> year I advised book artists that their books could not be pheasants
> under glass; works had to be pawable, manipulatable, toyed with--yea,
> even read.
>
> The results of both approachs?  The under supervision approach
> resulted in the repair of two books and the replacement of a third.
> The not-under-glass approach resulted in the repair of two books and
> the theft of a third ("The Survivalist's Cookbook"...).  Luckily, the
> latter had been done in an edition and could be replaced.
>
> For the forthcoming Booker's (2004) I have again sought permission
> from book makers to allow the public to handle books under
> supervision. However, because many of the venues do not have staff to
> serve as Biblio Police (and fiscal constraints make such staffing even

> more problematic in these post 9/11 days), I have also scanned and/or
> photographed every danged page on every danged book in the forthcoming

> exhibit and a "Booker's 2004 CD" will accompany the exhibit, for
> viewing by them who want or can.  (As well, I'm giving all bookers in
> the exhibit a free copy of the disk.)
>
> Electronic access is in many ways an unsatisfying substitute for Real
> Biblio Time, of course, but at least readers will be able to see what
> the heck is going on on p. 17--and not just the cover or that spread
> on pp. 28-29.
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> Tom Trusky, Director
> Hemingway Western Studies Center and
> Professor of English
> Boise State University
> 1910 University Drive
> Boise, ID  83725
> USA
> (208) 426-1999 tel
> (208) 426-4373 fax
> ttrusky@xxxxxxxxxxxxxx
> http://english.boisestate.edu/ttrusky
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 21:31:29 +0000
> From:    hany hanna aziz hanna <hhnnc@xxxxxxxxxxx>
> Subject: ICOM-CC-Wood, Furniture and Lacquer NEWSLETTER.
>
> Dear colleges
> Greetings,
> Please find attached the ICOM-CC-Wood, Furniture and Lacquer
(ICOM-CC-W.F&L)
> NEWSLETTER.
> With my best wishes
> Yours,
>
> Dr.(Mr.) / Hany Hanna (Ph.D.)
> Chair, ICOM-CC-Wood, Furniture, Lacquer and related materials. Senior
> Conservator, Head of Department of Wood conservation, Supreme
Council
> of Antiquities (SCA), EGYPT.
> Mobile : +2 - 012 - 4176742
> Tel. No.: +2 - 02 - 4234474
> Fax. No.: +2 - 02 - 4251411
> Postal Address:
> 8 Sayed Darwish St., El-Kousaiareen, Cairo, Egypt (11291).
>
> =================== This email is confidential and solely intended for

> the
> recipient(s) to whom it is addressed. If you have received this email
in
> error, please reply to the sender of this email advising this error.
>
> _________________________________________________________________
> MSN 8 with e-mail virus protection service: 2 months FREE*
> http://join.msn.com/?page=features/virus
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 18:05:32 EST
> From:    Louise Neaderland <Isca4art2B@xxxxxxx>
> Subject: Re: Open book...
>
> Tom- The CD sounds like a really good compromise to me. I'll be
> curating
an
> ISCA traveling exhibitionof artists books later this year and
> willseriosly consider creating a CD to travel with it. Louise
> Neaderland
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 19:28:48 -0500
> From:    Liliana <ilelal@xxxxxxx>
> Subject: Paper the Art and the craft
>
> The opening of the show featuring well know artists working with paper

> = and artist books like Peter & Donna Thomas, Daniel Kelm, Robbin =
> Silverberg, Judy Hoffman, Susan Gaylord and our RI dedicated artists
> Ann = Grasso, Kathleen Hancock,Walter Feldman and Liliana Fijman went
> very = well. Thanks to all who came to visit and made possible  an
> afternoon = full of good energy and conversation. Thanks to those of
> you on the list = that responded to the first posting.  As a curator
> of this project I am = most satisfied with the response from the
> public that was invited to = participate in a series of workshops
> related to the exhibition. I will = be posting more on the subject.
> Happy pulping and all things paper.  PS = a quote from Henri Matisse
> that one of our very thoughtful artists = brought to the opening: "
> "...success is prison, and the artist must = never be a prisoner of
> himself, prisoner  of style, prisoner of = reputation, prisoner of
> success, etc. Did not the Goncourt brothers = write that Japanese
> artists of the great period changed their names = several times during

> their lives? This pleases me: they wanted to = protect their freedom"
> =20 It pleases me too. I feel free from highs and lows, just great =
> satisfaction. smiles to all who are reading.  Liliana
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 20:31:57 -0500
> From:    Alan Shalette <AlShal@xxxxxxx>
> Subject: Etymology of the term "Three-piece binding"
>
> I notice frequent use of the term "three-piece binding"
> in Web exhibition notes but have not been able to
> find the term in print with the exception of Henry Morris's "Printed
> Paste-papers for Three Piece Bookbindings"
> Newtown: Bird & Bull Press (1990?).
>
> The term appears to be used as an alternative to "quarter-bound" /
> "quarter-binding".
>
> Is the term "three-piece" a colloquialism or anchored
> in a recognized authority?
>
> Alan Shalette
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 21:50:15 -0500
> From:    Barbara Lazarus Metz <b-lazmet@xxxxxxxxxxxxxxxx>
> Subject: Re: Open book... ways to display and experience the works ...
>
> Hi: Just wanted to make a few comments on hands-on exhibits.
>
> In 30 years of curating, organizing and exhibiting I have run into
> this problem many times.  As Roberta says one of the joys of making
> books is watching someone read them, seeing their mind, eyes, fingers
> move from  page to page as they experience what you have done. And as
> a viewer it is  nice to  have that opportunity. But of course this is
> not possible many times with one of a kind books  or very small
> editioned and expensive work. I believe it is important for viewers to

> have that experience and so have tried to present hands-on  books when

> ever I have done an exhibition.
>
> In an exhibit I did for De Paul University, I set aside an area
> furnished with chairs and tables for visitors to sit and read. Books
> were specifically chosen for this area that were editioned and were
> purchased from the artists.
>
> An exhibit Artist Book Works, (I was Co-founder & Director) did for
> the state of Illinois Building gallery included pedistals with
> editioned works attached with wire.  Again purchased from the artists.

> That show traveled for a couple of years and many of the works were
> badly worn, but we had replacements. It was at the Cultural Center
> here and seen by thousands.  I think people do respect books and try
> to treat them well, but the natural wear and tear can't be avoided.
> At least by purchasing the work, the artist benefits as well as the
> viewers.
>
> For one of the exhibits I did at the Columbia College Book and Paper
> Center (ABW merged with Paper Press & Columbia in 1994) we had a
> mechanical contraption that turned the pages.  It was only OK and
> needed to be fixed a lot  as I remember.  At MOMA a number of years
> ago, in the "A Century of Artists Books" exhibition, there was a black

> box like a kiosk that you stood in front of and inside a video, I
> think, showed the Matisse Jazz book at eye level as if your hand was
> turning the pages. I can't remember if you moved a lever. Anyone
> remember that? It was a good way to experience a book without actually

> touching it cause you could get into the rhythm and the flow of the
> work.
>
> Of course, now you can get famous books on CD's that give you the
> ability to move from page to page, to zoom in, get more data and on
> and on. I think one company is Octavia or similar. I saw a demo at a
> conference some  years ago. I'm sure we will be doing more of this
> electronically as time goes on.
>
> Sorry to be so long winded, but I believe this is an important topic
> to be discussed.
>
> Best            Barbara
>
>
>
>
> .
> --
> Barbara Lazarus Metz
>
> b-lazarmetz@xxxxxxx
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 23:29:35 EST
> From:    Barbara Harman <ArtSurvive@xxxxxxx>
> Subject: A recommendation
>
> Hi everyone. I had an incredible experience tonight and wanted to
> share
it,
> in case any of you have opportunity in the future to see the same
> dance company. Cloud Gate performed a piece called Cursive, that I
> think would
appeal to
> any bookmaker, calligrapher, tai chi practitioner, dance lover,
> theater
lover or
> music lover (have I missed anyone - yes, you too).
>
> The combination of the dancers, the lighting design, and the music was

> nothing short of perfect. Dancers use their bodies to imitate and
> recreate
Chinese
> calligraphic marks and gestures, at the same time that the lighting
creates
> single pages, overlapping pages, scrolls unrolled on the stage itself
> and
scrims
> behind the stage are illuminated with calligraphy. The music is
> entirely
cello
> and percussion and also upholds, illuminates, underscores and supports

> the dancers' movements. For anyone familiar with tai chi and martial
> arts,
there is
> such focus and control and so much evidence of breath to support the
movements
> that you sit on the edge of your seat and breathe with the dancers,
> remembering all the things your tai chi master taught you and
> wondering
why (perhaps)
> you have let that activity lapse when it feels so wonderful. There
> were so
many
> references to pages, books, writing, the focused attention required of
those
> who make art (of any kind), that I was entralled and energized. There
> is a segment when all of the male dancers are on stage. the lighting
> consists
of a
> page of Chinese calligaphy which (if you are Chinese) is readable on
> the
back
> scrim and flows, unreadably, onto the stage itself. The dancers move
through this
> white on black calligraphy, their bodies only illuminated when they
> are within the calligraphic marks.
>
> Sorry to go on and on and I hope your interest is excited and you do
> seek them out if they are ever appearing near where you are. I wish
> very much
they
> were going to be here in Minneapolis at least one more day, as I would
tell
> everyone (certainly every bookmaker, calligrapher, writer, dancer,
musician and tai
> chi practitioner) I know to please, please go see them. Barbara Harman
>
> ------------------------------
>
> Date:    Sat, 15 Nov 2003 22:59:05 -0600
> From:    Kathleen Gonzalez <booksmaps@xxxxxxxxxxxxxx>
> Subject: Author Artifact Auction on ebay - unique purpose - unique
> items
>
> Ruminator Books in St. Paul, MN is trying some unusual tactics to stay
open
> as an independent bookstore.  One is an Author Artifact Auction which
> started today on ebay.  They solicited donations from a number of
> authors and the offerings are more than your typical signed first
> edition book.  There are broadsides, small press limited editions,
> special bindings, original art, glasses, a flag, and more.  The
> auction ends November 19.  Eco, Bass, Gaiman,  Banks, Steadman,
> Morrison,  Benitez, Wolff,  Hampl, Erdrich,  Franzen, Giovanni.....
>
>
>
> Kathleen Gonzalez
> Books Maps Prints More
> Minneapolis, MN
>
> ------------------------------
>
> End of BOOK_ARTS-L Digest - 14 Nov 2003 to 15 Nov 2003 (#2003-314)
> ******************************************************************
>

------------------------------

Date:    Sun, 16 Nov 2003 17:43:05 -0800
From:    Kathy Walkup <kwalk@xxxxxxxxx>
Subject: Bay Area event: Library of Discards

Library of Discards, the ongoing project by Kathleen Walkup, will be
presented at the Library Literary Salon at Mills College on Wednesday,
November 19th, from noon-1pm in the Mills Library Heller Room. Everyone
is welcome! Thirteen artists will present their diverse responses to the
discard books chosen for them. There will be readings, a short sound
presentation, and several informal discussions by the artists and
writers whose work will be represented, along with documentations from
earlier iterations of Library of Discards.

The artists are Michael Beller, Vivian Chin, Sas Colby, Patricia
Dienstfrey, Arthur Huang, James Meetze, Helen Mirra, Gloria Morales,
Juliana Spahr, Annie Stenzel, Lauren Silver, Theresa Whitehill, and
Steve Woodall. Most of the artists will be present at the salon.

You are welcome to bring your lunch and join us for this lunchtime
event. Please contact me if you have any questions. (Apologies for any
duplicate emails.(


Kathy


Kathleen A. Walkup
Associate Professor
Director, Book Arts Program
Mills College
5000 MacArthur Blvd.
Oakland CA 94613

510 430 2001/tel
510 430 3314/fax
kwalk@xxxxxxxxx

------------------------------

End of BOOK_ARTS-L Digest - 15 Nov 2003 to 16 Nov 2003 (#2003-315)
******************************************************************

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