Showing posts with label Tomorrow's Past. Show all posts
Showing posts with label Tomorrow's Past. Show all posts

Saturday, December 31, 2011

Welcome to the 2011 Bind-O-Rama

The Bonefolder's annual online exhibition.

Artistically Reversible: Where Conservation and Art Meet

We are pleased to present Artistically Reversible: Where Conservation and Art Meet, the 2011 Bonefolder Bind-O-Rama. This online exhibited was inspired by the tenets of the Tomorrow’s Past (TP) movement that seeks to provide antiquarian books with new, conservationally sound yet innovative bindings. The UK-based movement has its roots 1999 with Sün Evrard and was in part inspired by the late Edgar Mansfield who wrote that “surely it is better to create tomorrow’s past than to repeat today’s.” As British binder Jen Lindsay wrote in 2007, “Why go on making books based on Then – copying outdated methods and conventions, instead of making books based on Now – applying current knowledge and practice with a modern sensibility.”

TP member Kathy Abbott, a binder and conservator acknowledges that the work of TP has created quite a bit of controversy: some book conservators think we are imposing our will onto the books and think we should be more invisible; book restorers think that we should be making bindings which imitate the period of which the book was printed and book artists seem to like our structures but see us as a bit ‘staid’. This Bind-O-Rama created similar controversy in the US perhaps due to a misunderstanding of both the outcomes and on a deeper level of conservation ethics which as expressed consider every book to be rebound or treated as a cultural heritage artifact. This latter conflict was discussed at length in Barbara Appelbaum’s paper that was presented at the 2011 American Institute of Conservation meeting and entitled Conservation in the 21th Century; Will a 20th Century Code of Ethics Suffice? <http://barbaraappelbaumbooks.com/wp-content/uploads/paper_aic_conservation.pdf>.

While many books are most certainly cultural heritage artifacts either as objects themselves or as part of the collection that holds them, many, the majority perhaps are use objects that have seen a great deal of handling and exhibit their age and provenance through the wear that is exhibited by their deterioration of materials and structure. It is these objects that TP seeks to give new life and a renewed significance whether for collectors or antiquarians. Conservation principles of doing no harm, reversibility (or as expressed by James Reid-Cunningham, conservator at the Boston Athenaeum retreatability) expressed by the use of proven materials with long-term stability, sound structure, and a skillful and respectful expression of craft married to innovation in structure and design. It is the latter which seems to touch the most sensitive nerve with concerns about “appropriateness.” Conservator Chela Metzger writes, “most conservation treatment discusses “appropriateness” or even used the word sympathy when describing a treatment goal. The original old part must meet and mingle with a “non original” new part. The meeting and the mingling must work well at every level. But this appropriateness and sympathy are hard to sum up. Appropriate to the text subject matter? Appropriate for the text paper qualities? Appropriate to the text time period? Appropriate for the owner of the text at the time of the binding?”

As Abbott says, “why can’t we make really, sound, conservation bindings, with a bit of structural ingenuity and a sensitive aesthetic too?” This theme was also echoed in a side-discussion at the Guild of Book Workers 2011 Standards of Excellence Seminar. That discussion featured several conservators and binders working in the US, both with cultural heritage collections and as binders in general. <http://bonefolderextras.blogspot.com/2011/10/discussion-of-tomorrows-past-at-guild.html>.

While the response to this Bind-O-Rama was lower than we hoped, we were very pleased to see conservators and binders take up the challenge. In reviewing the entries we asked “what treatments would disqualify entries from this exhibit? Ones that immediately strike one as hurtful to the text. Ones that do not use stable materials? Ones that require damaging the text to remove it from the new binding. Fortunately we found no evidence that disqualified entries, however we do encourage those interested to see that it is not about traditional “design bindings” or “restoration” but sympathetically innovative conservationally sound bindings.

We hope that binders and conservators will adhere to the highest standards of conservation materials and structure while keeping an open mind and willingness to consider the aesthetic and structural options for rebinding. A large part of that will be an ongoing civil dialog in which conservators continue to stress and share their best practices and we all pragmatically consider the options for rebinding a given book in full consideration of its value and historic significance whatever that may (or may not) be. Writes Abbott, “I do hope that in the future, books bound in this way will be as accepted as every other binding style,” and “I think it could become the most exciting and challenging concept that has come out of the world of bookbinding for a long time.”

Comments by Kathy Abbott of Tomorrow's Past and The Bonefolder editorial staff.



Sunday, October 16, 2011

Discussion of Tomorrow's Past at the Guild of Book Workers Standards of Excellence Seminar, 2011

Welcome to this discussion of the issues surrounding the Tomorrow's Past movement and the Bonefolder's Bind-O-Rama 2011 - Artistically Reversible: Where Conservation and Art Meet in which we invited binders and conservators to explore the movement's tenets of providing new, conservationally sound clothes to old books. For 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.

This discussion on Friday, October 7 was organized by Karen Hanmer, bookbinder and book artist from Chicago, to take advantage of the presence of many interested parties at the Guild of Book Workers annual Standards of Excellence Seminar being held at Boston's Park Plaza Hotel. The discussion was started by Karen who (re)introduced Tomorrow's Past, and the concerns that were being voiced by some about its ethical implications. These concepts were also discussed by Barbara Appelbaum in her paper from the 2011 AIC annual meeting entitled Conservation in the 21th Century; Will a 20th Century Code of Ethics Suffice?

Also present were: Eric Alstrom, collections conservator at Michigan State University Library; Anna Embree of the Book Arts Program at the University of Alabama; Deborah Howe, collections conservator at Darmouth College Library; Chela Metzger, senior conservator of library collections at the Winterthur Museum; Suzy Morgan, conservator in private practice via Skype from Chicago; Nancy Nitzberg,  conservator in private practice in the Philadelphia area; James Reid_Cunningham, conservator at the Boston Athenaeum; Peter Verheyen, head of conservation and preservation at Syracuse University Library; Stephanie Wolff, conservation technician at Dartmouth College Library

These participants represent binders and conservators from variety of training and work backgrounds. We hope you will find this discussion thought provoking and welcome discussion of your comments and concerns.

Download the mp3 audio file of this discussion 

Edit 11/14/2011 Kevin Drieger on his Library Preservation 2 blog shares his thoughts continues to the discussion in a post entitled Finding the Conservator in Conservation>.
While I think the idea of the invisible conservator is impossible and wrong and should not be a goal, I also do not advocate for a conservator’s self-expression free-for-all. This issue of how much of our selves do we put in our work must always be held in thoughtful and professional tension.

The author, the binder, the seller, the conservator, and the reader are all part of the community that creates and interprets our written cultural heritage. Understanding who these various members are only helps deepen our understanding of this heritage.

Wednesday, September 28, 2011

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

Welcome to the SUBMISSION / ENTRY form for the 2011 Bonefolder Bind-O-Rama that demonstrates the intersection of conservation and the art of the book. We challenged 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.

Images must be sent to bonefolder@philobiblon.com as separate attachments. Included must be 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)

Full details with images illustrating the process can be found at http://bonefolderextras.blogspot.com/2011/02/bind-o-rama-2011-artistically.html.

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.



IF you have conceptual questions about what this is about, please do not be afraid to ask by sending an email to bonefolder@philobiblon.com.


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.