Thursday, August 30, 2018

Cause : Effect, A collaborative book project


Action and Reaction. Before and After. Then and Now. Rich
material for artists who work with sequence and pagination. The
Southeast Chapter of the Guild of Bookworkers invites you to
participate in Cause : Effect, a collaborative book project.

Production

Participants will edition two single sheets inspired by the
concept of cause & effect. Each sheet should have content
on one side only, and be intended to be folded in half. The
method of production is up to you. Potential techniques
include letterpress, digital printing, photocopy, a variable edition
of one of a kind drawings, screen printing. Any other method
of reproduction is welcomed and encouraged.
Completed folios should be shipped to SE Chapter Chair
Sarah Bryant, who will collate and ship all the responses back
to each participant for binding.

Binding

Participating members will bind their copy in whatever
method (and whatever order) they choose. Finished books
will be showcased on the SE Guild website. We hope to find
venues for displaying the books themselves if possible. (Get in
touch if you would like to host an exhibition!)

Requirements

Participation is limited to twenty artists. We are reaching out
to members of the southeast chapter first, then will broaden
our search nationally for any remaining spots. If you are
interested in participating, please fill out the attached intent
to submit form. Cost for participation is $25.

Deadlines

Deadline for intent to enter form September 10, 2018
Deadline for submitting folios December 5, 2018
Deadline for finished bindings March 15, 2019

Entry Form


Wednesday, February 28, 2018

Southeast Guild of Book Workers Members' Showcase 2018


The Southeast Chapter of the Guild of Book Workers is proud to present the first annual Members' Showcase. Listed below are members from around the Southeast Chapter alongside photos of their beautiful and diverse collections of work. This inaugural Members' Showcase marks the first exhibition of what will hopefully be many more exhibition opportunities to come.

The board of the Southeast Chapter hopes you enjoy what our members have chosen to share!


Douglas Pierre Baulos

Baulos’s drawings, installations, and books have been exhibited/published both nationally and internationally. His current works are explorations (visual) and meditations (poetry) centering on his ideas of spirituality, love, death, shelter, and hope. Books, because of their exterior/interior format, as well as their sequential ordering, have been a life long fascination. The book as an object allows the viewer to be guided through a thought process as well as evoking time and journey/text and image in an intimate fashion. My books and installations hope to explode process into an embodied visual narrative, a sculpture of our inner life.

Second Hand Cures, Handmade paper from Iris fiber, photo transfer,
thread, found objects, (63”h x 57”w), 2017


Binding My Lost Heaven, Handmade paper from sunflower fiber,
feathers, thread, found objects, (39”hx 31”w), 2017




Dorothy Simpson Krause


Dorothy Simpson Krause is Professor Emerita at Massachusetts College of Art, author of "Book + Art: Handcrafting Artists’ Books" and "Digital Art Studio". She has been a Visiting Artist or Artist in Residence at the Smithsonian American Art Museum, the American Academy in Rome, the University of the Arts in Philadelphia, the Jaffe Center for Book Arts at Florida Atlantic University and currently on Oceania Cruise Lines. Her work, which is in the collections of more than two dozen museums, combines traditional and digital media in large-scale mixed media pieces, artist books and book-like objects that bridge between the two forms.





Afloat, This travel journal, completed in the Alban Hills, south of Rome, uses costume plates and a fragile map from “Caesar’s Commentaries on the Gallic War” published in 1888. The plates were collaged over mono prints which I textured to resemble the stones of Roman construction. The 22 pages, 7.75” x 5.75” x .75”, have a drum leaf binding with a replica Roman coin on the cover.

The handwritten text, a quote from Shakespear’s play “Julius Caesar”, seemed appropriate since in many ways we now seem to be “afloat” — the title of the book.


Cape Cod, Cape Cod used paper stained with rust and indigo dye for the pages and cover. Rust colored spacers allowed for incorporating found treasures. Each double page spread, with its spacer, was sewn to the spine with a modified longstitch. An enamel pin, with a map of the area, was affixed to the cover.

A horizontal dye line, across the middle of each page, suggested landscapes and seascapes for the collaged images of boats, houses and lighthouses.

The journal is 6″ x 5″ x .75″ with 28 pages.



WarZone, “WarZone: a traveling board game with no winner” is designed to be played anywhere other than in your own country. Instructions, game board, spinner board and game pieces are housed in a clear plastic suitcase.



Jon Buller

Jon Buller has been a practicing hand binder since 1974.  In 1978 he founded the Bessenberg Bindery, a commercial hand bindery, in Ann Arbor, Michigan, which he sold to Thomson-Shore, Inc, in 2010. At his studio in Hendersonville, NC, he continues to work for collectors and book sellers, repairing books, and collaborates with artists and printers, making boxes and binding short-run editions in cloth and leather. He has taught at Hollander's School in Ann Arbor, BookWorks in Asheville, NC, and will be teaching later this year at the John C. Campbell Folk School.



The Old Man and the Sea, first edition, full Oasis, sterling inlays, leather hinges, tooled in Palladium, with leather-covered traycase inlaid with large sterling fishhook and shark's tooth



The I Ching ; Full Chieftan, inlaid with cast sterling and brass, gold tooled. One of an edition of six.


Domestic Cookery,  1807,  Mended, resewn, full Oasis, inlaid with leather and sterling, custom dies for ornaments, gold tooled.



Sharon A. Sharp

Sharon A. Sharp (Winston-Salem, NC) writes poetry and creates multifaceted artist’s books. Her work has been recognized in volumes 1–2 of 500 Handmade Books, 1,000 Artists’ Books, the Italian fine-arts journal TECA—Exploring the Book as Art (2013), Bind-O- Rama 2014 (online), and Art & Science Collaborations’ “Featured Member” section (online, June 2014). Sharon’s books, represented by Vamp & Tramp Booksellers, are held in numerous universities’ special collections libraries. Drawn to nature-related themes, she has served as an artist-in- residence at two National Parks. Sharon delights in using nontraditional book forms to enliven both written and visual content.


Garden Treasures, One-of- a-kind artist’s book (archival inkjet printing of text and title; wide variety of decorative fine-art papers, Irish linen thread, binder’s board)


Hidden Horizons: Ground for Growth, One-of- a-kind artist’s book (handwritten text, archival inkjet printing of title; many movable features, handcut pattern on central multifolded feature; wide variety of fine-art papers)


Moon Musings One-of- a-kind artist’s book (handwritten and inkjet-printed text, including original poems original linocuts printed on Vandercook press, plus handcut images; various fine-art papers,
binder’s board)



Brien Beidler

Brien Beidler is inspired by historic bindings and their ability to harmonize fine craftsmanship, quirky yet elegant aesthetics, and evidence of the hands that made them. In his work, Brien seeks ways to create new compositions and juxtapositions of these historic precedents. Brien also makes a limited assortment of specialized hand tools for bookbinding and its related trades. To see more of his work, visit www.beidlermade.com, or his Instagram feed @bhbeidler. 

Commonplace Book.  Materials are paper, linen thread and cord, silk thread, millboard, leather, gold leaf.

Since at least the middle ages, people have relied upon commonplace books to compile and organize their daily experiences and thoughts. Inspired by this idea, these blank books seek to continue this tradition while exploring and combining different aesthetics and structures from historic bindings.







Ellen Knudson

Ellen Knudson produces letterpress printed artist’s books under the imprint Crooked Letter Press. She is currently Associate in Book Arts at The University of Florida and has been a book artist for over 25 years. She holds an MFA in Book Arts from The University of Alabama. Her work is in Library of Congress, SF-MOMA, Yale University and many other collections.
“I’m interested in the distillation of a subject using typography and image within the book form. I revel in the craft of book art: the exploration of materials, and the effort to strike a balance between artistic and practical choices. Those processes involve intimacy and acute observation. That is ultimately what my work is about.”



Intrusion, 2017, A modern bestiary that illustrates the conjured effects of human encroachment on nature and wildlife.


Made Up, 2015, A non-scientific science book about the imaginary cellular composition of the human body.


Ingress / Egress, An artist’s book that contemplates the design and function of artists’ books. Ingress / Egress was selected as one of the five finalists for the 2017 Minnesota Center for Book Arts Biennial Prize.



Sarah Bryant

Sarah Bryant produces artist books as Big Jump Press since she started her press in 2005. Her books are held in dozens of collections in the USA and abroad.  She currently works as an instructor and studio manager for the MFA in the Book Arts Program at The University of Alabama, where she teaches bookbinding and letterpress printing courses. 



The Address, a 2017 collaboration with Anna Embree, features the 2009 and 2017 presidential inaugural addresses. Letterpress printed from polymer plates. All proceeds from this edition of 50 were donated to the ACLU. A second edition is underway, get in touch if you would like a copy! 




Piper Head

The artist, Piper Head has a BFA in Sculpture from the University of Miami. She has been a working artist and themed entertainment set designer for over 25 years. She has been a working bookbinder since 2005, where she trained in the Los Angeles area with Alice Vaughan of Hudson River Bindery and Tini Muira of Long Beach, CA. Her work has been exhibited in USA, Japan and most recently in the OPEN:SET traveling exhibition. 


Wood marquetry fine binding



 Bookart leather bound collage

 Leather clamshell box with jewelry accent



Andrew Huot

Andrew Huot is a book artist and bookbinder in Atlanta, Georgia. He operates Big River Bindery, a workshop for bookmaking and letterpress printing, book repair, and design. He has a Masters in Book Arts from the University of the Arts, teaches bookbinding and preservation for the University of Illinois. He exhibits his work widely and it is held in over 50 university library collections. His artwork takes his everyday life and uses the patterns, lines, and shapes to create work that is playful and strikes a familiar cord with the viewer.


Sleep Drink Eat Work, Linoleum and letterpress, 2016



Slipcase with leather spine and chemise, 2017


Walks with Rosie, Artists' Book, linoleum, letterpress and pochoir, 2009



Audrey L. Pinto

Since she was old enough to understand that illuminated manuscripts were written and illustrated by hand, Audrey has loved all things having to do with the book. Over the past seven six years, she has developed an art practice that includes making decorative boxes, paste papers, pop-ups, tunnel books and cutting paper into organic forms that produce patterns and light effects. She has taken numerous workshops from various book and paper artists at Penland and through the Triangle Book Arts group, including Kathy Steinsberger, Monique Lallier, Mary Uthuppuru, and Andrea Dezso.


Decorative Box, A small handmade box composed of book board, Japanese paper and book cloth, and beads.


Flower pop-up, This cut paper project used the additive technique to explore placement of cut paper and folding methods to create workable pop-ups. It was made at Penland in Andrea Deszo’s 2-week summer workshop (2017) on cut paper and pop-ups. It was included in a group book project that was sold at Penland’s end-of- summer fundraiser.


Spider web tunnel book (three panels of five) This cut paper project used the subtractive technique to explore spatial concepts, texture, and patterns. The panels are backlit to emphasize the patterns created by the cutouts. It was made at Penland in Andrea Deszo’s 2-week summer workshop (2017) on cut paper and pop-ups.


Susan Hulme

Susan Hulme is a fine bookbinder who lives and works outside of Nashville, Tennessee. She recently received her diploma in fine binding from the American Academy of Bookbinding. In addition she has been a graphic designer for over forty years and brings extensive knowledge of publication design and production to her BlueMarigold Press.


Legacy of Beginning, Text by Kim Stafford, Larkspur Press, Monterey, Kentucky, 2013, Wood Engravings by Wesley Bates, Binding by Susan Hulme

Full leather binding with laced-in boards. Bound in calf skin printed with binders original charcoal drawing and gold tooling. Edge-to-edge doublure and flyleaf in black leather. Handsewn silk endbands. Custom enclosure, Britt Stadig.
222 x 152 x 17 mm



Songs of the Cowboys, Edited and Introduced by Mark Lee Gardner, The Press at the Palace of the Governors, Santa Fe, New Mexico, 2012, Illustrations by Ronald Kil, Binding by Susan Hulme

Full leather binding with laced-in boards. Bound in sprinkled calf skin heat etched front and back. Edge-to-edge doublure in brown goatskin and suede flyleaf. Handsewn silk endbands. 
277 x 210 x 17 mm 



Inside the Book, Text and Illustrations by David Esslemont, Solmentes Press, Wales, 2002, 
Binding by Susan Hulme

Full leather binding with laced-in boards. Bound in goatskin with gold tooled arches and dots, inlays of black leather, patent leather and quills. Top edge polished with beeswax. Indian paper endsheets and flyleafs. Handsewn silk endbands. 
260 x 175 x 22 mm


Janet Guertin

Janet Guertin is a graphic designer living in Cary, North Carolina. Her clients have included non-profits, corporations, small businesses, as well as individual commissions. Long drawn to the book form for self-expression, she combines digital and analog production methods with collage, drawing, typography, and folded handmade paper to create heirloom books and unconventional structures. While many areas of bookbinding are of interest, she has focused largely on exposed bindings. Her work has been included in several book exhibitions, on the popular Paper Crave blog and featured in Where Women Create magazine. Janet’s work can be viewed at www.janetguertin.com


Living Abundantly, Altered book from 1959, vintage paper and collaged elements.
9.5"w x 8"h x 4"d



Plan & Plant, A coptic stitch gardening and quote journal using paste papers by Madeleine Durham and unryu paper on the cover boards, and handmade wheat straw paper from Hook Pottery Paper, and French Paper Speckletone paper for the main interior pages.  5” x 5” 



Vital Divergences, 
Various commercial papers, nideggen paper, mica, linen thread Inspired by the writings of Paul Klee on creativity and the artistic process, this book seeks to visually represent the overlap of ideas, the life cycle of a tree and the modern papermaking process. Bound with 4-hole Japanese stab binding. 8.5” w x 6.5” h



Anna Embree

Anna Embree is a professor for the MFA Book Arts Program in the School of Library and Information Studies. She has been teaching bookbinding and letterpress printing courses at The University of Alabama since in the fall of 2004. Prior to joining the MFA Book Arts Program, she taught book arts courses for The University of Iowa Center for the Book in Iowa City, IA.

Anna teaches courses and workshops in bookbinding, box making, and special topics in book preservation and book history. Anna has a strong interest in the physical and material aspects of book structures. She has collaborated with printers and papermakers on limited edition handmade books, and has exhibited widely.


Dirck de Bray: vellum laced case binding. Supported sewing over vellum tapes, marbled paper flexible endsheets, sewn silk endbands; case lined with xeroxed images of the text and covered in transparent goat vellum. 


Pictorial Webster's: A Visual Dictionary of Curiosities: Sewn board binding with cushioned boards made from laminated museum board. Covering in full goat with blind tooling, sewn silk endbands.


Voyage Across the Horizon: Full leather case binding covered in blue goatskin. Marbled endpapers and sewn end bands. Back-pared onlays of gray leather tinted with white and gold acrylics. Blind and gold foil tooling. 

Monday, November 13, 2017

The First Annual Southeast Guild of Book Workers Members' Showcase


This year marks the first Annual Southeast Guild of Book Workers Members' Showcase. The Members' Showcase is an online opportunity for any members of the SEGBW to show their work in an effort to facilitate growth, collaboration, communication, and promote excellence in the craft and art of the book within the Southeast Chapter and the Guild of Book Workers.


This exhibition will be online only and will be hosted on the SEGBW Blog indefinitely as a way to make the work of our chapter accessible to even our most remote members and to the book community throughout the world.


The artists and craftspeople of the Southeast Chapter are encouraged to submit at least one example of the work they produce. Each artist may contribute a maximum of three images of their choosing that they feel best characterizes the type of work they do.


Because this is an online exhibition, it is important that the submitted photos be of high quality.




All SEGBW members may contribute work in the following categories:
Artists Books, Paper Arts, Bookbinding, Hand Papermaking, Historical Models, Fine Bindings, Innovative Conservation Treatments, Handmade Boxes, Collaborative Projects, Conceptual Artist's Books, Altered Books, and Any Experimental or Other Book Related Medium.


Submission Guidlines:
Each member may email three images (no more than 150 dpi each) to southeastguild@gmail.com
In addition to the three images, each member must send a brief 50 to 100 word bio/statement about who they are and their work and interests within the book arts.


Duration:
Open ended


Dates And Deadlines:
Deadline for Entry: January 31, 2018
Exhibition: February 28, 2018


Fee:
There is no fee.

Wednesday, October 4, 2017

Fall Featured Member, Building Connections

Check out our first fall featured member! Kerri Harding of Charleston, South Carolina.



Kerri Harding

In June of last year Kerri Harding moved to South Carolina to take a position at the Charleston Library Society as the Director of the Bindery and Conservation Studio. At CLS, Kerri spends most of her time on Special Collections conservation and creating full leather presentation bindings. These are given as a token of appreciation for guest speakers, including authors Julian Fellows, David McCullough, and Bernard Cornwell. Kerri joined the staff at an opportune time; the CLS will be celebrating the release of its first publication, Rare, Prized, and Valuable: The Charleston Library Society’s Favorite Fifty from the Collections, in the fall. During production, the bindery was transformed into a photo studio to provide the images for.



Q Is there anything in bookbinding that interests you most?
I'm a bit of a generalist. Though, I love the materials. I could stare at sample books all day. I also enjoy working with my hands and find it really satisfying to have tangible results at the end of the day.


Q Before moving to the SEGBW were you involved with other GBW chapters?
I served as the Midwest Chapter Programs Chair for a year. I worked with Mary Uthupparu on the 2016 annual meeting, and then passed of the duties since I had left the region.

Q What are some of the current binding or conservation projects your working on?
I have several conservation projects on my bench at the moment, including An Account of the Pelew Islands by Captain Henry Wilson published in 1788. It's a tightback leather binding with absolutely lovely gold tooling on the spine. The boards were detached and a crack runs the full length of the spine. It has been and interesting challenge to reattach the boards and provide structural support without intruding on the gold tooling. It is a slow moving project, but I've leaned a great deal from working on it.
 



Q Is there another skill that you’d like to learn?
Everything! I want to learn everything! I'll paraphrase Chaucer, who paraphrased the Greeks; Life is short and the craft so long to learn. I spend a lot of time on research and experimentation. I have also been brushing up on fine binding and finishing techniques.  I recently took a Gold Tooling workshop at the Well Summer Institute taught by Sam Feinstein. I am eager to get more practice in. I would also like to learn more about edge decorating techniques. 






Thursday, July 20, 2017

Building Connections Within SEGBW

Hello SEGBW,

The Southeast Chapter of the Guild of Bookworkers is unique in that we are a relatively small number of people spread over a wide geographical area. Let’s get to know each other! In an effort to build connection and community we are planning to feature our members in a series of blog posts. We hope that through these articles we’ll learn more about each other and build stronger book working bonds within the southeast. We’re kicking it off by introducing our new Chapter chair, Sarah Bryant, currently living and working in Tuscaloosa, Alabama. If you would like to be featured, or would like to suggest that we feature another member, please reach out!

Warmest regards,
Kyle Clark, Communications Chair, SEGBW



Sarah Bryant

Sarah Bryant is an instructor and studio manager for the MFA in the Book Arts Program at The University of Alabama. Sarah started Big Jump Press in 2005, and since then has been producing artist books in small editions under that name. She often looks to reference material and analytical imagery when producing her work. Her books can be found in dozens of libraries and private collections in the United States and abroad, including The Library of Congress, The New York Public Library, The Darling Bio-medical Library at UCLA, and The Yale Arts Library. In 2011, Bryant won the prestigious MCBA Prize, an international award given every two years to a single artist book. Bryant frequently collaborates with other artists as well as people working in other fields.

Sarah studied book arts at The University of Alabama MFA in the Book Arts program from 2005-2008, and has been making books ever since.



Q Can you tell us a little bit about a recent project?
My last big project was an artist book called Figure Study, a collaboration with a Biology professor at Middlebury College named Dave Allen. We created human forms out of population data and printed them on drafting film so that they could be layered and interpreted on a grid. It was a fun project, but the binding was much more complicated than my other projects, and I almost lost my mind!

Q What are you working on now?
I’m at the beginnings of a new artist book project that I think is turning into something about urban planning. I never really know where I am going to end up when I start a project, and this one has me doing some pretty serious reading about 20th century architecture. We will see what happens! Right now it is still a primordial soup kind of thing.



Q Is there a skill you’d like to learn?
I am a letterpress printer, but I’d like to branch out further into printmaking and learn some non-relief techniques. I’ve started doing some skill sharing with collaborators that I work with, a really great way to pick up new tricks and move in a new direction.


Wednesday, March 1, 2017

SCAP and SEGBW Host Letterpress Workshop in Tallahassee

South East Guild of Book Workers and Small Craft Advisory Press co-hosted a letterpress workshop taught by book artist and printer Eileen Wallace of Mile Wide Press over the February 25-26 weekend in Tallahassee, FL. This fascinating workshop highlighted creating and printing experimental matrices on flatbed printing presses, and drew an energetic crowd of FSU graduate students, and professors from FSU, Tallahassee Community College, and University of Florida. Using materials such as wood veneer and wire mounted onto a magnetic base, workshop participants were encouraged to try many different iterations of their compositions, capitalizing on the ease of setup of these modular printable forms. Each participant completed the weekend-long class with a suite of their own prints, a set of printable plates, and a copy of the collaborative class print.