Wednesday, May 11, 2016

Artist Talk and Workshop at Oberlin College

I was invited to give an artist's talk and workshop in Nanette Yannuzzi's book arts class at Oberlin College in April. Nanette specifically asked for me to do a more advanced book structure with her bookbinding enthusiast students. So, over two days we combined making paste paper with a drum leaf binding. Here are some photos from the workshop.













Monday, March 14, 2016

Talk and Workshop at Wake Forest University on February 22

I was invited to Wake Forest to give a talk by the Creative Writing and the Early Modern and Medieval Studies programs. The talk was titled "Recycled Possibilities and New Combinations: Book Structure from Medieval Europe to Contemporary Artist's Books" and gave an overarching trajectory of codex-based book structure while asking some questions about form (such as what does it mean to work primarily in a form that has remained largely unchanged for the past 1500 years?) and starting a conversation about current small press publishing, as impacted by the onset of digital technologies.

This talk was followed by a workshop with Wake Forest creative writing and art students, where we were able to talk about some of their plans for publishing projects and work on a couple of small structures.




Wednesday, January 20, 2016

Revealed Terrain: The Semantics of Landscape, at the Center for Book Arts

I'm pretty psyched to be included in this show about landscape, with various luminaries of printmaking and the book arts. It opens this Friday at the Center for Book Arts in New York City, and will be up through the beginning of April.

More information can be found here:

http://centerforbookarts.org/event/revealed-terrain-the-semantics-of-landscape/

Saturday, January 16, 2016

CBAA conference 2016

I had the opportunity to present at the College Book Arts Association in Nashville on January 7-9. Here is the abstract for my presentation:

"Stream, Road, and Horizon: Geographic Narratives Within Artist's Books

What stories are embedded within a waterway or within other landscape features? Which of these stories do we choose to tell and how do those stories transform within the structure of an artist book?

Land and water features often contain their own linear imperatives, distinct boundaries and inherent or implied motion, be it rushing water or a charted path for humans to follow. The artist's book, meanwhile, has its own structures of movement, as a time-based sequential medium and a functional object, in which we as artists suggest or dictate the reader's motion with our structural and graphic choices. This presentation will investigate how these two movement systems map onto each other within the artist's book "Channel and Flow," which follows an urban stream and breaks it into fragmented, but still connected, narrative vignettes. The presentation will also discuss more generally how landscape features and their accompanying human-built land use structures can function within the artist's book to tell stories, convey information, explore ideas, or to attempt to represent the human experience of the environment. The presenter will bring various walking and mapping strategies into the discussion, drawing on cartography-related traditions of using psychogeographical frameworks, scores, and datascapes within artist's books, visual art and language projects."



Here is the panel I was on (photo nabbed from Sarah McCoy):


Overall, it was a great opportunity to do a lot of thinking and reading, and to get into some interesting discussions with other conference participants.

Wednesday, April 8, 2015

Conversations on Craft 4/16 at OCAC

I'm looking forward to being part of this conversation this coming Thursday April 16. I like the emphasis on "persistence" rather than "value" in the following description of the event- it frames it more as an inquiry rather than manifesto:
"Craft's persistent presence in a contemporary culture suspicious of labored beauty and material literacy."



speakers including:
  • Howard Risatti (Moderator) - Emeritus Professor of Contemporary Art and Critical Theory, Department of Art History, Virginia Commonwealth University
  • Don Crow - Instructor in Residence OCAC MFA in Craft
  • Anna Gray and Ryan Wilson Paulsen - The Ford Family Foundation sponsored Golden Spot Artist in Residence at OCAC
  • Jeffry Mitchell - The Collins Foundation sponsored Artist in Residence at OCAC
  • Ben Buswell - The Ford Family Foundation sponsored Golden Spot Artist in Residence at OCAC
  • Sarah McDermott - The Collins Foundation sponsored Artist in Residence at OCAC

Sunday, February 15, 2015

Processing flax

I've been processing flax at OCAC this past weekend. This is flax that I planted last May, harvested in September, and let ret through December.

Here are some photos of the process:

Breaking
After breaking

Not traditional but it works


Gets rid of most of the shive

Fluffy!

Tuesday, January 27, 2015

Cuba, OCAC, Shows

Getting caught up here, it's been a busy few months!

1. In December, I went to Havana, Cuba for 3 weeks. I primarily went to visit a friend, but ended up working on an unanticipated book project with a printmaker- Julio C. Peña Peralta- at the Taller Experimental de Graficos- the printmaking workshop that my grad program at the University of Alabama has an ongoing relationship with. I showed up to see and share work, and Julio and I felt an affinity in our styles, so we decided to undertake a project. It was a bit harebrained as it was over the holidays, I had no tools, and we didn't have much time in general. Basically we made the book in five days: one day papermaking, one day planning, one day prepping, one day printing, and one day binding. Somehow we pulled it off! It was fun working with Julio and great to be introduced to the poetry of Rito Ramon Aroche (http://wordswithoutborders.org/contributor/rito-ramn-aroche).

Here are a few pictures of the process:






2. Three days after I got back from Havana, I started driving cross country to Portland, Oregon where I will be Artist-in-Residence in Book Arts and a guest instructor at Oregon College of Art and Crafts for the spring semester. I will get to hang out with the excellent Barb Tetenbaum and will be working on a new book(like) project. Veronika Schapers (German book artist) and Howard Risatti (craft theorist) have visits slated this semester so I am already anticipating overstimulation! I've been here a week, and I started processing the flax that I harvested in September. Check back here for (probably infrequent) updates.

3. My work can be found in a few current and upcoming shows: 
-Artists' Maps at Fenwick Gallery of the George Mason University Libraries, up through February 6th. Here's a write-up- I especially like the way they link to related books at the bottom, neat to have artists' books be an inspiration for further exploration: http://fenwickgallery.gmu.edu/?page_id=1487
-Beyond Words: Contemporary Book Arts at the Foothills Art Center in Golden, Colorado, which opened January 24.
-Artists' Book Cornucopia at Abecedarian Gallery in Denver, opening January 27.
-Approximate Exactitude: The Diagram and the Book at this year's Southern Graphics Conference (SGC- I have to go to this one of these years!) at the Emporium Art Center in Knoxville, TN, opening March 6. If you're going to the conference be sure to check it out, Sarah Smith curated, and it looks to be an interesting show!