Showing posts with label News and Events. Show all posts
Showing posts with label News and Events. Show all posts

Saturday, June 27, 2015

Upcoming Posts and Other Musings

It's summer and things have been rather slow. While we wait for some excellent reviews of The Bindings of Trevor Jones, Tricks of the Trade by Jamie Kamph, and the catalog to Hello Hedi at 23 Sandy Gallery I offer this diversion.








It's summer, and what can be more seasonal than enjoying an excellent fermented beverage, in this case beer, especially when the label is designed by a well known graphic artist whose work some of us have had the honor to bind.


The beer, Bell's Two Hearted Ale, a nice play on the short story be Hemingway... The artist...? Ladislav Hanka, a friend of Jan Sobota and many others. His books Corn, County Survey, Scripta Naturae, and Opus Salvelinus were all bound for the 50 x 25 exhibit held at Southern Methodist University's Bridwell Library. Most recently Hanka published a memorial book, Remembering Jan Bohuslav Sobota, about his friend Jan Sobota that was bound by many of the same binders as in 50 x 25. You can see some of the bindings here. Hanka's archive is housed at Western Michigan University, also home to half of the 50 bindings in 50 x 25 - each binder bound two of the same title, with one going back to the artist...

Fishing is a large part of Hanka's life, often featured in his prints, and beautifully bound. So, open a Bell's Two Hearted Ale (if available in your area), crank up À la Poupée & the Chine-Collé's music, and take a look at this man's etchings.

Saturday, January 14, 2012

Postscript to The Bonefolder

In the days since the last issue of The Bonefolder, Vol 8, 2012, many readers have shared their thoughts and regrets on Book_Arts-L, Facebook, Twitter, and their blogs. Please know that this was a very difficult decision, one not made lightly.

Gary Frost wrote in the January 13th post of his Futureofthebook blog:
"We now have the last issue of Bonefolder and it is a wonderful example of the series. This journal has provided an Ellis island of all the cultures that would make-up a nation. The relations of the diversity of features would still be difficult to chart as it required the whole sequence even to appreciate their scope. It is larger than book arts. The scope is closer to the qualities of physical books as depicted on-line.
Qualities of physical books depicted on-line is some kind of editorial paradox but the staff and Peter grappled directly with the challenges. The clean design and attractive two-column layout provided the perfect, conflicted, visual experience. We can also be appreciative of the energy and production of the authors.
Bonefolder is in the league of Fine Print and BookWays but it also enlarged the legacy. Now the momentum is handed off to the forthcoming journal of the Collegiate Book Arts Association. That larger organization will probably take more possession of its journal. Perhaps it will wish to take possession of the discipline of artists’ use of book formats. PDF?"
A day later Betty Bright wrote on Book_Arts-L:
"Let me add my congratulations to Peter and his able collaborators who have brought us Bonefolder since 2004. When writing or speaking about the history of our field, I always note Peter's key role in launching this listserv in 1994, followed by our first online journal in 2004. It isn't just that Bonefolder added a well-edited voice to the field, it's that Peter demonstrated how to do it, and how to do it in an elegant design and with an even-handed editorial voice that will inspire others to step up. With its free residence on the Internet, we have grown used to the amazing fact that each edition appears simultaneously everywhere and open to everyone. That is powerful work for the greater good. Peter and his collaborators have set a high bar, but we wouldn't want it any other way.
Vision and action, much energy and a quality product, that's service to the field of a high order. We owe you much, Peter and colleagues, and I know that Bonefolder will continue to inform us as we move forward and refer back to articles, reviews and interviews that have filled its pages.
Kudos all around, Betty"
To both (and all others out there), thank you for your thoughts regarding The Bonefolder and kudos to Gary for recognizing the conflicted nature of the publication, that of describing the physical book in a very disembodied way online.

As to the future. I very much hope that something else comes along that will build upon The Bonefolder and (hopefully) take the idea in other as of yet undiscovered or unimagined directions. When we started 8 years ago, the very idea of open access was still relatively new and discussion mostly limited to the academy and scholarly publishing circles. Those journals in the book arts that existed were print only and either restricted to the membership of the organizations that sponsored them, or available for subscription at cost as in the case of the Journal of Artist's Books. Lest we be seen as skinflints out for a free ride, all those working on The Bonefolder were (and still are) members of many of these organizations and/or subscribers, and are not opposed to paying for these.

However we were also very attracted to the idea of a freely accessible online journal with universal access to all classes of readers. Since we started,  some centers and organizations have started online journals, but none open access - The Bonefolder remained the only one of its kind.

Another unique aspect of The Bonefolder was to actively engage with our readers through our Bind-O-Rama. These showcased techniques or other aspects of our publication and invited exploration, the results being shown in the following issue and online. While The Bonefolder may be no more, the Bind-O-Rama will continue on as a part of the Book Arts Web. I'll announce the theme later this spring, but expect something traditional and codex-like...

However, to Gary's point about College Book Arts Association (CBAA) or other fine organizations with membership oriented publications filling this void, I don't see that happening. What set the Bonefolder apart was that from the outset it was designed to be open access and freely available to any and all online. It was the online only nature that allowed us to reach the audience we did with over 250,000 downloads over our 8 years, and a presence in just about every library's catalog through our participation in the Directory of Open Access Journals (DOAJ). I may be a librarian/geek in this respect, but the results speak for themselves and will ensure that The Bonefolder remains available beyond us thanks to participation in digital preservation initiatives such as LOCKSS.

Membership publications are highly unlikely to provide this level of access for obvious reasons that have to do with their being benefits of membership. While the support of an organization can have sustaining benefits for a publication (and I agree with Gary on this point), it can also restrict activities and responsiveness due to organizational structure and bureaucracy that ultimately make it difficult to respond to paradigm shifts, especially in fields as traditional as the book arts. Looking at the online presence of most membership organizations (not just in the book arts) does not encourage me with lackluster results in keeping things up-to-date much less actively promoting the organization and its activities. I see this on Book_Arts-L, after 18 years still the most active list by far (someone please create the next great thing to replace it so I can retire ;-) ) and elsewhere online. Doing this work I get how ongoing care and feeding can fall off the radar, it is hard work and and never ends, but it is essential for growing and maintaining ones audience.

I'd love to be wrong about all this and challenge any of the membership organizations, or a dedicated and diverse group of individuals to take up the challenge of a serious open access publication in this discipline. To those energetic enough to try to create their own open access I am happy to share of our experiences.

The past 8 years have been amazing and we are thankful for the terrific support we have had from our readers and authors with whom we would have achieved nothing.


Peter




Monday, February 21, 2011

Bind-O-Rama 2011 - Artistically Reversible: Where Conservation and Art Meet

Welcome to the 2011 Bonefolder Bind-O-Rama that demonstrates the intersection of conservation and the art of the book. We challenge binders and conservators to think about their work in different ways and to create compelling new work that applies “non-destructive and completely reversible book structures.” Since 2003, the Tomorrow’s Past movement (See The Bonefolder, Vol. 7, 2011) has led the way with work that demonstrates a high regard for the integrity of the original object, the application of current conservation best practices, and an innovative interpretation of book structure and aesthetics resulting in work that is lasting and fresh.

The integrity of the original is a key value of this movement, and stresses that books are not rebound or interpreted simply for the sake of doing so. Books of significance as artifacts with key elements of the binding in treatable condition or requiring simpler treatments are not appropriate candidates for this kind of treatment. Suitable books would be those that may have boards or other elements missing, have been previously repaired/rebound and showing the negative effects of those treatments, or whose original structures may have caused the breakdown of the binding in the first place. All treatments completed for this Bind-O-Rama must conform to current best practices in conservation, be reversible, and ultimately “do no harm.” This is NOT an altered book event. In contrast to past Bind-O-Ramas this event will be juried by the members of The Bonefolder’s board who are themselves trained conservators and active in the field. Kathy Abbott, a member of the Tomorrow’s Past movement will also participate as juror.

For ideas and more context please see the article in The Bonefolder, Vol 7, by Charles Gledhill, the Tomorrow's Past web pages, and this post at the Riverlark blog entitled Old wine in new bottles.

Additional examples can be found by Suzy Morgan, Gaylord Intern in the Conservation Lab at Syracuse University Library. In her posts she discusses the book she treated and some of the "ethical" questions. Take a look at these links: http://digitalcellulose.wordpress.com/2011/08/16/internship-report-month-1-part-2-now-with-more-coffee/ and http://www.flickr.com/photos/suzypictures/sets/72157627145298417.

Another example is the work of James Reid-Cunningham, conservator at the Boston Athenaeum. His treatment is at http://www.reid-cunningham.com/Design%20Bindings/insectarchitectu.html.

Karen Hanmer's example is at http://www.karenhanmer.com/gallery/piece.php?gallery=newwork&p=Walter_Crane.


To participate, please select the book you will treat/rebind carefully, keeping at the forefront the needs of book and your skills as a binder and/or conservator. Each entry must include:
  • Images: At least two, no more than 5 images of treatment including before, in-process, and completed. 
    • Specifications: Minimum 640 x 480 pixels @ 72dpi, jpg file format of your book. Files must be named as binder's name-1.jpg... (e.g. verheyen-1.jpg, verheyen-2.jpg) 
      • Examples below provided by Kathy Abbott.
  • Condition Report: please follow structure/syntax of example provided.
    • E.g.: Samuel Butler, Hudibras (London 1817). Bound in full leather; front board and parts of spine missing; text block sound with marbled edges.

      Hudibras (before, front board missing)
      Hudibras (before, front board missing)
      In process
  • Treatment Report: Includes statement of why the illustrated treatment was selected, description of selected structure, and aesthetics (please follow structure/syntax of example provided)
    • E.g.: Adapted ‘simplified binding’. Original sewing retained; spine lined with linen and hand-made paper; new endpapers of plain hand-made paper (to match the original); decorated, hand-made paper spine and hand-coloured, hand-made paper over hand-made paper pasteboards. 133 x 77 x 24mm. Bound in 2010.

      Hudibras (completed)
  • Brief Bio Sketch: of that includes training in binding/conservation (no more than 250 words)
    • Kathy Abbott served a four-year apprenticeship in bookbinding and then gained an HND from the London College of Printing, followed by a BA (Hons) from Roehampton University . She is currently self-employed as a bookbinder and book conservator and is a partner of Benchmark bindery, set up in 2009 with Tracey Rowledge. Kathy teaches bookbinding at the City Literary Institute and West Dean College and conducts many workshops across the UK. She has been exhibiting with the group Tomorrow's Past. since its formation in 2003.
  • Brief Treatment Statement: How this treatment approach impacts you and your work. (no more than 100 words)
    •  I create new structures which are sensitive to the needs of antiquarian books. They use little or no adhesive and are fully reversible. The inspiration for the colours used in the covers comes from those found on or within the original text-block.
All Images must be sent to <bonefolder@philobiblon.com> at the time the entry form is submitted.

Actual online entry form will be added here during the summer.

Deadline for entries Oct 31, 2011.

Friday, February 18, 2011

Floods in Queensland, Australia - From Adele Outteridge

We are all very relieved that the Artists' Books Collection at the State Library of Queensland is safe and look forward to the its reopening.


The Studio West End (Wim de Vos and Adele Outteridge) is dry and back to business. The water came to the front gate of the old ice cream factory site where we are housed. Not so lucky were so many other residents and businesses in West End, CBD and suburbs of Brisbane. The devastation and heartbreak are hard to comprehend.

I was marooned at home with our street flooded in both directions from Moggill Creek. We had no power for five days so were spared the harrowing images that saturated all television channels. The water came into one lower room but not the main part of our house. We have a few wet books and some old stored stuff. We were very lucky compared with neighbours whose houses went under.

Below some photos I sent to Peter for the Bonefolder Extras blog.

West End, the Art Shed

West End, the Art Shed

West End, mud

West End, Melbourne St.
South Brisbane, more mud
Kenmore, raining again
Kenmore, young Tawny Frogmouth
West End, before the storm
Cyclone Yasi.

Thanks to all who have sent messages of support.

Adele Outteridge

Adele Outteridge Wim de Vos
Studio West End
http://www.studiowestend.com

Tuesday, February 8, 2011

The Beauty of Books

BBC4 began airing a 4 part documentary on Monday 7 February 2011 titled "The Beauty of Books" Although not available yet in the US (fingers crossed it will air soon on BBC America), the BBC has posted a YouTube video clip on the Codex Sinaticus.

The British Library (the featured institution in this documentary) has also posted a description of the program on their Medieval and Earlier Manuscripts blog giving a description of the first episode on Ancient Bibles with a link to the trailer.

Watch for this program to air on BBC America or PBS this year! When The Bonefolder hears when it will air, we will be sure to share that news with all of you!

Wednesday, January 19, 2011

Floods in Queensland, Australia

The floods in Queensland, Australia, including its 3rd largest metropolitan area of Brisbane have caused incredible devastation throughout that region of the country. Queensland is home to some fine Bonefolder contributors including Doug Spowart, Christine Campbell, Adele Outerridge and Wim de Vos, and Linda Douglas. Fortunately they have been very lucky, but many, many others have fared very badly. Adele and Wim also just published [2/2/2011] a report entitled Flood photos and a personal account.

The Report below was received from Linda Douglas in Brisbane who lives on high ground:
Australia, the lucky country, has been inundated in several states, with torrential rain causing flooding never seen for more than a hundred years.  Homes have been inundated with water covering the roof of two story buildings!  At least 18 people have been drowned, ripped from their homes as an almost inland tsunami took their lives.  People scrambled into their ceilings when the water rose at sometimes incredible speed, preventing people from even being able to escape from their homes. And the rain just keeps coming.  More storms and rain are forecast indicating that those flooded will be flooded again.

The State Library of Qld, where the artist book collection is housed, did go under but the books were safe as they are not housed in the bottom floor.  There was time to move items in some houses where the Brisbane River floods were predicted, exacerbated by king tides. Noreen Graham of graham galleries + editions was not so lucky.  Her gallery  is situated beneath her house  and went under during the deluge.  Water up to the rafters meant that the gallery will require much renovation.  Fortunately, Noreen, with the help of others, was able to move the artists books in time, however, she did lose some of her own art works.
[Note see also Robert Heathers report further down in this article.


Doug Spowart and Vicky Cooper live in  Toowoomba  where their work with photography, the environment and  artists books culminate in works of art and beauty, held in collections nationally and internationally. They had some frightening moments during the last month as the water rose dangerously close to their working area. At the rear of their property, there is a creek that occasionally flows.  The first photo, East Creek, Toowoomba, testifies to the extreme conditions as the water rushes along, taking trees and ground cover, and in the city of Toowoomba, cars, with it.  Vehicles were but toys as they piled up on top of each other.  A veritable avalanche of water sped through the city giving little warning.  People had to run for the highest spot to get out its way.  Ipswich, Grantham in the Lockyer Valley  and the south side of Brisbane were just some of the areas that were seriously affected with the devastation left after the floods  reminiscent of tornadoes or cyclones having ripped through the area, ripping every building to shreds, buckling railway lines and crippling industry. The filthy mud and stench is all that is left behind now that the water has subsided.  The most frightening part being no warning...just a tidal wave of red, dirty water taking everything in its path. We never thought our country would see such a spectacle.  


The second image is of the flooded back yard at Doug and Vicki's place and the third image is the water as it crept to just 8inches from the doorstep!  At what moment do you leave your property?  This was the question on everyone's mind as the water rose at unprecedented speeds.  Life for many was more important and they left all their belongings. 

The city has been declared a crises zone with more than 26 000 homes in the Brisbane area alone affected.  7000 volunteers turned out to help those i need in the city of Brisbane.   The crises is not over yet  - there is more rain is to come.   The community has pulled together like never before.


Linda Douglas

Doug also has a video about salvaging photographs and other items from the Sandy Barrie Collection below.


Robert Heather has a report of Grahame Galleries (a noted regional book arts gallery) and the Brisbane floods on his blog at <http://artistbooks.ning.com/profiles/blogs/grahame-galleries-and-the>.  Below a picture of the State Library of Queensland from that blog. Fortunately most collections were able to be moved to safety, but the clean up and recovery will be immense.


Our thoughts are with them and their communities so that they may begin recovering soon. To donate to the flood relief appeal go to http://www.qld.gov.au/floods/donate.html.