Buzz Spector: Paper Made and Unmade

BUZZ SPECTOR

Paper made and unmade

bruno david gallery

BUZZ SPECTOR

Paper made and unmade

January 26 - March 13, 2021

Bruno David Gallery

7513 Forsyth Boulevard

Saint Louis, Missouri 63105, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com

Founder/Director: Bruno L. David

This catalogue was published in conjunction with the online exhibition “Paper made and unmade” at Bruno David Gallery.

Editor: Bruno L. David

Catalogue Designer: Bonnie Dana and Mary Kate Charles

Designer Assistant: Claudia R. David Printed in USA

All works courtesy of Buzz Spector and Bruno David Gallery

Photographs by Bruno David Gallery

Cover image:

Okay Okay, (detail) 2021

Abaca over yarn on cotton (20 elements)

35 x 40 inches (88.9 × 101.6 cm.)

First Edition

Copyright ©2022 Buzz Spector and Bruno David Gallery

All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery

TEXTURE IS [ALSO] FUNDAMENTAL

BY SAM GOLDMAN AFTERWORD BY BRUNO L. DAVID

CHECKLIST AND IMAGES OF THE EXHIBITION

BIOGRAPHY

TEXTURE IS [ALSO] FUNDAMENTAL

BY SAM GOLDMAN

Texture, for want of a better term, is an important element in Buzz Spector’s work. It is a necessary particular to his main focus. Buzz combines visual, esthetic, mathematical and linguistic particulars to the whole in his conceptualizations. The tools he chooses: papers, inks, graphite, books, glues, other art as objects, are all central to the work, not simply as practical, but for the conceptual meaning of these materials. All materials come packaged with a traditional history and a use history. Some materials are used directly, while others are referenced but remain out of the visual field. Buzz borrows their prior meanings and deliberately restructures the objects and their meanings into a new whole that conveys something about life more precisely and abstractly. We are free to relate those meanings to our own and then to the conversation the artist has provoked about how art conceptualizes the world and ourselves. The materials are taken as structural object and also as conceptual axiom. Materials come to us in tandem with their own texture. The tactile perception of texture helps to convey the notion of the material and the visual characteristics of the actual material conveys the notion of texture. And we conflate. Something can look rough or smooth. Knowing this is not simply a matter of thought.

While texture and object are inseparable physically, they convey meaning differently. And so the assertion of the whole work emerges more clearly considering the meaning of texture and how it adheres to language. Perhaps Buzz investigates this relationship best when he considers written language, which only for the purpose of discussion, we will separate from the other particulars. If in his graphic and mathematical mode Buzz lines things up, he explores the linguistic mode when he puns, and in a more wordy way, by his use of real books and their titles. Let’s explore this relationship further.

Look at Buzz’s work from the eighties. His “Pages” reference language as a play on both words and objects. We enjoy his linguistic subliminal further when we consider the metaphor of a page. “Graphically” we behold a “Page” as a look-alike for something written upon a page. We can’t know what he was intending to demonstrate at the inception, but a “Page,” at a first glance, may appear to be written in a known language. In order to read, one steps close enough to the work to realize that one can’t connect by reading this “Page” as if it were an ordinary page. Lines of apparent calligraphy arise out of sliced away lines of print, arguably, of a Latin alphabet, probably from a more wordy book that was once easily intelligible and is now abstracted. But at closer look it becomes a language that is make-believe and still elusive. Through that illusion one connects to the artist.

We apprehend texture on the surface of these “Pages,” without actual touching. We are able to do so when see striations of light and shadow cast by the real material surface. So there is simultaneously a notional structure, visually apprehended, and actual structure. Even though the touch that could distinguish is prohibited by the glass of the frame and the rules of audience, we may take these “Pages” as new writing on a surface newly constructed by the artist with a tool we don’t know; we simultaneously apprehend the appropriated make-believe and actual material. Blink to see them in quick succession if you need, but please don’t touch. Sadly, we are physically blocked from touching, and we wonder further what was left on Buzz’s cutting room floor—another barrier by omission from the visual we are facing. Happily, he provokes us to transcend the barriers as he invites us into the make-believe space. Texture, along with other modifiers of the piece, empowers the provocation. As the artist’s references may also be inferred from the obvious omissions as well as the objects that he includes, the conversation moves even more into in our own heads. No longer sensing, we and the artist endeavor to be on the same imaginative page. Or would that be “Page?”

Recall those ancient scribal materials that were unavoidably rough, like cuneiform on clay, scrolls of ink on parchment, and the not ancient ink printed on paper pages. Consider scribal traditions that emphasized the meaning conveyed through materials and through the performance of the work beginning with preparation and attitude and then how everyone related to the whole thing, not just the elemental words. Particular materials conveyed meaning to the people who valued it — the skin of a kosher animal, a bound book by a particular author, as well as the semantic meaning of the words not yet embedded in the material. Beyond choosing a material for practical use, some practitioners intend the performance of the writing or drawing to interact with the material in a particular way. Consider the scribe who might also be a sofer, whose community counts on the sofer to have translated traditional concepts into the whole work, not just to record the words. Now the community, through its own counter-performance with the work, like chanting out loud, constructs meaning. All of this activity creates something different from other scribal products like accounts or laws; something one could consider sacred. Transformed. And transactional. Let’s apply this analogy to our artist’s work.

And let’s portray the human condition, as writing upon a specific material. Recall also how John Locke likened us to the tabula rasa, written upon by life experience. To some, like the author of the Mishnah, (1) meaning derives through the relationship of the materials that convey the words. And they require someone to relate the words to the materials in a particular traditional way; or to relate the materials to linguistic expressions. From the Mishnaic perspective, it is only a torah when a sofer —who, like the modern artist, is more than a skillful performer, prepares the kosher surface to be written upon, from kosher animals, to a specified texture with the requisite intention and concentration, applying a specified ink with its own flow characteristics, with certain select writing tools, in order to begin the writing.

Let’s digress briefly: Apologies to the sofer. We may not know how to distinguish the sofer product from art. But in likening Buzz’s artistic investigation of the writing endeavor to sofer-ism we are not accusing the sofer of idolatrous iconism. And apologies to Buzz. We are discussing an aspect of his work in a lopsided way because of the limitations of language competence in addressing ambiguity compared to how artistic performance addresses ambiguity. A more wholistic response would be with our own art performance. Both the sofer and the artist portray language interacting with something else. Don’t ignore the importance of the “something else,” which transforms into the sacred or beautiful. But when metaphor is misconstrued instead, the sofer calls out idolatry (2) and the modern artist calls out kitsch.

In the sofer analogy, the surface is specifically for the ink that is then formed into the fundamentals of ideas. So the surface and ink have more than utilitarian texture and extension of the hand; there is the interaction between the notion of the divine as pure language and the inscription as the mundane. Or perhaps, in modern terms what ought to be and what is. So the act of writing considers the surface and that which acts upon the surface both as important modulators of meaning that the sofer is constructing. Even calligraphic style and details are expected to convey convictions about life. (3) The, tacit, (4) meaning is in the entire work, including the performances concerning the work before and after the sofer’s work is completed — when it might even be treated as a being. This properly prepared parchment and the other materials, with their own prepared substances and elusive histories, is in this, like Locke’s tabula rasa. The materials under consideration here are made to transact. A “rasa,” so to speak, is ready for what the tabula can transact. The tabula must have a structure to modulate experience. And then it must be read to be meaningful. And the whole, in this analogy, has been likened to a person influenced by others and in turn influencing their influencers (5) — acculturation and development.

In addition to material signification, texture may signal our endeavor to bond. We are signaled by whatever has been embedded in us by culture and the substrate of our brains. When we apprehend a textured surface we want to touch and be touched. (6) The presentation of texture and the perception of texture, like a visual pharmaceutical slipped into our drinks, creates a virtual hot spot between ourselves and the artist. In the sofer version, the hot spot mediates the relation between us and the divine. In the modern version the texture we apprehend, however inchoate, influences how we experience the esthetic. Or does the esthetic mediate being touched by the artist?

Performance-surface-texture analogies apply to Buzz’s work because of how texture modulates the interaction of materials, as recipients and donors, through their own physical properties within the work and between the artist and audience through metaphor and between us and beauty through how we experience. All of the supplements together are fundamental to the art of transforming tangible stuff beyond the mere esthetic into the matrix of human feeling and conviction: what the artist claims about us and our world. Texture especially, humanizes these claims —prepared with sensual and loving touch, presented to our senses visually, esthetically, mathematically, three dimensionally and linguistically. All the better for the artist to shift our gaze to an elusive meaning of the whole work. And then we respond phenomenally. Imagine how we would respond without the illusive (!) textural element to challenge us. Soferistry?

END NOTES

(1) The written form of previously oral traditions, also known as the Oral Torah, complementary to the (written) Torah and also written on parchment.

(2) David H. Aaron, 2001

(3) Consider the Talmudic insistence that meaning is conveyed through calligraphic details of no apparent linguistic relevance, while we non-artists might regard such non-linguistic aspects of a writing inconsequential to meaning. Babylonian Talmud, Menahot Tractate, page 29B

(4) Michael Polanyi, 1958

(5) J..B. Soleveitchik (J.B. is considered one of the most influential Talmudists of the 20th century, integrating a learning methodology transmitted through his family for hundreds of years with modern Western philosophy.)

From a written speech given in Yiddish and translated into English by his great nephew Meir Yaakov Soloveichik [same Ashkenazi surname, different English spelling] in a lecture, where M.Y. retells the Talmudic tale about letters emancipated from their parchment by a Roman fire intending to destroy the learning of Torah, when Tarfon refused to disavow words…. Recall also the tradition in which those same letters were written by a divine fiery finger. Tikvah podcast January, 2022

(6) Bruno Klopfer, 1954.

Sam Goldman is a practicing psychiatrist who is also an artist who uses photographs. He and Buzz Spector have been friends since Hebrew School. Goldman lives with his family in Wilmette, Illinois. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.

Collaged book pages and graphite on paper Collection: John and Mimi LeBourgeois

AFTERWORD

BY BRUNO L. DAVID

I am pleased to present Paper made and unmade, an exhibition by Buzz Spector. This is Spector’s fifth exhibition with the gallery.

The new exhibit at Bruno David Gallery, brings together recent works of handmade paper Spector produced at three studios over the past three years: Megan Singleton in St. Louis, Helen Frederick in Silver Springs, MD, and Joan Hall in Jamestown RI. These works have not previously been exhibited.

Buzz Spector is an artist and critical writer whose artwork has been shown in such museums as the Saint Louis Art Museum, Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Contemporary Art Chicago, Corcoran Gallery of Art, Washington, DC, Mattress Factory, Pittsburgh, PA, and most recently, Rockford Art Museum. Spector’s work makes frequent use of the book, both as subject and object, and is concerned with relationships

between public history, individual memory, and perception. He has published a number of artists’ books and editions since the mid-1970s, including, most recently, Buzzwords, selected interviews with Spector and new page art, issued by Sara Ranchouse Publishing, Chicago, in 2012. Other Spector publications include White Insistence, a limited-edition collaboration with poet Michael Burkhart self-published by the artist in 2009, and Time Square, a limited edition letterpress book hand altered by the artist and published in 2007 by Pyracantha Press and ABBA at Arizona State University in Tempe.

Spector was a co-founder of WhiteWalls, a magazine of writings by artists, in Chicago in 1978, and served as the publication’s editor until 1987. Since then he has written extensively on topics in contemporary art and culture, and has contributed reviews and essays to a number of publications, including American Craft, Artforum, Art Issues, Art on Paper, Hand Papermaking, and New Art Examiner. He is the author The Book Maker’s Desire, critical essays on topics in contemporary art and artists’ books (Umbrella Editions, 1995), and numerous exhibition catalogue essays including, most recently, Shona Macdonald: siding with things (Zillman Art Museum, University of Maine, 2021) and Monika Weiss: Body of Drawings (Center for Polish Sculpture, Oronsko, National Institution of Culture in Poland, 2021).

Spector received his M.F.A. from the University of Chicago in 1978, combining studies in art and philosophy, and studied design and art at Southern Illinois University at Carbondale, where he received his B.A. in 1972. He received the Distinguished Teaching of Art Award from the College Art Association in 2013. Other recognition includes a 2005 New York Foundation for the Arts (NYFA Fellowship), a Louis Comfort Tiffany Foundation Fellowship in 1991, and National Endowment for the Arts Fellowship Awards in 1982, 1985, and 1991. He is emeritus professor of art in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.

Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Sam Goldman for his thoughtful essay. I am deeply grateful to Bonnie Dana and Mary Kate Charles, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Lily Hollinden, Grace Ray, Jordan Lee, and Nina R. Huang.

CHECKLIST & IMAGES OF THE EXHIBITION

Kozo Book 2018

Kozo on cotton and hemp 27-1/2 x 36-1/2 inches 69.9 x 92.7 cm

A Wound in the Sea 2018

Hemp on cotton 27-1/2 x 36-1/2 inches 69.9 x 92.7 cm

Pulp painting on cotton 22-1/4 x 25-1/4 inches 56.5 x 64.1 cm

Ampersand

2019

Pulp painting on cotton 22-1/2 x 25-1/4 inches 57.2 x 64.1 cm

Écriture 2 2019

Pulp painting on cotton 22-1/2 x 25-1/4 inches 57.2 x 64.1 cm

Écriture 3 2019

Pulp painting on cotton 22-1/2 x 25-1/4 inches 57.2 x 64.1 cm

Rim/baud 2020

Pulp painting on cotton 25 x 42-1/2 inches 63.5 x 107.9 cm

Buzz Spector: Paper made and unmade at Bruno David Gallery, 2021. (Installation View - Detail)

Buzz Spector: Paper made and unmade at Bruno David Gallery, 2021. (Installation View - Detail)

Buzz Spector: Paper made and unmade at Bruno David Gallery, 2021. (Installation View - Detail)

Buzz Spector: Paper made and unmade at Bruno David Gallery, 2021. (Installation View - Detail)

Buzz Spector: Paper made and unmade at Bruno David Gallery, 2021. (Installation View - Detail)

BUZZ SPECTOR

Lives and works in New Windsor, New York

EDUCATION

1978 University of Chicago, MFA, Committee on Art and Design

1972 Southern Illinois University at Carbondale, B.A., Art

SOLO EXHIBITIONS

2022 “Reading Matter,” Curated by Carrie Johnson, Rockford Art Museum, Rockford, Illinois

2021 “Paper Made and Unmade”, Bruno David Gallery, St. Louis, MO (catalogue)

2020 “Buzz Spector: Alterations”, curated by Gretchen L. Wagner and Elizabeth Wyckoff, St. Louis Art Museum, St. Louis, MO (catalogue)

2019 “Language is a river,” Qian Juntao Art Research Museum, Haining, China (installation)

“Buzz Spector: works on and of paper,” Olin Library Special Collections, Washington University in St. Louis. St. Louis, MO

2016 “Buzz Spector,” Anderson Gallery, Drake University, Des Moines, IA

Zolla-Lieberman Gallery, Chicago (with Jamie Adams)

The Ski Club, Milwaukee, WI (installation)

2015 DEMO Project, Springfield, IL (installation)

“Buzz Spector: The Book Under (de-) Construction,” Center for Book Arts, New York

Fay Jones School of Architecture, University of Arkansas, Fayetteville, AR (installation)

2014 “Buzz Spector: New York,“ Bruno David Gallery, St. Louis, MO (catalogue)

“Buzz Spector: About the Author, new collages,” Marsha Mateyka Gallery, Washington D.C.

“Otherwise: Mary Jo Bang and Buzz Specor,” Beverly Gallery, St. Louis, MO

2013 “Walter Gropius Master Artist Series: Buzz Spector,” Huntington Museum of Art, Huntington, WV

“Papers” (with Joan Hall,) Bruno David Gallery, St. Louis, MO.

2012 “Buzz Spector: Off the Shelf,” book installations, Grunwald Gallery, Indiana University, Bloomington, IN (catalogue)

“Malevich: with 8 Red Rectangles,” installation, Bruno David Gallery, St. Louis, MO

2011 “Buzz Spector,” Zolla-Lieberman Gallery, Chicago, IL

“it is not a pipe,” Isolation Room/Gallery Kit, St. Louis, MO

2010 “Shelf Life: selected work,” Bruno David Gallery, St. Louis, MO (catalogue)

2009 “Buzz Spector: Cards and Letters: Postcard works 1973-2000,” Gahlberg Gallery, College of DuPage, Glen Ellyn, IL (catalogue)

Libreria al ferro di cavallo, Rome, Italy

2008 Urban Institute for Contemporary Art, Grand Rapids, MI

Zolla-Lieberman Gallery, Chicago, IL

2005 “Panorama (Forest of Signs),” one of five public art projects, Contemporary & Classic Art Fair, Navy Pier, Chicago, IL (installation)

Zolla-Lieberman Gallery, Chicago, IL

2004 Marsha Mateyka Gallery, Washington, DC

2003 Zolla-Lieberman Gallery, Chicago, IL

2001 Cristinerose | Josée Bienvenu Gallery, New York

“Public/Private Peace,” List Art Gallery, Swarthmore College, PA (installation with catalogue)

2000 Marsha Mateyka Gallery, Washington, DC

1999 Zolla-Lieberman Gallery, Chicago, IL

1998 “Beautiful Scenes: Selections from the Cranbrook Archives by Buzz Spector,” Cranbrook Art Museum, Bloomfield Hills, MI (installation with catalogue)

Cristinerose | Josée Bienvenu Gallery, New York (catalogue)

Marsha Mateyka Gallery, Washington, DC

1997 Kerlin Gallery, Dublin, Ireland

1996 Zolla-Lieberman Gallery, Chicago, IL

Marsha Mateyka Gallery, Washington, DC

1995 Angles Gallery, Santa Monica, CA

Roy Boyd Gallery, Chicago

1994 “Unpacking my Library,” inSITE’94, San Diego State University Art Gallery, CA

“Unpacking my Library,” Cleveland Center for Contemporary Art, Cleveland, OH

1993 Roy Boyd Gallery, Santa Monica, CA

1992 fiction/nonfiction, New York

Laurence Miller Gallery, New York

“Bibliography,” Fisher Gallery, University of Southern California, Los Angeles, CA (installation)

1991 “Cold Fashioned Room,” Mattress Factory, Pittsburgh, PA (installation)

1990 “Buzz Spector: New California Artist XVII,” Newport Harbor Art Museum (now Orange County Museum of Art), Newport Beach, CA (installation with catalogue)

1988 “The Library of Babel,” The Art Institute of Chicago, IL (installation with catalogue)

SELECTED GROUP EXHIBITIONS

2021 “Use Your Words,” curated by JJ Manford, Studio Archive Project

“Unfinished Business,” curated by Michael Darling, Museum of Contemporary Art, Chicago, IL

“Decoys and Depictions: Images of the Digital,” curated by Constance Vale, Des Lee Gallery, Washington University in St. Louis

“Rouge/Red,” Bruno David Gallery, St. Louis, MO

“The Art of the Book,” Seager Gray Gallery, Mill Vallery, CA

“Bilingual: Abstract & Figurative,” Bruno David Gallery, St. Louis, MO (catalogue)

2020 “NOIRE / NOIR,” Bruno David Gallery, St. Louis, MO

“OVERVIEW_2020,” Bruno David Gallery, St. Louis, MO

2019 “Lines,” Bruno David Gallery, St. Louis, MO

“OVERVIEW_2019,” Bruno David Gallery, St. Louis, MO

2018 “Picture Fiction: Kenneth Josephson and Contemporary Photography,” organized by Michael Darling, Museum of Contemporary Art Chicago, IL

“Small Worlds,” Bruno David Gallery, St. Louis, MO

“Paper/Print: American Hand Papermaking, 1960s to Today,” curated by Susan Gosin and Mina Takahashi, International Print Center New York

“FOLD: Artists’ Accordion Books,” curated by Annemarie Sawkins, Villa Terrace, Decorative Arts Museum, Milwaukee, WI

“demo DEMO,” DEMO Project, Springfield, IL (installation)

“OVERVIEW_2018,” Bruno David Gallery, St. Louis, MO

2017 “Publishing as an Artistic Toolbox: 1989–2017,” curated by Luca Lo Pinto, Kunsthalle Wien, Austria

“WORD: text in contemporary art,” curated by Karen Conway, Jamestown Arts Center, Jamestown, RI

“Booknesses: Artists’ Books from the Jack Ginsberg Collection,” University of Johannesburg Art Gallery, Kingsway Campus, Johannesburg, South Africa

“Not Even: Poets Make Collage,” curated by Anna Moschovakis, Bushel Collective, Delhi, New York

“Collage Mash Up,” curated by Brigham Dimick, Edwardsville Art Center, Edwardsville, IL

“Drawn Out/Drawn Over,” curated by Nikki Brugnoli Whipkey, Brentwood Arts Exchange, Riverdale, MD

“A Certain Slant of Light,” curated by Bill Conger and Shona Macdonald, Riverside Art Center, Riverside, IL

2016 “Invisible Cities,” Constellation Studios, Lincoln, NE

“PDF-Objects,” curated by Jason Lazarus and Sean Ward, on-line and gallery exhibit, Opened at Mana Contemporary Chicago.

“12 x 12 Invitational Collaborative Show” (with Jennifer Baker), Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH

“Books/Catalysts,” curated by Jon Coffelt, The Foundation Gallery, New Orleans, L A

“Beyond the Pour II: The Creative Process,” curated by Bob Nugent, San Francisco Museum of Craft and Design

“Printmaking in St. Louis Now,” curated by Olivia Lahs-Gonzales, Sheldon Art Galleries, St. Louis, MO (exh. cat.)

“Reading with the Senses,” curated by Ruth R. Rogers, Roberts Gallery, Lesley University College of Art and Design, Cambridge, MA (online exh. cat.)

“Binding Tales: Altered Books in Contemporary Art,” curated by Sarah Tanguy, Everhart Museum, Scranton, PA (online exh. cat.)

“Open-Type,” curated by Meredith Lynn, Indiana State University Art Gallery, Terre Haute, IN (on-line exh. cat.)

“Technology and the Evolution of the Artist’s Book,” curated by Maddy Rosenberg, Phoenix Brighton Gallery, Brighton, UK

2015 “The Book Undone: Thirty Years of Granary Books,” curated by Sarah Arkebauer and Karla Nielsen, Kempner Gallery, Columbia University Rare Book & Manuscript Library, New York

“and/or,” Bruno David Gallery, St. Louis, MO (Catalogue)

“Occupational Therapy,” curated by Kelly Shindler, Contemporary Art Museum St. Louis, MO

“Words_Words_Words,” Elizabeth Leach Gallery, Portland, OR

“Perception Isn’t Always Reality,” curated by Jarmel Reese for Saint Louis Story Stitchers Artists’ Collective, Kranzberg Art Center, St. Louis, MO

“CBAA Members’ Exhibition,” curated by Kitty Maryatt, Denison Library, Scripps College, Claremont, CA (catalogue)

2014 “Behind the Personal Library: Collectors Creating the Canon,” Organized by Alexander Campos, Center for Book Arts, New York

2014 “OVERVIEW_2014,” Bruno David Gallery, St. Louis, MO

“Odd Volumes: Book Art from the Allan Chasanoff Collection,” Yale University Art Gallery (catalogue)

“Rebound: turning books into art,” Birmingham Bloomfield Art Center, Birmingham, MI

“SELFIE STL,” PHD Gallery, St. Louis

“Good as Gold,” curated by Stefanie Kirkland, Craft Alliance Delmar Gallery, St. Louis

“TEXTures: an exhibition of texts, textures and structure in artists’ books,” curated by Jack Ginsberg, David Paton and Rosalind Cleaver, Archives and Special Collections, Library and Information Centre, University of Johannesburg, South Africa (catalogue)

“Binding Desire: unfolding artists books,” Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA (electronic catalogue)

“DEEM 20: Twenty years of the Deem Distinguished Lecture,” Paul Mesaros Gallery, Creative Arts Center, West Virginia University, Morgantown, WV

“Bound by Silence,” Center for Book Arts, New York, NY

2013 “A Human Document: Selections from the Sackner Archive of Concrete and Visual Poetry,” Pérez Art Museum Miami, FL (catalogue)

“Directed: The Intersection of Book, Film and Visual Narrative,” curated by Jeff Rathermel, Minnesota Center for Book Arts, Minneapolis, MN

“Permanent Markers: Aspects of the History of Printing,” Beinecke Library, Yale University, New Haven, CT (catalogue)

“Brave New World: the Art of the Book in the Digital Age,” curated by Rusty Freeman, Cedarhurst Center for the Arts, Mount Vernon, IL

“MCA DNA: Chicago Conceptual Abstraction, 1986-1995,” organized by Lynne Warren, Museum of Contemporary Art Chicago “Drafted,” Schema Projects, Brooklyn, NY

2012 “Blue—White—Red,” Bruno David Gallery, St. Louis, MO

“Wall Text,” curated by Zachary Cahill and Monica Szewczyk for the Reva and David Logan Center for the Arts, University of Chicago

“Help/Less,” curated by Chris Habib, Printed Matter, Inc., New York

“WhiteWalls: 1978−2008,” Golden Gallery, New York

“Central Booking: in Berlin,” curated by Maddy Rosenberg, K-Salon, Berlin, Germany

“Je déballe ma bibliothèque,” Bibliothèque universitaire Droit & Sciences économiques, Limoges, France

2012 “Beaten and Bound,” curated by Suzanne Cohan-Lange for Lubeznik Center for the Arts, Michigan City, IN

“Bound by Silence,” curated by Heather Powell for Dowd Gallery, SUNY Cortland

2011 “Object Poems,” curated by David Abel for 23 Sandy Gallery, Portland, OR

“Write Now: Artists and Letterforms,” Chicago Cultural Center, IL

“Pandora’s Box: Joseph Cornell Unlocks the MCA Collection,” curated by Michael Darling, Museum of Contemporary Art Chicago, IL

“Image, Text, and the Art of the Book,” Beinecke Library, Yale University, New Haven, CT

“Associations,” Urban Institute for Contemporary Arts, Grand Rapids, MI

“Repertoire,” Zolla-Lieberman Gallery, Chicago

2010 “Overpaper,” Bruno David Gallery, St. Louis (catalogue)

“On & of Paper: Selections from the Illinois State Museum,” curated by Jennifer Jaskowiak, Illinois State Museum Chicago Gallery (traveling exhibition)

“Cut Copy,” curated by Shona Macdonald for Engine Room, Massey University, Wellington, New Zealand

“The Book: A Contemporary View,” curated by Susan Isaacs, Delaware Center for the Contemporary Arts, Wilmington, DE (catalogue)

“Material translations: Artists’ Books from 1970 to Now,” curated by Michael Joseph, Arts Council of Princeton, Paul Robeson Center for the Arts, Princeton, NJ

“Recession Rejuvenations,” Bruno David Gallery, St. Louis, MO

“A Reader’s Art,” curated by Jon Coffelt, Susan Hensel gallery, Minneapolis, MN

“Spreading the Word: a hands-on exploration of CSB/SJU book arts collections,” Gorecki Gallery, College of Saint Benedict, St. Joseph, MN

“Speaking Volumes,” John Michael Kohler Art Center, Sheboygan, WI

2009 “Somewhere Far from Habit: the poet and the artist’s book,” Pierre Menard Gallery, Boston, MA. Traveled to Longwood Center for the Visual Arts, Longwood University, Farmville, VA

“Something Geographical: Vernon Fisher, Buzz Spector, Xiaoze Xie,” Zolla-Lieberman Gallery, Chicago (traveled to South Bend Museum of Art, South Bend, IN)

“X Libris: the Re-Purposed Book,” curated by Harriet Bart, Traffic Zone Gallery, Minneapolis, MN

“Readings: Adam Bateman, Stanford Kay, and Buzz Spector,” Schweinfurth Memorial Art Center, Auburn, NY

“Text / Messages: books by artists,” Walker Art Center, Minneapolis, MN

New Prints 2009/Winter, International Print Center, New York (traveling exhibition)

2008 “ARAC@AAM,” Aspen Art Museum, Aspen, CO

“Revisions: Art from Recycled Materials,” curated by Rebecca Godin, Community School of Music and Arts, Ithaca, NY

“Lineage and Legacy,” curated by Gail M. Brown, Savannah College of Art & Design, Savannah, GA

“The Illustrated Word: An Exhibit of Letterpress Broadsides,” Maude Kerns Art Center, Eugene, OR

“Outrageous Pages: Ingenious Artists’ Books,” curated by Tim Sheesley, Art Gallery, SUNY Oneonta

“The Embedded Image: Current Work in Hand Papermaking,” curated by Tom Lang, Craft Alliance Gallery, St. Louis, MO

2007 “Killer B’s,” Zolla-Lieberman Gallery, Chicago (with John Buck and Tony Berlant)

“Threads,” curated by Anne Massoni, Memphis College of Art Gallery, Memphis, TN

“Marks from the Matrix: Normal Editions Workshop Collaborative Limited Edition Prints 1976-2006,” University Galleries, Illinois State University, Normal, IL

“Bowling In The Wind: Buzz Spector, Kimberly Aubuchon, Chuck Ramirez, and Michele Monseau,” Sala Diaz, San Antonio, TX

“Critical Art: Faculty of the Cornell University Department of Art,” School of Art Gallery, Hangzhou Normal University, Hangzhou, China. Traveled to: Academy of Art and Design, Tsinghua University, Beijing

“. . . one more thing added to the world: the Borges Effect in contemporary artists’ books,” Old Capitol Museum, University of Iowa, Iowa City, IA

“A Poetic coup d’etat: Mallarmé’s influence on artists’ books,” Ella Strong Denison Library, Scripps College, Claremont, CA

“Art & Place 2: Material at Hand,” curated by Clayton Colvin, Space 301, Mobile, AL

“On Ice,” curated by Kathy Bruce, Williams Center Art Gallery, Lafayette College, Easton, PA

2006 “Why Lee Shot C: Buzz, She Left’im Vernon!” Zolla-Lieberman Gallery, Chicago

“Extensions: acquisitions 2004-2005,” Centre des livres d’artistes, Saint-Yrieix-la-perche, France

“Not I: A Samuel Beckett Centenary Celebration,” Museum of Contemporary Art Chicago

2005

“Too Much Bliss: Twenty Years of Granary Books,” Smith College Museum of Art, Northampton, MA

“Pulp Friction: new takes on paper,” Carriage Barn Arts Center, New Canaan, CT

New Prints 2005/Autumn, International Print Center New York (traveling exhibition)

“Library,” curated by Barry Rosenberg, Contemporary Art Galleries, University of Connecticut, Storrs

“Inclinations: an exhibition of contemporary photographic art,” curated by Jan Kather, George Waters Gallery, Elmira College, Elmira, NY

“Information in Formation,” curated by Clayton Colvin and Brett M. Levine, Visual Arts Gallery, University of Alabama at Birmingham

2005 “The Artist Turns to the Book,” curated by Joyce Pellerano Ludmer, Getty Research Institute, Santa Monica, CA

“Looking at the World: Photography from the Permanent Collection,” Scottsdale Museum of Contemporary Art, Scottsdale, AZ

“Un art de lecteurs,” curated by Yann Sérandour, Galerie Art & Essai, Université Rennes, France

“Bâtir,” curated by Francisco Guerrero, Kinsey Gallery, Seattle University, Seattle, WA

2004 “Urgent,” Scott Pfaffman Gallery, New York

“Image/Word: the intersection of art and literature,” curated by Cheryl Kramer, Handwerker Gallery, Ithaca College

New Prints 2004/Autumn, International Print Center New York

“Artists’ Books by American Artists: a Selection,” KunstCentret Silkeborg Bad, Silkeborg, Denmark

“Books & Shelves,” curated by Barbara Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL

“Some Things Happening: Twenty-Five Years / Herron Gallery Exhibitions,” Indiana State Museum, Indianapolis, IN

“That 70s Show: The Age of Pluralism in Chicago,” curated by Ruth Crnkovich for Northern Indiana Arts Association, Munster, IN

2003 “Newer Genres: Twenty Years of the Rutgers Archives for Printmaking Studios,” Rutgers University, Zimmerli Art Museum, New Brunswick, NJ

“Painting by Letters,” curated by Eve Wood for Cirrus Gallery, Los Angeles

“Retrospectives,” curated by Adelheid Mers for Gallery 312, Chicago

“Publishing Granary’s Books: A Conversation in the Margins,” Mandeville Special Collections Library, University of California, San Diego

“The Consistency of Shadows: Exhibition Catalogs as Autonomous Works of Art,” curated by AnneDorothee Böhme and Kevin Henry for Betty Rymer Gallery, School of the Art Institute of Chicago

“Building the Book: an exhibition of artists’ books,” curated by Lynne Avadenko for Center Galleries, College for Creative Studies, Detroit, MI

“Re/order,” curated by Nicholas N. Ruth and Karen Sardisco, Houghton House Gallery, Hobart and William Smith Colleges, Geneva, NY

2002 “Life Death Love Hate Pleasure Pain: Selections from the Museum of Contemporary Art, Chicago, Collection,” Museum of Contemporary Art Chicago

“AOP 2002: The 37th Art on Paper Exhibition,” Weatherspoon Art Museum, University of North Carolina at Greensboro

“Fine and Folk: the Ruth and Robert Vogele Gift,” Milwaukee Art Museum

“Visually Speaking,” curated by Nancy Greene for Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY

“Artists’ Books: Highlights from the Kohler Art Library,” Department of Special Collections, Memorial Library, University of Wisconsin, Madison

2001 “Libri fotografici,” curated by Mirella Bentivoglio for La Cuba d’Oro, Associazione Culturale, Rome, Italy

“A Private Reading: The Book as Image & Object,” Senior & Shopmaker Gallery, NYC

2000 “In my Library: Carol Emmons, Buzz Spector, and Karen Wirth,” NML Gallery, Cardinal Stritch University, Milwaukee, WI

“20 x 24 Polaroids,” Museum of Contemporary Photography, Columbia College Chicago

“Out of Line: drawings by Illinois artists,” Chicago Cultural Center

“Blink: Interventions in the Salon,” curated by Julie Charmelo and Brian Ritchard for Northern Illinois University Art Gallery, Chicago

1999 “Bookish,” curated by Lanny Silverman and Audrey Niffenegger for the Chicago Cultural Center

“The Art of Reading: Books and Non-Books,” Institute of Contemporary Art at Maine College of Art, Portland, ME

“Disorienting Signs,” curated by Pablo Helguera for Leonora Vega Gallery, NYC

“The Other Book,” Art Gallery, Cleveland State University, Cleveland, OH

“The Art of the Book,” Society for Contemporary Crafts, Pittsburgh, PA

1998 “Artists’ Books Before 1980: Selections from the Collection,” Museum of Contemporary Art, Chicago

“Chicago Hip,” Rocket Gallery, London, England

“Testo e Contesto: il libro-ambiente,” curated by Mirella Bentivoglio for Accademia d’Ungheria, Palazzo Falconieri, Rome, Italy (installation)

“Word Perfect,” Gallery 400, University of Illinois at Chicago

“Legible Forms: Contemporary Sculptural Books,” curated by Carla Hanzal for the International Sculpture Center (traveling exhibit)

“The Book Transformed,” curated by Audrey Niffenegger, Evanston Art Center, Evanston, IL

1997 “Bound & Unbound,” curated by Barbara Tetenbaum for the Alysia Duckler Gallery, Portland, OR

“Unbound: art in bookform/book as artform,” Herron Gallery, Herron School of Art, Indianapolis, IN

“Fifteen Visions of Book Art,” curated by Julia Miller for the University of Michigan Museum of Art, Ann Arbor, MI

“About Face,” curated by ArtSource for the Transamerica Pyramid Lobby Gallery, San Francisco

1996 “Lineations,” Revolution: A Gallery Project, Ferndale, MI.

“Art in Chicago: 1945-1995,” Museum of Contemporary Art, Chicago

“A Glimpse of the Norton Collection as Revealed by Kim Dingle,” Santa Monica Museum of Art, CA (traveled to Site Santa Fe, NM)

“From Cover to Cover: Transformations of the Book,” Gallery 181, Iowa State University School of Art and Design, Ames, Iowa

“History Lessons: Tom Czarnopys, Susanne Doremus, Jim Lutes, and Buzz Spector,” Zolla-Lieberman Gallery, Chicago

1996 “25 Years of Contemporary Art at the Institute,” Ukrainian Institute of Modern Art, Chicago

“Large Drawings and Objects,” Arkansas Arts Center, Little Rock, AK

1995 “Pasted Papers: Collage in the 20th Century,” curated by Peter Frank, Louis Stern Gallery, Los Angeles

“On Beyond the Book,” Forum for Contemporary Art, St. Louis, MO

“Biblio-Vertigo,” curated by Brock Lueck and Michael Piazza, Northern Illinois University Art Museum, DeKalb, IL (collaboration with Lisa Nichols)

“The International Library,” Center for Book Arts, New York (collaboration with Helmut Löhr)

1994 “Romance,” curated by Irit Krygier, Williamson Gallery, ArtCenter College of Design, Pasadena, CA

“Obsession and the Artist’s Book,” curated by Susan Sayre Batton, Los Angeles Center for Photographic Studies

“Transtextualism,” curated by Sabina Ott, Mark Moore Gallery, Santa Monica, CA

“Serial,” Angles Gallery, Santa Monica, CA

“Wunderkammer,” curated by Maria Porges, Rena Bransten Gallery, San Francisco, CA

“The Book as Art,” Edith Lambert Gallery, Santa Fe, NM

“Desire in Time, Time as Intimacy,” University of Wisconsin-Milwaukee Art Museum

“BLDG,” Rio Hondo College Art Gallery, Whittier, CA (Collaboration with Charles LaBelle)

“Psychic Borders,” Tyler Galleries of Art, Temple University, Philadelphia, PA

1993 “Books as Objects,” Comus Gallery, Portland, OR

“Like a Body Without a Shadow,” curated by Christopher French, Marsha Mateyka Gallery, Washington, DC

“Beyond the Written Word,” San Jose Institute of Contemporary Art, San Jose, CA (installation)

“Building the Contemporary Book,” Minnesota Center for Book Arts, Minneapolis

“Object Bodies,” curated by Terry R. Myers, Emison Art Center, Depauw University, Greencastle, IN (traveling exhibit)

“The Eidetic Image: Contemporary Works on Paper,” Krannert Art Museum, University of Illinois, Champaign

“Beyond the Book: Contemporary Directions,” Montgomery Gallery, Pomona College, Pomona, CA

“...A Loose Form of Narrative...” Gallery A, Chicago

1992 “Imperfect Order,” Irvine Fine Arts Center, Irvine, CA

“IN-FORMATion,” Greg Kucera Gallery, Seattle, WA

“Under Cover: The Book Becomes Art,” Scottsdale Center for the Arts, AZ

“Library,” Granary Books Gallery, New York

“The Object is Bound,” Stephen Wirtz Gallery, San Francisco

“Knowledge: Aspects of Conceptual Art,” curated by Frances Colpitt and Phyllis Plous, University Art Museum, University of

1992 California-Santa Barbara. Traveled to: Santa Monica Museum of Art, Santa Monica, CA; North Carolina Museum of Art, Raleigh

1991 “California Artists’ Books,” The Armory Center for the Arts, Pasadena, CA

“Boundless Vision: Contemporary Bookworks,” San Antonio Art Institute, San Antonio, TX

“The Lick of the Eye,” curated by David Pagel, Shoshana Wayne Gallery, Santa Monica

“Books As Art,” Boca Raton Museum of Art, Boca Raton, FL

“The Fetish of Knowledge,” curated by James Hyde for Real Art Ways, Hartford, CT

“The Library of Babel,” curated by Todd Alden for Hallwalls, Buffalo, NY (traveling exhibit)

“Artists’ Books,” Lorence Monk Gallery, NYC

“Outside America: Going Into The 90’s,” Fay Gold Gallery, Atlanta, GA

“20th Century Collage,” Margo Leavin Gallery, Los Angeles. Traveled to: Centro Cultural Arte Contemporaneo, Mexico City, Mexico; Musée d’Art Moderne et d’Art Contemporain, Nice, France

“Mixed Use Space,” Security Pacific Plaza, Los Angeles

1990 “Off the Shelf: the book in art,” Rockford College Art Gallery, Rockford, IL

“Con-Text,” Richard/Bennett Gallery, Los Angeles

“Oh, Those Four White Walls!” Atlanta College of Art Gallery, Atlanta, GA

“All Quiet on the Western Front?” Espace Dieu, Paris, France

“No Trends,” Nahan Contemporary Art, New York

“The Book in Art/The Book as Art,” Barbara Fendrick Gallery, NYC

“Il Librismo,” Fiera Campionaria di Cagliari, Sardegna, Italy (traveling exhibit)

“Membership Has Its Privileges,” Lang & O’Hara Gallery, NYC

“Beyond Words: the book as metaphor for art,” San Francisco Craft & Folk Art Museum (traveling exhibit)

“Focus: Systems,” Los Angeles Municipal Art Gallery

“Book Arts in the USA,” Center for Book Arts, NYC (international traveling exhibit)

1989 “Archeology II,” Roy Boyd Gallery, Santa Monica

“A Good Read: the book as metaphor,” Barbara Toll Fine Arts, New York

“Containers,” Shoshana Wayne Gallery, Santa Monica

“Artists’ Books: an alternative space for art,” Akron Art Museum, Akron, OH

1988 “The Arts of the Book,” Rosenwald-Wolf Gallery, University of the Arts, Philadelphia

“The Altered Page: selections from the Ruth and Marvin Sackner Archive of Concrete and Visual Poetry,” Center for Book Arts, NYC

1988 “Collage at N.A.M.E.,” N.A.M.E. Gallery, Chicago

1987 “The Book & Beyond,” Pyramid Arts Center, Rochester, NY

“Chicago Stock Art,” Hyde Park Art Center, Chicago (installation)

“Unique Books by Unique Artists,” Patricia Carega Gallery, Washington, DC

1986 “Between Metaphor and Fact: recent drawing,” Leonarda Di Mauro Gallery, NYC

“Artists Books—Illinois,” State of Illinois Art Gallery, Chicago

“The Book Made Art,” curated by Jeffrey Abt, Regenstein Library, University of Chicago

“Beyond Words: the art of the book,” Memorial Art Gallery, University of Rochester, Rochester, NY

1985 “Components/Structure: Peter Downsbrough, Robert C. Morgan, Buzz Spector,” Visual Studies Workshop Gallery, Rochester, NY

“Messages from the Interior,” curated by Timothy Porges, N.A.M.E. Gallery, Chicago

“One of a Kind Artists’ Books,” Diverse Works, Houston, TX

1984 “Fluxus and Friends,” Wright Art Museum, Beloit College, Beloit, WI

“Center for Book Arts: the first decade,” New York Public Library, NYC

“Found Language,” Franklin Furnace, NYC

“Small but Hot,” Burpee Art Museum, Rockford, IL

1983 “EarthArt,” Museum of Contemporary Art, Chicago

“N.A.M.E. at Semaphore (Other Images from Chicago),” Semaphore Gallery, NYC

“Object: Book,” Cantor/Lemberg Gallery, Birmingham, MI

“Beautiful!” Ukrainian Institute of Modern Art, Chicago

“Breaking the Bindings: American book art now,” Elvehjem Art Museum, Madison, WI

1982 “Artists Books,” Kathryn Markel Gallery, NYC

“Drawing from Chicago,” The Art Gallery, University of Nebraska at Omaha

“Book Objects,” Jeffrey Fuller Fine Art, Philadelphia

“Artists Books,” Ben Shahn Gallery, William Paterson College, Wayne, NJ

1981 “Prints + Multiples: 79th exhibition by artists of Chicago and vicinity,” Art Institute of Chicago (traveling exhibit)

“33rd Illinois Invitational,” Illinois State Museum, Springfield

“Artists Books from the Permanent Collection,” Museum of Contemporary Art, Chicago

1981 “International Artists Book Show,” Library of the School of the Art Institute of Chicago

1980 “Tear/Sew/Fold/Stretch,” SXC Gallery, St. Xavier College, Chicago

1979 “Chicago Drawing,” Columbia College Gallery, Chicago

1978 “Illinois Artists ‘78: a drawing invitational,” Center for the Visual Arts Gallery, Illinois State University, Normal

1975 “41st Semi-Annual Prints-Drawing-Photography Competition,” Southeastern Center for Contemporary Art, Winston-Salem, NC

ARTISTS’ BOOKS, PAGES, AND MULTIPLES

2019 Four dust jacket collages published in Utsanga, #21-2019 (September) https://www.utsanga.it/spector-collage-about-the-author-four-works/

2018 Five collage poems published in Posit: a journal of literature and art, #19 (September) https://positjournal.com/2018/09/13/buzz-spector/

2017 Cover image [Stone Book (Astounding Revelations), 1983], Schwartz, Lynne Sharon, ed., Crossing Borders, New York: Seven Stories Press, 2017

2016 Cover design, Clay Steve and Kyle Schlesinger, eds. Threads Talks, New York: Granary Books and Austin, TX: Cuneiform Press

2015 “Authors Beards” and “Authors Hands to Head,” lithograph editions published by the University of Alberta on the page at the back of the book., artists’ book, edition of 750, published by Columbia College Center for Book and Paper Arts, Chicago

2014 “Excerpts from lithe napkin,” artist project for 8EIGHTS8, No. 2: n.p.

“Thesauri: On Paper,” poem in Hand Papermaking, Vol. 29, no. 2 (Summer 2014): 35.

2013 “Gallery: Buzz Spector,” website project for Altered Scale: http://alteredscale.com/gallery-visual-art-spector/

2012 “64 Ears,” lithograph/letterpress edition, published by the artist and University of Wisconsin-Stevens Point Art Department, edition of 20 plus artist’s proofs

2011 Mimeo Mimeo, No. 5 (Fall 2011), front and back cover art

“Ocean of Tears,” one of six placemats designed by artists for Artists’ Place Mat Set 1, Shandy Books, Paris, France

2010 “Bri-cab-rac/Bri-col-eur,” letterpress broadsheet, edition of 50 plus 10 artist proofs, published by the Book Art studio, College of Saint Benedict/Saint John’s University, Collegeville, MN

2009 White Insistence, artists’ book, edition of 5 plus artist proofs, published by the artist as part of the traveling exhibition, “Somewhere Far from Habit: the poet and the artist’s book,” curated by Kerri Cushman and Mary Carroll-Hackett, Longwood University, Farmville, VA

2008 “Reading Around,” website project: http//www.bookarts.uwe.ac.uk/reading.htm

2007 “The Napkin and its Double,” with Marjorie Welish, image/text paper ephemera in the form of a folded napkin, published by Granary Books, New York

2006 “Time Square,” artists’ book, edition of 30 plus 12 artist’s proofs, published by the artist and Pyracantha Press, Arizona State University, Tempe, AZ

2004 “Fifty Ears,” offset lithograph, edition of 250, Borowsky Center for Publication Arts, University of the Arts, Philadelphia, PA “Reading Positions,” collage/drawing, edition of 50 for Bridge Magazine, Shoebox Series, Chicago

2003 Between the Sheets, artists’ book, edition of 40 plus 12 artist’s proofs, published by the artist and the Ink Shop Printmaking Cooperative, Ithaca, NY

2001 Details: closed to open, artists’ book, edition of 3,000 published by the artist and Swarthmore College, Swarthmore, PA.

2000 “Women: Reading,” essay with photographs in River Styx (literary magazine), St. Louis, MO, #56: 33-37.

1998 In Painting, artists’ book, edition of 70 plus 5 artist’s proofs, Columbia College Center for Book and Paper Arts, Chicago Crenshaw Stories, public art project catalogue, edition of 800, published by the Los Angeles County Metropolitan Transportation Authority

Beautiful Scenes: selections from the Cranbrook Archives, artists’ book, edition of 600 plus 24 deluxe, published by Cranbrook Art Museum, Bloomfield Hills, MI

1997 “The Position of the Author,” artist’s project for ebr (Electronic Book Review) 6 (Winter 97-98): http://www.altx.com/ebr/ebr6/ebr6.htm

“Dimensions,” artists’ project for Sculpture, Vol. 16, no. 7 (September 1997): 24-25.

1995 “Author (with coffee),” cibachrome, edition of 10, published by Los Angeles Center for Photographic Studies Unpacking my Library, artists’ book, edition of 1,000, published by Cleveland Center for Contemporary Art, Cleveland, OH

1994 A Passage, artists’ book, edition of 35 plus 13 hors d’ commerce, published by Granary Books, New York “Pier and Ocean,” artists’ project for Color This! Foundation for Art Resources (FAR), Los Angeles “Postcards from Gracchus / Postkarten aus Gracchus,” artists’ project for WhiteWalls, #33/34, Chicago

1993 The Position of the Author, artists’ book, edition of 800, published by Visual Studies Workshop, Rochester, NY

1992 Limited edition book box commissioned by Grassfield Press, Miami Beach, FL, for Joseph Cornell: Gifts of Desire, by Dickran Tashjian, edition of 30 “Excess-able,” silkscreen on bedpan multiple, edition of 10, commissioned by Randolph Street Gallery, Chicago, for “Multiples ‘92,” exhibit and benefit

1992 Untitled artists’ project for Frame-Work, Los Angeles Center for Photographic Studies, Vol. 5, nos. 2-3: 31

1990 “Corcoran/Roses,” artists’ project for Frame-Work, Los Angeles Center for Photographic Studies, Vol. 3, nos. 2-3: 21

“Greater Utopia,” artists’ project for Art Papers, Atlanta, Vol. 14, no. 3: 26

1988 “Statement / Dichiarazione,” artists’ statement in Human Space / Spazio Humano, Milan, Italy: 60-63 (illus.)

On the Cape, illustrations to chapbook poem by Reagan Upshaw, edition of 500, published by The Press of Events, Chicago

1987 Double Readings, artists’ book, edition of 1,000, published by The Press of Events, Chicago, IL

1985 “Hollandsche Mondrianschap,” postcard, edition of 1,000, published by The Press of Events, Chicago

1983 “Page 31,” artists’ project for Blabspace, Bookspace, Chicago, Issue 1: back cover

1977 “A Picture,” broadsheet, edition of 500, published by Chicago Books

1975-2018 Memories, 12 text-bearing pencils with text in box, several editions (approx. 800), published by The Press of Events, Chicago

SELECTED PUBLICATIONS BY THE ARTIST

Since Author of numerous critical essays and exhibit reviews published in Afterimage, American Craft, Artcoast, Artforum, 1977 Art Issues, Art on Paper, Dialogue, New Art Examiner, and Visions

2019 “Where There’s Smoke,” essay in Smoke Remains: Dennis Lee Mitchell (exh. cat.), Zolla/Lieberman Gallery, Chicago, 7-9.

“Journeys to the Ulterior: Carol Pylant’s Portal paintings,” essay in Carol Pylant (exh. cat.), Chicago: Gallery Vistor Armendariz, 2-3.

2018 “Ando, and/or,” essay in AND/OR (exh. cat.), Bruno David Gallery, St. Louis, 2-3.

2017 “Dan Ramirez: Music of Spheres,” essay in Certainty and Doubt: paintings by Dan Ramirez (exh. cat.), Chazen Museum of Art, Madison, WI, 23-25.

“Selected Durations,” introduction to David Abel, Selected Durations, artists’ book, University of Nevada, Reno: Black Rock Press, 3-4.

2016 “Going Over the Books,” essay in A Library for Babel (exh. cat.), Anderson Gallery, Drake University, Des Moines, IA: 7-12 (illus.). Untitled artist statement in Lahs-Gonzales, Olivia, ed. Printmaking in St. Louis Now (exh. cat.), Sheldon Art Galleries, 85-86 (illus.).

“Over erasure: the art of Susanne Doremus,” essay in Susanne Doremus: Drawings and Paintings (exh. cat.), Zolla/Lieberman Gallery, Chicago, 4-7.

2016 “On the Fetishism of the Book Object,” transcribed conversation in Threads Talk Series, New York: Granary Books and Cuneiform Press, 55-66 (illus.).

2015 “To look down and see the sky,” essay in Shona Macdonald: Ground Covering (exh. cat.), Tarble Arts Center, Eastern Illinois University, Charleston, IL, n.p.

“Featured Artist Interview,” Mistake House, Principia College, Elsah, IL: http://mistakehouse.org/buzz-spector-interview/

2014 “Notes on ‘An experiment in synthesizing word-related interests of artists and poets,’ ”essay in Satinsky, Abigail, Ed. Support Networks, Chicago: School of the Art Institute of Chicago and University of Chicago Press, pp. 91-96.

2013 “Museums at the Scale of One Body,” essay in Thomas C. Card: Tokyo Adorned, New York: Abrams Books, Booth-Clibborn Editions, 2014.

Untitled essay in N. Dash (exh. cat.), White Flag Projects, St. Louis, n.p.

“Brian Dettmer’s Elemental Artifacts,” essay in Barefoot, Shana, [MOCA GA exh. cat.]

2012 “11 Books from my Library (for James Butler),” poem in Rives, Veda M., Ed. A Community of Printmakers: a gift portfolio honoring James D. Butler, Distinguished Professor of Art Emeritus, Illinois State University, Normal Editions Workshop, Illinois State University, 47 (illus.).

“Joan Hall: Home from the Sea,” essay in Joan Hall: Marginal Waters (exh. cat.), Bruno David Gallery, St. Louis, 4-6. Buzzwords: interviews with Buzz Spector, Sara Ranchouse Publishing: Chicago. n.p. “Objects and Logotypes,” excerpt in eine und . . . zwei und . . . und drei, Stuttgart, Germany: Verlag Karl Duschek, n.p.

2012 “Judy Pfaff: EX PLO SIV ITY,” essay in Judy Pfaff: Recent Work (exh. cat.), Bruno David Gallery, St. Louis, 2-4.

2011 “Guerra de la Paz: Follow the Leader,” essay in Guerra de La Paz (exh. cat.), Craft Alliance, St. Louis: n.p. “Overpaper,” essay in Overpaper (exh. cat.), Bruno David Gallery, St. Louis, 2-3.

Untitled statement for M/E/A/N/I/N/G Online #5 (25th Anniversary Edition), 161-163 in PDF format, or link: http://writing.upenn.edu/pepc/meaning/05/index.html

“The State of the Book: a conversation,” Johanna Drucker and Buzz Spector, The California Printmaker, 18-21.

“Xu Bing: Words of Art,” essay in Hochtritt, Lisa, Ploof, John, and Quinn, Therese, eds. Culture as Commons: Art and Social Justice Education, School of the Art Institute of Chicago and Routledge/Taylor, pp. 65-67.

“Carmon Colangelo: In Media Res,” essay in Carmon Colangelo: Eyedeas (exh. cat.), Bruno David Gallery, St. Louis, 2-4.

“Forewords and Last Words: An Interview,” in Luis Camnitzer: Forewords and Last Words (exh. cat.), Mildred Lane Kemper Art Museum, Washington University in St. Louis: n.p.

2011 “I stack things. I tear stuff up.” essay in Buzz Spector: Shelf Life (exh. cat.), Bruno David Gallery, St. Louis, 90 pp.: (illus.).

2010 “Buzz Spector,” essay in Jacob, Mary Jane, and Grabner, Michelle, eds. The Studio Reader, School of the Art Institute of Chicago and University of Chicago Press: 17-20 (illus.).

2009 “Like Shields, Like Shells: The Graphite Reliefs of Roberto Mannino,” Hand Papermaking, Vol. 24, no, 2 (Winter 2009): 34-36.

“The Fetishism of the Book Object,” essay in Art on Paper, Vol. 14, no.1 (September/October 2009): 76-79. Republication of essay from Spector, Buzz. The Book Maker’s Desire: writings on the art of the book, Umbrella Editions, Pasadena, CA

“How Hybrid the Book: works by Irma Boom, Gunnar Kaldewey, and Hedi Kyle,” essay in The Hybrid Book (exh. cat.), Rosenwald-Wolf Gallery, University of the Arts, Philadelphia, PA: 6-9.

2008 “Shard Experience,” essay in New Glass Review 29, Corning Museum of Glass, Corning, NY: 70-72, 87-90.

2007 “My Normal Editions,” essay in Finch, Richard D. and Rives, Veda M., eds. Marks from the Matrix: Normal Editions Workshop Collaborative Limited Edition Prints 1976-2006, Normal, IL: Illinois State University: 19-21.

2006 “Moremoremore and more so,” essay in Sang-ah Choi: moremoremore (exh. cat.), University Galleries, Illinois State University: n.p.

“Optimism and Artists’ Books,” essay in Fourth International Artists’ Book Exhibit (exh. cat.), King St. Stephen Museum, Székesfehérvár, Hungary: 6-9.

2005 “Pyramid Atlantic, how you’ve grown,” essay in Collaboration as a Medium: 25 Years of Pyramid Atlantic (exh. cat.), Pyramid Atlantic Art Center, Silver Springs, MD

2004 “A Reading List,” essay in Books & Shelves (exh. cat.), Gahlberg Gallery, College of DuPage, Glen Ellyn, IL

“Couching a Phrase: Making Paper at RCIPP,” The Journal of the Mid America Print Council, Vol. 12, no. 1, 2004: 6-7 (Cover + illus.).

“Incident of Travel: Carmen Ruiz-Davila’s Airplane,” in Carmen Ruiz-Davila (exh. cat.), Museum of Contemporary Art, Cleveland, OH.

2003 “Painting!” essay in Painting! (exh. cat.), University Art Gallery, Central Michigan University, Mount Pleasant, MI.

2002 “Conrad Bakker’s Vernacular Simulation,” in Untitled: Mail Order Catalogue, Conrad Bakker and New York: Creative Capital, Inc.

2001 “Installing at the Mattress Factory: a reminiscence,” essay in Giannini, Claudia, ed. Mattress Factory 1990-1999, Pittsburgh: University of Pittsburgh Press: 10-14.

2000 “Guest Editorial: Readings from the Regions,” essay in Number, Memphis, TN, #38: 3.

“Drawing Blood,” essay in Jess Von Der Ahe: Illuminated Paintings (exh. cat.), Jay Grimm, Robert Berman, and Todd Hosfelt Galleries

1999 “The Artist as Archivist, the Book as Body: Dieter Roth’s Gessamelte Werke,” essay in Dieter Roth (exh. cat.), University of Iowa Museum of Art, Iowa City, IA

“Out of Place,” essay in Erica Daborn: Out of Place (exh. cat.), School of Art and Art History Gallery, University of Denver, Denver, CO

1998 “Downpour,” essay in Jason Young (exh. cat.), Cristinerose Gallery, New York

“Worlds of Art: the Biennial Phenomenon,” essay in Art and Design 1998: annual of the School of Art and Design, University of Illinois at Urbana-Champaign: 8-10.

“Gael Stack’s Palimpsestic Paintings,” essay in Gael Stack (exh. cat.), Krannert Art Museum, University of Illinois at Urbana-Champaign

1997 “Michael Norton: The Archetypal Moment,” essay in Michael Norton: Paintings (exh. cat.), I space Gallery, University of Illinois at Urbana-Champaign

1996 “Boken själv—objekt och fetischism,” essay in Konstnären, nr 7-96 (November 1996), Stockholm: 6-8. Swedish translation of “The Fetishism of the Book Object,” essay in The Book Maker’s Desire (Santa Monica, CA: Umbrella Editions, 1995).

1995 “Objekte und Logos: Bezüge zwischen Minimal Art und Corporate Design,” essay in Stammrich, Gregor, ed., Minimal Art: Eine kritische Retrospektive, Verlag der Kunst, Dresden, Germany: 541-555. German translation of “Objects and Logotypes: Relationships between Minimalist Art and Corporate Design (exh. cat.), The Renaissance Society at the University of Chicago, 1980.

“Dann Nardi: Dichotomies, Differences, and in Between...,” essay in Dann Nardi: Middle Ground (exh. cat.), University Galleries, Illinois State University

1995 The Book Maker’s Desire: writings on the art of the book, Umbrella Editions, Pasadena, CA. 84 pages.

1994 “Vernon Fisher: It’s a Long Story After All,” essay in Vernon Fisher (exh. cat.), Krannert Art Museum, University of Illinois at Urbana-Champaign.

1993 “Going Over the Books,” essay in Artists Book Works: A Decade in Illinois (exh. cat.), Illinois Art Gallery, James R. Thompson Center, Chicago

“A Profusion of Substance,” essay in Hertz, Richard, ed. Theories of Contemporary Art (second edition), Prentice Hall, Englewood Cliffs, NJ: 231-243. Originally published in Artforum, Vol. XXVII, no. 2 (October 1989).

1992 Fluid Measure, curator and author of catalogue essay for Nomadic Site project, Hollywood Branch, L.A. Public Library

“View to a Room,” essay in Bedroom Eyes: Room with a View (exh. cat.), Art Gallery, California State University, Fullerton

“In Flux,” exhibition statement for Connections: Explorations in the Getty Center

Collections by Raymond Pettibon, Ed Ruscha, Alexis Smith, and Buzz Spector, July 11-October 3, 1992.

“Ann Hamilton’s Situations of Desire,” essay in Ann Hamilton: Sao Paulo—Seattle (exh. cat.), Henry Art Gallery, University of Washington, Seattle

1991 “Roland Reiss: Upscale and Down,” essay in Roland Reiss: A Seventeen Year Survey (exh. cat.), Los Angeles Municipal Art Gallery

“Who Speaks for the Artist? Buzz Spector and Marcia Tucker,” Art Papers, March-April 1991, 7-11

“Transfigured Things: the assemblages of Greg Colson,” essay in Third Newport Biennial: Mapping Histories (exh. cat.), Newport Harbor Art Museum, Newport Beach, CA

“The Book Alone: Object and Fetish,” in Books as Art (exh. cat.), Boca Raton Museum of Art, Boca Raton, FL

“Biblioselfconsciousness: Walter Hamady’s Gabberjabbs,” essay in Walter Samuel Hatoum Hamady (exh. cat.), Charles Wustum Museum of Fine Arts, Racine, WI

1990 “Shelf Life: a reflection on books and book art,” essay in Off the Shelf (exh. cat.), Rockford College Art Gallery, Rockford, IL

1989 “Sabina Ott: Disappearance and Return,” essay in Sabina Ott (exh. cat.), Charles Cowles Gallery, New York, and Pence Gallery, Santa Monica

“Jo Ann Callis: Objects of Reverie,” essay in Jo Ann Callis: Objects of Reverie (exh. cat.), Des Moines Art Center, Des Moines, IA

1988 “Unions of Color and Form: the paintings of Rodney Carswell,” essay in Rodney Carswell (exh. cat.), University of Oklahoma Art Museum, Norman, OK

“Anne Wilson” and “Dann Nardi,” essays in Anne Wilson and Dann Nardi: Recent Works (exh. cat.), Chicago Public Library Cultural Center

1985 “Michiko Itatani,” essay in Michiko Itatani: Recent Works (exh. cat.), Alternative Museum, New York

Critical Messages: the use of public media for political art by women, co-curator and author of catalogue essay for exhibit at Artemisia Gallery, Chicago

1981 Words As Images, co-curator and co-author of catalogue essay for exhibit at The Renaissance Society at the University of Chicago

1980 Objects and Logotypes: relationships between minimalist art and corporate design, curator and essayist for exhibit at The Renaissance Society at the University of Chicago

SELECTED BIBLIOGRAPHY

2022 “Buzz Spector exhibit showcases the foundational importance of reading…and the EPL’s books,” Evanston Public Library blog: https://www.epl.org/buzzspector/

2021 “On Edge: what constitutes drawing in the art of Buzz Spector,” Lecture with Jessica Kennedy, Saint Louis Art Museum, February 18: https://www.youtube.com/watch?v=XfJOqPg0bdM

Baran, Jessica. “Showing What Has Been Forgotten,” Art in America, February 2021 Hollerbach, Bryan. “Buzz Spector at Bruno David Gallery, Ladue News, February 4, 2021 “Buzz Spector: Alterations,” Interview, HEC-TV, January 5, 2021: https://www.youtube.com/watch?v=KJWO6hw3zz0

2020 Wagner, Gretchen L. Buzz Spector: Alterations (exh. cat.), Saint Louis Art Museum, n.p. Fredman, Stephen. American Poetry as Transactional Art, Tuscaloosa, AL: University of Alabama Press, 114-15 (illus.) Krainak, Paul. “Inland Art - Buzz Spector,” Community Word, Chicago, IL. October 28, 2020: http://thecommunityword.com/online/blog/2020/10/28/inland-art-buzz-spector/ Bolick, Robert. “Books on Book Collection—Buzz Spector,” blog posting, March 31, 2020 https://books-on-books.com/2020/03/31/books-on-books-collection-buzz-spector/

2019 Chinese Artists Association, “Juntao: the first national bookbinding exhibition opening,” October 31, 2019 https://read01.com/RM4dmja.html#.Xbn3gG5FyUl

2018 Reed, Marcia and Glenn Phillips, eds. Artists and Their Books / Books and Their Artists (exh. cat.), Santa Monica, CA: Getty Trust Publications, (illus.)

2017 Garbowsky, Maryanne. “Visualizing Dickinson: ‘A Certain Slant of Light,’” Emily Dickinson International Society Bulletin, May/June 2017: 9.

2016 Cooper, Ivy. “Prints in the Gateway City,” Art in Print, Volume 6 no. 4: https://artinprint.org/review/prints-in-the-gateway-city/2016

Chiplis, Martha. “Buzz Spector tells why he bought his books,” Caxtonian, Vol. XXIV, No. 4 (April 2016), 10-11. http://www.caxtonclub.org/reading/2016/apr16.pdf

Kilen, Steph. “Bibliophiles will want to be stranded on Spector’s island of books,” Milwaukee Journal Sentinel: http://www.jsonline.com/entertainment/arts/bibliophiles-will-want-to-be-stranded-on-spectors-island-of-books-b99699566z1-374923221.html

Beall, Dickson. “Ink on Washington: Printmakers in Grand Center,” West End Word, March 27—April 7, 2016: 12-13 (illus.).

2015 Barry, Rebecca Rego. “The Book Art of Buzz Spector on Exhibit,” Fine Books & Collections, Fine Books blog: http://www.finebooksmagazine.com/fine_books_blog/2015/10/the-book-art-of-buzz-spector-on-exhibit.phtml

Hampton, Michael. Unshelfmarked: reconceiving the artists’ book, Axminster, Devon, UK: Uniformbooks, 150.

2015 Murray, Heather. “Productive Consumption: reading book arts,” endnote to essay in Journal of Artists’ Books [JAB #38], 15.

Fowler, Nancy. “The art critic will see you now: Lori Waxman offers quick reviews to St. Louis artists,” http://news.stlpublicradio.org/post/art-critic-will-see-you-now-lori-waxman-offers-quick-reviews-st-louis-artists

Fineberg, Jonathan. Modern Art at the Border of Mind and Brain, Lincoln, NE: University of Nebraska Press, 77-80, 86, 92, 96 (illus.).

Waxman, Lori. “Buzz Spector,” 60 Wrd/Min Art Critic: http://60wrdmin.org/home.html

Klimasewiski, Marshall. “Dear Buzz,” and Spector, Buzz. “Positioning the Author,” essays in Buzz Spector: About the Author (exh. cat.), Bruno David Gallery, St. Louis, 76 pp.: (illus.).

Paganini, Gabrielle. “Buzz Spector,” essay in CBAA Members’ Exhibition (exh. cat.), Scripps College Press, 67-68.

2014 Barker, Tim. “The art of business,” St. Louis Post-Dispatch, BusinessSeptember 21, 2014, E1, E4.

Cadôr, Amir Brito. O Livro de Artista e a Enciclopédia Visual, UFMG Press, Federal University of Minas Gerais, Belo Horizonte, Brazil, 69 (illus.).

Kitnick, Alex. “Brand Minimalism,” interview in Art in America, Vol. 102, no. 4 (April 2014): 86-91 (illus.).

Minsky, Richard. “Tear, Plaster, & Stack: Buzz Spector’s tactile book art,” interview in Fine Books & Collections, 12.2 (Spring 2014), Chapel Hill, NC, 47-49 (illus.).

Paton, David. “TEXTures: an exhibition of texts, textures and structure in artists’ books,” Essay in TEXTures (exh. cat.), Archives & Special Collections Library and Information Center, University of Johannesburg, 9-10 (illus.).

Griesbach, Sarah Hermes. “Reflection: words and art combine at Fort Gondo, beverly with provocative result,” St. Louis Public Radio STL Beacon (illus.) http://news.stlpublicradio.org/post/reflection-words-and-art-combine-fort-gondo-beverly-provocative-result

2013 Morales, René. A Human Document: Selections from the Sackner Archive of Concrete and Visual Poetry (exh. cat.), Pérez Art Museum Miami, 156.

2012 Stirratt, Betsy, Emilee Matthews & Sylvia Page, and Kyle Schlesinger. Buzz Spector: Off the Shelf (exh. cat.), Bloomington, IN: Grunwald Gallery of Art, 32 pages

Gowan, Al. Shared Vision: the second American Bauhaus, New York: Merrimack Media, 161-165.

Paton, D., “Towards a theoretical underpinning of the book arts: Applying Bakhtin’s dialogism and heteroglossia to selected examples of the artist’s book,” Literator 33(1), Art. #353, 11 pages. http://dx.doi.org/10.4102/lit.v33i1.353

Turkovic, Dana, and Daniel McGrath. Isolation Room/Gallery Kit: Two years in Review July 2010 – July 2012, Isolation Room/Gallery Kit, St. Louis, n.p. (illus.).

Beall, Dickson. “TRADITION! at Regional Arts Commission,” West End Word, St. Louis, 11 (illus.).

2012 Imafuku, Ryuta. “Archive of Amber: The Book Whose Name Is Silence,” Kangaeru-hito, No. 41 (2012 Summer Issue), Tokyo, Japan: 219-229 (illus.). [in Japanese only]

Salamony, Sandra, with Thomas, Peter and Donna. 1000 Artists’ Books, Minneapolis, MN: Quarry Books, 40 (illus.).

Miller, Sarah Bryan. “Bruno David unveils new exhibits at his gallery,” St. Louis Post-Dispatch, GO! Magazine 4/20/12—4/26/12, 12 (.illus.).

http://www.stltoday.com/entertainment/bruno-david-unveils-new-exhibits-at-his-gallery/article_1b31f356-d4cd-5c8e-b3eb-916219e1476f.html

Baran, Jessica. Riverfront Times, St. Louis, April 19-25, 2012: 24.

Diane Thodos, “The New Art Examiner @ Northern Illinois University,” neotericART: http://neotericart.com/2012/03/10/nae-niu-by-diane-thodos/

Brown, Matthew P. “Unpacking my Library: Writers and their Books,” Openings: Studies in Book Arts, Vol. 1, no. 1, 81. http://journals.sfu.ca/cbaa/index.php/jcbaa/article/view/10

2011 Price, Leah. “The Subconscious Shelf,” New York Times, Sunday Book Review: BR55. MacKenzie, Duncan, “Episode 328: Buzz Spector,” Bad at Sports [podcast], December 12, 201: http://badatsports.com/2011/episode-328-buzz-spector/ Yood, James. “Buzz Spector: ‘Manual Style’ at Zolla/Lieberman Gallery,” Art Ltd. (November-December 2011): 31 (illus.). Sykes, Ginny. “Buzz Spector Exhibition A Stand Out,” Dialogue Chicago: http://dialoguechicago.com/2011/09/23/buzz-spector-exhibition-a-stand-out/ Stewart, Garrett. Bookwork: medium to object to concept to art, Chicago: University of Chicago Press (illus.). Cormier, Ryan. “A New Look at the Book: Ambitious exhibit includes two-day art symposium,” The News Journal, Wilmington, DE, March 25, 2011: B5, 1, 10 (illus.).

2010 Rondeau, James, ed. Contemporary Collecting: The Donna and Howard Stone Collection (exh. cat.), Art Institute of Chicago, 154 (illus.).

Van Laar, Timothy. “Views of the Ordinary and Other Scenic Disappointments,” in Prochaska, David and Mendelson, Jordana, eds. Postcards: Ephemeral Histories of Modernity, University Park, PA: The Pennsylvania State University Press, 197-98 (illus.).

Baran, Jessica. “Buzz Spector: Shelf Life,” River Front Times, St. Louis, February 11-17, 2010: 29.

Pierno, Rosa. “Buzz Spector,” in La dimora del tempo sospeso [The dwelling of suspended time]. http://rebstein.wordpress.com/2010/01/11/buzz-spector/

Moynihan, Miriam. “Artist’s books speak volumes,” St. Louis Post-Dispatch, January 17, (illus.).

Russell, Stefene. “The Breath at the Bottom of the Page,” St. Louis Magazine, Vol. 16, issue 1 (January 2010): 176-77 (illus.).

2010 Apel, Dora. “Bibliography: Memory Effects,” and Stewart, Garrett. “Lector/Spector: Borges and the Bibliobjet,” essays in Buzz Spector: Shelf Life (exh. cat.), Bruno David Gallery, St. Louis, 90 pp.: (illus.).

2009 Carroll-Hackett, Mary, Kushman, Kerri, Parnell, Catherine, eds. The Poet & the Artist’s Book (exh. cat.), Longwood University, Farmville, VA, and Pierre Menard Gallery, Cambridge, MA, “Michael Burkard/Buzz Spector,” 47-52 (illus.).

Van Laar, Timothy. “An Atlas of Proximity and Distance: Buzz Spector’s Postcard Works, 1973 to 2000, essay in Buzz Spector: Cards and Letters (exh. cat.), Gahlberg Gallery, College of DuPage, Glen Ellyn, IL, 8 pp.: (illus.).

Lyons, Joan, ed. Artists’ Books: Visual Studies Workshop Press 1971-2008, Rochester, NY: Visual Studies Workshop Press, 108 (illus.).

Rushworth, Katherine. “Bonanza of Books: Schweinfurth explores books as media, Subject and object,” Syracuse Post-Standard, May 10, Stars 11.

Kuhl, Nancy. “Day by Day: Phylum Press, Poetry, & Ephemera,” essay in American Letters & Commentary, Issue 20: 124-134 (illus.).

2008 Kimelman, Molly. “New exhibits adorn UICA,” Grand Rapids Press, December 21 (illus.).

Schwartz, Wylie. “Revisioning Art,” Ithaca Times, September 10-16: 21 (illus.).

Stewart, Garrett. “Mere Beauty,” essay in Fischer, Mirjam, ed., The Most Beautiful Swiss Books 2007 (exh. cat.), Swiss Federal Office of Culture, Bern, Switzerland, 126-127 (illus.).

Smith, Champe, editor and curator, Mapping Correspondence: Mail Art in the 21st Century (exh. cat.), Center for Book Arts, 15, 31 (illus.).

Whitman, Arthur. “Visiting old favorites,” Ithaca Times, March 19: 21.

Foumberg, Jason with Larson-Walker, Lisa. “The Bookish Type,” New City Chicago, January 8: http:// www.newcitychicago.com/chicago/7317.html

2007 [Whitman, Arthur]. “Rise and Fall,” Blog: The Thinking Eye, November 17: http://thethinkingi.blogspot.com/2007/11/rise-and-fall.html

Schwartz, Wylie. “Reading Rainbow,” Ithaca Times, November 14, 2007. http://www.zwire.com/site/index.cfm?newsid=19024566&BRD=1395&PAG=461&dept_id=216620&rfi=8

Stewart, Garrett. “Lector/Spector: Borges and the Bibliobjet,” Variaciones Borges 24, 2007, University of Iowa: 173-196.

Pickowicz, Natasha Li. “Practicing the Art of Integration: Buzz Spector wants to bring Cornell, Ithaca art appreciation together,” Ithaca Times, April 11-17: cover, 8-9 (illus.).

Hubert, Judd D. and Sahak, Judy Harvey. “A Poetic Coup d’Etat: Mallarmé’s Influence On Artists’ Books,” in Mallarmé’s Coup d’Etat (exh. cat.), Clark Humanities Museum and Ella Strong Denison Library, Scripps College, Claremont, CA: 43.

2006 David, Elliott. “Finally, Buzz Spector,” Bookslut.com, Art Slut Column, December 2006: http://www.bookslut.com/art_slut/2006_12_010340.php

Hawkins, Margaret. “Clever pieces show that by the word, it’s still art,” Chicago Sun-Times, April 28, 2006: NC45.

2005 Robertson, Jean and McDaniel, Craig. Themes of Contemporary Art: Visual Art After 1980, New York/Oxford: Oxford University Press, 2005: 181-82 (illus.).

Brollo, Deirdre. “An Open Book: The Artist’s Book and Palimpsestic Space,” essay in Gerbaz, Alex and Mayes, Roby, eds., Palimpsests: Transforming Communities, Perth, Australia: Division of Humanities, Curtin University, 9, 13, 15 (illus.).

Hiebert, Helen. “New Paperworks by Buzz Spector,” Hand Papermaking, Vol. 20, no. 2 (Winter 2005): 42-43 (illus.).

Bright, Betty. No Longer Innocent: Book Art in America, 1960-1980, New York: Granary Books, 2005: 10-11, 42, 227, 253 (illus.).

Camper, Fred. “Brute Materiality,” Chicago Reader, September 9, 2005: Section 2, 26 (illus.).

Cassidy, Victor. “Chicago Contemporary & Classic Art Fair,” Artnet.com, Magazine, 5-3-05: http://www.artnet.com/Magazine/reviews/cassidy/cassidy5-3-05.asp

2004 “First Impression: Buzz Spector, Between the Sheets, 2003,” Art on Paper, Vol. 8, no. 5 (May/June 2004): 42 (illus.).

Bury, Stephen. “On the Royal Road,” Art Monthly (UK), No. 274 (March 2004): 39.

Church, Amanda. “Pages at Cristinerose / Josée Bienvenu Gallery,” Art on Paper, Vol. 8, no. 4 (March/April 2004): 84 (illus.).

Dawson, Jessica. “Picture Books,” Washington Post, February 19, 2004: C05 (illus.).

2003 Sholis, Brian. “Pages,” Artforum.com, Picks, 12-18-03: http://www.artforum.com/archive/id=6057&search=Pages

Cutajar, Mario. “Paintings by Letters,” ArtScene, Los Angeles.

Geyer, Nancy. “Booked Solid: artist Buzz Spector Turns Books into sculptural objects,” Ithaca Times, September 24-30: 17 (illus.).

2002 Hirsch, Faye. “Working Proof: Buzz Spector, as if,” Art on Paper, Vol. 7, no. 2 (November 2002): 83-84 (illus.).

Fineberg, Jonathan, “Buzz Spector’s Lists,” and Packard, Andrea, “Framing Space for Peace,” “essays in Buzz Spector: Public/Private Peace: Selections from the Swarthmore College Peace Collection (exh. cat.), List Art Gallery, Swarthmore College, Swarthmore, PA: 40 pp (illus.).

Roots, Garrison. Designing the World’s Best Public Art, Mulgrave, Vistoria, Australia: The Images Publishing Group Pty Ltd, 148-149 (illus.).

JRW [Julie Rodrigues Widholm]. “Buzz Spector,” in Life Death Love HatePleasure Pain: Selected Works from the Museum of Contemporary Art, Chicago, Collection (exh. cat.), Chicago: 234-35 (illus.).

Hyde, James. “Buzz Spector at Cristinerose,” Art in America, April 2002: 148-49 (illus.).

2002 Princenthal, Nancy. “Artists’ Book Beat,” Art on Paper, Vol. 6, no. 4 (March/April 2002): 99.

Cohen, Keri Guten. “Polaroids capture book still lifes,” Detroit Free Press, February 3, 2002: 6E (illus.).

Chessler, Suzanne. “Buzz Words: Photographer features book collections in new exhibit at Detroit’s Elaine L. Jacob Gallery,” Detroit Jewish News, January 18, 2001: 68-69 (illus.).

2001 Westbrook, Adele, ed. A Creative Legacy: A History of the National Endowment for the Arts Visual Artists’ Fellowship Program, New York: Harry N. Abrams, Inc., 2001: 200 (illus.).

Mendelson, Jordana. “Introduction: Postcards from Albums to the Academy?” Visual Resources, Vol. XVII: 373-382 (illus.).

Donohoe, Victoria. “Photography exhibit focuses on images of peace in history,” Philadelphia Inquirer, November 18, 2001: H (illus.).

Finch, Leah. “Apocalypse Next Week,” Dialogue, September/October 2001: 31-35.

Johnson, Ken. “Buzz Spector,” New York Times, October 5, 2001: E32.

Latter, Ruth. “Pictorial Vocabulary spells out one of best shows in town,” Daily Progress, Charlottesville, VA, March 15, 2001: D2.

2000 Protzman, Ferdinand. “‘The Artist and His Books’: Eloquent Fictions at Mateyka,” Washington Post, October 26, 2000: C1,C5 (illus.).

Vogler, Thomas A. “When a Book is Not A Book,” in Rothenberg, Jerome and Clay, Stephen, eds., A Book of the Book , New York: Granary Books, Inc. 2000: 448-466.

Charmelo, Julie. Blink: Interventions in the Salon (exh. cat.), Northern Illinois University Art Gallery, Chicago: 9 (illus.).

Wiens, Ann. “Bookish: Chicago Cultural Center,” Dialogue, Vol. 23, no. 1, January/February 2000: 19

1999 Perret, Marguerite. “Deconstructing the Author,” The Daily Iowan, University of Iowa, Iowa City, October 14, 1999

Hanzal, Carla. Legible Forms: Contemporary Sculptural Books (exh. cat.), Contemporary Arts Center of Virginia, Virginia Beach, VA: n.p.

Hubert, Renée Riese & Judd. The Cutting Edge of Reading: Artists’ Books, Granary Books, New York: 11, 47, 83, 87-89, 92 (illus.).

Cuoco, Lorin, ed. The Dual Muse: The Writer as Artist, The Artist as Writer (symposium Volume), International Writers Center, Washington University in St. Louis: 135.

Litt, Steven. “You can book it: This show suffers from tired feeling,” Cleveland Plain Dealer, March 30, 1999: 1, 4-E (illus.).

Bonfiglioli, Patrizia. “Testo e Contesto (il Libro Ambiente),” Terzo Occhio (Italy), No. 89 (December 1998): 71-72.

“Art Speak,” Biblio, Vol. 4, no. 2 (February 1999): 10-11 (illus.).

Eisler, Colin. “Author, Author!” Art On Paper, Vol. 3, no. 3 ( January-February 1999): 41-43 (illus.).

1998 Ryan, Dinah. “Buzz Spector: Authors,” Art Papers, November-December 1998: 47.

Finkel, Jori. “Authors: New Work by Buzz Spector,” Art On Paper, Vol. 2, no. 6 (July-August 1998): 47 (illus.).

Princenthal, Nancy. “Artist’s Book Beat,” Art On Paper, Vol. 2, no. 6 (July-August 1998): 50.

Carducci, Vincent. “Buzz Spector at Cranbrook Art Museum,” New Art Examiner, Vol. 25, no, 10 (July-August 1998): 63-64 (illus.).

Upshaw, Reagan, Buzz Spector (exh. cat.), Cristinerose Gallery, New York: n.p.

Godwin, Kurt. “Buzz Spector: Authors, at Marsha Mateyka Gallery,” Articulate 9, issue 28: 8.

Cohen, Keri Guten. “An inside look at the Cranbrook vision,” Detroit Free Press, March 22, 1998: E7 (illus.).

Protzman, Ferdinand. “Buzz Spector at Marsha Mateyka Gallery,” Washington Post, March 19, 1998: D7.

1997 Marcoci, Roxana, Murphy, Diana, and Sinaiko, Eve, eds. New Art, New York: Harry N. Abrams, Inc., 1997: 126-27 (illus.).

McQuiston, Julie Pratt. “Preview: Outside the Lines,” Arts Indiana, November/ December 1997: 17-18.

Fallon, Brian. “Claudia Matzko and Buzz Spector.” The Irish Times, Dublin, Ireland, July 19, 1997.

Dunne, Aidan. “Claudia Matzko and Buzz Spector,” The Sunday Times, Dublin, Ireland, July 6, 1997.

GH [Holg, Garrett]. “Buzz Spector: Zolla/Lieberman,” ARTnews, Vol. 96, no. 6 (June 1997): 134 (illus.).

Camper, Fred. “On Exhibit: Buzz Spector’s rough edges,” Chicago Reader, May 9, 1997: Section 1, 47 (illus.).

Vine, Richard. “Where the Wild Things Were,” Art in.America, Vol. 85, no. 5 (May 1997): 98-111.

Buchholz, Barbara B. “Buzz Spector dares to tear,” Chicago Tribune, April 11, 1997: Section 7, 39 (illus.).

Hubert, Renée Riese, “Metamorphoses of the Book,” SubStance, Vol. XXVI, no. 1 (1997): 3 (illus.).

1996 Drucker, Johanna. “Static Object, Dynamic Form,” Sculpture, Vol. 15, no. 9 (November 1996): 20-25 (illus.).

DM [Molon, Dominic]. “Buzz Spector,” artist’s biography in Art in Chicago: 1945-1995 (exh. cat.), Lynne Warren, ed., Museum of Contemporary Art, Chicago: 284 (illus.).

Feldman, Edmund Burke. “Buzz Spector,” Large Drawings and Objects (exh. cat.), Arkansas Arts Center, Little Rock, AK: 50-51 (illus.).

Yood, James. “Buzz Spector at Roy Boyd Gallery, “ Artforum, Vol. XXXIV, no. 8 (April 1996): 106 (illus.).

Protzman, Ferdinand. “It’s the Thought That Counts,” Washington Post, March 2, 1996: C2 (illus.).

Meyers, Todd. “Buzz Spector at Roy Boyd Gallery,” New Art Examiner, Vol. 23, no. 5 (January 1996): 38 (illus.).

Hofmann, Irene E. “Biblio-Vertigo,” New Art Examiner, Volume 23, no. 5 (January 1996): 48.

Buchholz, Barbara B. “Show explores a decade of Spector,” Chicago Tribune, January 12, 1996: Section 7, 47.

Swartz, Mark. “Independent Labels: Marcel Broodthaers and Buzz Spector,” Chicago Reader, January 5, 1996: Section 1, 24-25.

Kugelman, Kerry. “Buzz Spector at Angles Gallery,” Art Issues, Number 41 (January-February 1996): 45 (illus.).

1995 Drucker, Johanna. The Century of Artists’ Books, Granary Books, New York: 13, 118-19 (illus.).

Watkin, Mel. On Beyond the Book: an Exhibition of Contemporary Artists’ Books, Forum for Contemporary Art, St. Louis, Mo: 7-8 (illus.).

Clercx, Byron. “The Book and the Body: Generation and Re-Generation,” essay in Talking the Boundless Book: Art Language & the Book Arts, Minnesota Center for Book Arts, Minneapolis, 1995: 125-6, 129.

Drucker, Johanna. “Critical Necessities,” Journal of Artists’ Books, #4 (Fall 1995): 1, 4-8.

Yard, Sally. “Tagged Turf in the Public Sphere,” essay in inSITE94 (exh. cat.), Installation Gallery, San Diego, CA: 46, 146 (illus.).

Bentivoglio, Mirella. “Il libro-installazione di Buzz Spector,” Terzo Occhio (Italy), June 1995.

Elliot, Joe. “Back to Basics: 3 primers from Granary Books,” Journal of Artists’ Books, #3 (Spring 1995)17-18.

Litt, Steven. “Art Goes Beyond Printed Word,” Cleveland Plain Dealer, February 27, 1995: 3-E Heller, Fran. “His books become art,” Cleveland Jewish News, February 24, 1995: 24.

1994 Pincus, Robert L. “Read into work anything you like,” San Diego Union-Tribune, October 24, 1994. Taylor, G. Thomas. “Booktalk: Where is Wonderland?” Bookways, no. 11, April 1994:2-3. Hilgeman, Liese. “Object Bodies,” Dialogue, Volume 17, no. 2 (March/April 1994): 25.

Muñoz, Neva Lindburg, and Spector, Buzz. Interview, Contemporary Impressions, Volume 2, no. 1 (Spring 1994): 18-20. Dooley, Michael. “Feeling Free: Bookworks at the Getty,” Print, Vol. XLVII, no. 1 (January-February 1994): 58-69, 114.

Carley, Michal Ann. Desire in Time, Time as Intimacy (exh. cat.), University of Wisconsin-Milwaukee, Art Museum, February 13-March 27, 1994: n.p.

1993 Vogler, Thomas A. Books as Objects (exh. cat.), Comus Gallery, Portland, OR, December 2, 1993-January 22, 1994: n.p.

Moss, Karen. “Mapping Fluxus in California,” in FluxusVivus (exh. cat.), The Arts Club of Chicago, November 2-December 4, 1993: n.p.

Christensen, Judith. “Turning the Pages—Inside Out,” Visions, Fall 1993: 24-25.

McWilliams, Martha. “Shady Stories,” Washington City Paper, October 15, 1993: 42.

Myers, Terry R. “Just Not Pathetic: Object Bodies in Recent American Art,” in Object Bodies (exh. cat.), Emison Art Center, DePauw University, Greencastle, IN, September 29-October 31, 1993 (traveling exhibit): 20 pp.

Camper, Fred. “Lost-Picture Show,” Chicago Reader, June 25, 1993: Section 1, 36, 38.

McCracken, David. “Buzz Spector comments on art and artists,” Chicago Tribune, June 25, 1993: Section 7, 46.

Pagel, David, and Spector, Buzz. Interview, Bomb, Summer 1993, no. XXXIV: 8-11.

Upshaw, Reagan. “Buzz Spector at fiction/nonfiction and Laurence Miller,” Art in America, Vol. 81, no. 3 (March 1993): 112-113.

Unami, Akira, “Pleasure from Quotation,” BT: Monthly Art Magazine (Tokyo), Vol. 45, no. 667 (March 1993): 52.

1992 Hyde, James, and Spector, Buzz. Interview, Journal of Contemporary Art, Vol. 5, no. 2 (Fall 1992): 9-14.

Kandel, Susan. “’LAX’: L.A. Is Written All Over It,” Los Angeles Times, December 10, 1992: F1, F8-9.

Hess, Elizabeth. “Freud on Ice,” The Village Voice, December 1, 1992: 53.

Kandel, Susan. “Discreet Liaison,” Los Angeles Times, September 17, 1992: F7.

Littlefield, Kinney. “’Imperfect Order’ a bit too orderly,” Orange County Register, September 11, 1992: D36.

Curtis, Cathy. “Bringing Sense of Disorder to Irvine,” Los Angeles Times, September 7, 1992: E2-E5.

Pagel, David. “Irvine Center Showcases Eight Inventive Tinkerers,” Los Angeles Times, August 27, 1992: F6-7.

Jahns, Tim. Imperfect Order (exh. cat.), Irvine Fine Arts Center, Irvine, CA, August 15- November 3, 1992: n.p.

Prinz, Jessica. “The ‘Non’ Book: New Dimensions in Contemporary Book Art,” Visible Language, Vol. 25, nos. 2-3: 283-302.

Hackett, Regina. “Nine artists link visions into a powerful chain,” Seattle Post-Intelligencer, July 15, 1992: C1, C14.

King, Susan E. “California Artist’s Books, A Re-View,” Calligraph, Vol. XV, no. 1, 1992: 2, 8-9.

Relyea, Lane. “Buzz Spector,” Artforum, Vol. XXX, no. 10 (May 1992): 124.

Pagel, David. “Buzz Spector Reconfigures a Malevich Masterpiece,” Los Angeles Times, March 12, 1992: F14.

Plous, Phyllis and Colpitt, Frances. Knowledge: Aspects of Conceptual Art (exh. cat.), University Art Museum, Santa Barbara, CA, January 8-February 23, 1992 (traveling exhibit): 96 pp.

1991 Charpentier, Elie. “Patty Martori, Buzz Spector, Diana Burgoyne, Bogdan Perzynski: Four New Installations,” In Pittsburgh, November 6-12, 1991: 22, 24.

Hymowitz, Carol. “This Museum Has A Liking for Artists Who Trash the Place,” The Wall Street Journal, October 17, 1991: A1, A16.

McCracken, David. “Sending up postcards from the edge,” Chicago Tribune, September 13, 1991: Section 7, 60.

Heartney, Eleanor. “The Treacherous Library: Recent Book Art,” Sculpture, Vol. 10, no. 5 (Sept-Oct 1991): 46-51.

Eaton, Timothy A., ed. Books As Art (exh. cat.), Boca Raton Museum of Art, Boca Raton, FL, August 30-October 6, 1991: 47, 53.

Alden, Todd. “The Library of Babel: books to infinity,” essay in The Library of Babel (exh. cat.), Hallwalls, Buffalo, NY.

Collins, Tricia and Milazzo, Richard. Outside America: Going Into The 90’s (exh. cat.), Fay Gold Gallery, Atlanta, GA: n.p. 1990 McCoy, Mary. “’Transgressions’: Going Beyond the Apparent.” The Washington Post, December 25, 1990: B2.

Curtis, Cathy. “Buzz Word.” Los Angeles Times, December 21, 1990: F18. French, Christopher. “The Religious Content of Contemporary Art.” The Journal of Art, Vol. 3, no. 3(December 1990): 36.

Sultan, Terrie. Transgressions: Donald Lipski and Buzz Spector (exh. cat.), Corcoran Gallery of Art, Washington, D.C., December 8, 1990-February 18, 1991:16 pp.

Porges, Maria, and Spector, Buzz. “Dialogue.” Visions, Vol. 4, no. 4 (Fall 1990): 12-14. Morgan, Robert C. “North South East West: Buzz Spector.” Tema Celeste, No. 26 (July-October 1990): 57.

1990 Frank, Peter. “Los Angeles Letter,” Contemporanea, Vol. III, no. 6 (Summer 1990): 44-45

Gardner, Colin. “Buzz Spector.” Artforum, Vol. XXVIII, no. 10 (Summer 1990): 173-4.

Bentivoglio, Mirella. Il Librismo (exh. cat.), Fiera Campionaria di Cagliari, June 8-21, 1990: Arte Duchamp (Italy), pp. 44, 100.

Kandel, Susan. “L.A. in Review.” Arts, Vol. 64, no. 9 (May 1990): 122.

Anderson, Michael. “Buzz Spector at the Newport Harbor Art Museum.” Art in America, Vol. 78, no. 5 (May 1990): 249-250 (illus.).

Minsky, Richard. Book Arts in the USA (exh. cat.), Center for Book Arts, New York: 51. Andreoli-Woods, Lynn. “It’s Not the Form, It’s the Concept.” Los Angeles Reader, February 9, 1990: 17-18 (illus.).

Hixson, Kathryn. “Chicago in Review.” Arts, Vol. 64, no. 7 (February 1990): 104.

Porges, Timothy. “Chicago Letter.” Contemporanea, Vol. III, no. 2 (February 1990): 30-31 (illus.). Knight, Christopher. “An Open Book: Spector Exhibit in Newport.” Los Angeles Times, January 27, 1990: F6, F11 (illus.).

Porges, Maria F. Buzz Spector: New California Artist XVII (exh. cat.), Newport Harbor Art Museum, January 20-March 18: n.p. 1989 Nesbitt, Lois E. “A Good Read: the book as metaphor.” Artforum, Vol. XXVIII, no. 2 (October 1989): 172. Anderson, Michael. “Buzz Spector.” Art Issues, Number 6 (September-October 1989): 25 (illus.).

Pagel, David. “Buzz Spector.” Arts, Vol. 64, no. 1 (September 1989): 81.

Brown, Betty Ann. “The Sense of Time Passing.” Artweek, Vol. 20, no. 20 (May 20, 1989): 6.

Geer, Suvan. “Buzz Spector.” Los Angeles Times, May 12, 1989: Part VI, 20.

Gamble, Allison. “Buzz Spector.” New Art Examiner, Vol. 16, no. 5 (January 1989): 46-47.

1988 Porges, M[aria]. F. “Buzz Spector: reading room.” Visions, Vol. 3, no. 1 (Winter 1988): 16-17 (illus.).

Sackner, Marvin. The Altered Page (exh. cat.), Book Arts Gallery, Center for Book Arts, New York, February 6-March 26, 1988: n.p. Hanson, Henry. “Electric saw chews up bible in name of art.” Chicago, March 1988: 24, 26 (illus.).

Benezra, Neal. Buzz Spector: The Library of Babel and Other Works (exh. cat.), Art Institute of Chicago, February 16-April 17, 1988: n.p.

Raczka, Robert. “Buzz Spector.” New Art Examiner, Vol.15, no. 5 (January 1988): 62.

1987 Gardner, Colin. “Buzz Spector.” Los Angeles Times, December 4, 1987: Part VI, 17. Porges, Maria F. “A Lesson of Healing.” Artweek, November 28, 1987: 5.

[Princenthal, Nancy]. “Artist’s Book Beat.” The Print Collector’s Newsletter, Vol. XVIII, no. 5 (November-December 1987): 173. English, Christopher.”Past and Present Tense.” Dialogue, Vol. 10, no. 2 (March-April 1987): 22-23.

Fulton, Jean. “Art Press Review: WhiteWalls.” New Art Examiner, Vol. 14, no. 6 (February 1987): 19-20, 45.

1986 Abt, Jeffrey. The Book Made Art (exh. cat.), University of Chicago Library, February 25-May 9, 1986: 31.

Henry, David J. Beyond Words: the art of the book (exh. cat.), Memorial Art Gallery, University of Rochester, Rochester, NY, January 31-March 30, 1986: n.p.

1985 Bonesteel, Michael. “Don’t judge a book by the cover.” Skokie News, February 7, 1985:D-9.

1984 Donato, Debora. “Buzz Spector.” In Fluxus and Friends (exh. cat.), Wright Art Museum, Beloit College, Beloit, WI, October 8November 9, 1984: n.p.

Abell, Jeff. “Buzz Spector, Ardith Lauerman.” New Art Examiner, Vol. 12, no. 1 (October 1984): 52-53.

Mattson, Francis O. “Buzz Spector.” In Center for Book Arts: the first decade (exh. cat.), New York Public Library, September 7-November 29, 1984: 50.

Artner, Alan G. “Barney Donley creates own expressionist style.” Chicago Tribune, August 17, 1984: Section 5: 2.

Lyon, Christopher. “Schnabel toys with bad taste.” Chicago Sun Times, August 17, 1984: 49.

List, Larry. Found Language (exh. cat.), Franklin Furnace, New York, May 30-July 31, 1984: n.p. McCauley, Robert. “Buzz Spector.” In Small but Hot (exh. cat.), Burpee Art Museum, Rockford, IL, February 3-March 4, 1984: n.p. Pincus, Robert L. “Buzz Spector.” Los Angeles Times, January 27, 1984: Part VI, 2, 4.

1983 Miro, Marsha. “Images related to words.” Detroit Free Press, December 6, 1983: 5B. Powell, Karla Kruggel. “Book Art.” Chicago Reader, July 22, 1983: 36-37. Moser, Charlotte. “Bluster and Brawn: the city writes its own rules—in art as in politics.” ARTnews, Vol. 85, no. 5 (May 1983): 100-102. Adams, Lucia. “Carol Burch-Brown, Steven Luecking, Robert McCauley, Buzz Spector at Roy Boyd Gallery.” New Art Examiner, Vol. 10, no. 8 (May 1983): 16.

Gallati, Barbara. “Artists Books (Kathryn Markel Gallery).” Arts, Vol. 57, no. 7 (March 1983): 34.

1982 Bamberg, Juliann. “Franklin (Buzz) Spector.” In Drawing from Chicago (exh. cat.), Art Gallery, University of Nebraska at Omaha: 2-5, 15-16.

Lyon, Christopher. “Buzz Spector: The Reading Room at Roy Boyd.” Images & Issues, Vol. 3, no. 2 (September-October 1982): 70-71.

1981 Evans, Robert J. “Buzz Spector: Chicago.” In 33rd Illinois Invitational (exh. cat.), Illinois State Museum, Springfield, Summer 1981: n.p. Conklin, Janice L. “Paper Work.” Chicago Reader, August 28, 1981: 45.

Rice, Nancy N. “Buzz Spector, David Bower at Carol Shapiro Gallery.” New Art Examiner, Vol. 8, no. 8 (May 1981): 22.

Graham, Dan. “Signs.” Artforum, Vol. XIX, no. 8 (April1981): 38-43.

King, Mary. “Paper relief and wood art by Chicago pair.” St. Louis Post-Dispatch, March 11, 1981: 4G.

1980 Margolin, Victor. “Corporate Logotypes, minimalist art.” New Art Examiner, Vol. 7, no. 6 (March 1980): 1, 12.

Nye, Mason. “Bob Nugent, Buzz Spector at Roy Boyd Gallery.” New Art Examiner, Vol. 7, no. 4 (January 1980): 14.

1978 Toperzer, Tom R. “Buzz Spector.” In Illinois Artists ‘78: a drawing invitational (exh. cat.), CVA Gallery, Illinois State University, Normal, September 1978: n.p.

SELECTED PUBLIC COLLECTIONS

Albright-Knox Art Museum, Buffalo, NY

The Art Institute of Chicago

Art Museum of West Virginia University

Bibliothèque nationale de France Richelieu, Paris, France

The British Library, London, England

Brooklyn Museum of Art Library

Chicago Public Library

Corcoran Gallery of Art, Washington, DC

Cranbrook Art Museum, Bloomfield Hills, MI

DePaul Art Museum, Chicago

FRAC Provence Alpes Côte d’Azur, Marseille, France

Getty Research Institute Library, Santa Monica, CA

Houghton Library, Harvard University, Cambridge, MA

Illinois State Museum, Springfield

Jersey City Museum

Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY

Krannert Art Museum, University of Illinois, Champaign, IL

Kunstbibliothek, Staatliche Museen zu Berlin, Germany

The Lannan Foundation, Los Angeles

Letterform Archive, San Francisco, CA

Los Angeles County Museum of Art

Milwaukee Art Museum

Museum of Contemporary Art, Chicago

Museum of Contemporary Art, North Miami, FL

Museum of Contemporary Photography, Columbia College Chicago

Museum of Modern Art/Franklin Furnace Archive Collection, New York

National Art Library, Victoria & Albert Museum, London, UK

Orange County Museum of Art, Newport Beach, CA

Luigi Pecci Centre for Contemporary Art, Prato, Italy

Rhode Island School of Design Library, Artists’ Books Collection

Ruth and Marvin Sackner Archive of Concrete and Visual Poetry, Miami Beach, FL

Samek Art Gallery, Bucknell University

Sonoma State University, Rohnert Park, CA

South Bend Museum of Art, South Bend, IN

Sweeney Art Gallery, University of California-Riverside

Tate Library, Tate Britain, London, England

University of Tennessee Library Special Collections, Knoxville, TN

Walker Art Center, Minneapolis, MN

Washington University in St. Louis, Olin Library Special Collections

Weserburg Museum Centre for Research in Artists’ Publications, Bremen, Germany

Whitney Museum of American Art, New York

Yale University, Beinecke Library, New Haven, CT

Jane Voorhees Zimmerli Art Museum, Rutgers University

SELECTED AWARDS AND FELLOWSHIPS

2013 Distinguished Teaching of Art Award, College Art Association

2005 Artist’s Fellowship, New York Foundation for the Arts

2004 Von Hess Visiting Artist, University of the Arts, Philadelphia, PA

1991 Louis Comfort Tiffany Foundation Award

Fellowship Award, National Endowment for the Arts

1988 Visual Artist’s Fellowship, Illinois Arts Council

1985 Fellowship Award, National Endowment for the Arts

1982 Fellowship Award, National Endowment for the Arts

RELATED PROFESSIONAL EXPERIENCE

2013-present Art Editor, december, St. Louis (international literary magazine)

2019 Panel Moderator, “Image Accumulations,” Decoys & Depictions: Images of the Digital, symposium, Washington University in St. Louis

2017 Panelist, “Booknesses: taking stock of the book arts in South Africa,” colloquium, University of Johannesburg, South Africa

2009-16 Member, Board of Directors, Craft Alliance, St. Louis

2016 Panelist, “Artists’ Publications,” The Luminary, St. Louis Panelist, “Art as Agent for Social Change,” Missouri Art Education Association Conference, St. Louis

2015 Juror, “conTEXT,” national juried competition, Foundry Art Centre, St. Charles, MO Panelist, “The Book Undone: 30 years of Granary Books,” Columbia University Butler Library, New York Juror (with Shannon Fitzgerald and Hamza Walker), 2015 Hudgens Prize Competition, Hudgens Center for the Arts, Duluth, GA Juror (with Bruce Lindsey), “Small Buildings: built, unbuilt, unbuildable,” Craft Alliance Delmar Loop Gallery, St. Louis Panelist, “Documenting History: Artists respond to Ferguson,” Missouri History Museum, St. Louis

2014 Juror, “29th Annual Positive/Negative National Juried Art Exhibition,” Slocumb Galleries, Department of Art & Design, East Tennessee State University, Johnson City, TN

Panel Moderator: “Wide Eyed Reading: the legacy of the New Art Examiner,” College Art Association Annual Conference, Chicago

2013 Panelist, “The Fog of Change: sustaining core purposes, seeking wisdom, acting effectively,” National Association of Schools of Art and Design Annual Conference, St. Louis, MO

Juror, “Art St. Louis XXIX, The Exhibition,” Art Saint Louis Gallery

Juror, Whitewater Valley annual art competition, Indiana University East, Richmond, IN

2012 Guest Curator, “TRADITION! (as uttered by Zero Mostel in Fiddler on the Roof),” Regional Arts Commission Gallery, St. Louis Panelist, “Speaking Out: A Public Forum for Artist Manifestos,” College Art Association Annual Conference, Los Angeles

2011 Guest Curator, “Luis Camnitzer: Forewords and Last Words,” Mildred Lane Kemper Art Museum, Washington University in St. Louis

Panelist, “Studio Art in CAA’s Next Century,” College Art Association Annual Conference, New York

2010 Panelist and speaker, Inland Visual Studies Center Symposium, Bradley University, Peoria, IL

2009 Juror, Drawing Competition, 2009 AIA St. Louis Design Awards Program

2005-09 Member, Board of Directors, College Art Association

2007 Juror, New Glass Review 29, Corning Museum of Glass, Corning, NY

Juror (with Michael Sickler), “In/NY 2007,” Schweinfurth Memorial Art Center, Auburn, NY Curator, “.one more thing added to the world: the Borges Effect in Contemporary artists’ books,” Old Capitol Museum, University of Iowa, Iowa City, IA

2005 Curator, “Pages,” I space, Chicago, IL

Curator, “Books as Sculpture,” Tompkins County Public Library, Ithaca, NY

2004 Panel Moderator: “Is the Reader an End User?” Southern Graphics Council Annual Conference, Mason Gross School of Art, Rutgers University

2003 Curator, “Pages,” Cristinerose/Josée Bienvenu Gallery, New York City

Juror, Miami University 2004 National Young Painters Competition, Oxford, OH

2001 Co-Curator (with Linda Robbenolt), “Apocalypse Next Week: Scott Anderson, Brent Coles, Eric Huebsch, and Hannah Israel,” Chicago, IL Annual Conference Regional Co-Chair, College Art Association Annual Conference, Chicago, IL

2000 Panelist, “The Studio Critique: Authority, Ritual, Hegemony, Performance,” College Art Association Annual Conference, New York

1999 Curator, “The Plethora Effect: Todd Allison, Jill Daves, Anne Howard, Kevin Kaempf, and Andrew Shirk,” I space, Chicago, IL

Juror, Dishman Competition 2000: national all-media competitive exhibition, Lamar University Department of Art, Beaumont, TX

Curator, “MAX ‘99” (Memphis area biennial), University of Memphis, Memphis, TN

Panel Moderator: “Abstraction and Transcription: the question of touch,” College Art Association Annual Conference, Los Angeles, CA

1995-98 Member, Federal Advisory Committee on International Exhibitions (FACIE)

1998 Juror, Jerome Foundation Artists’ Fellowships, Minneapolis, MN

Panel Moderator: “Installation Art: Space, Site, Meaning,” 17th International Sculpture Center Annual Conference, Chicago

1996 Panel Moderator: “Doesn’t Anybody Still Read? The Death of the Artists’ Book,” College Art Association Annual Conference, Boston, MA

Panelist, Bush Artist Fellowships, Visual Arts Preliminary Selection

1995 Chair, Visual Arts Organizations grant review panel, National Endowment for the Arts

1994 Publication Evaluator and Member, Visual Arts Organizations grant review panel, National Endowment for the Arts

1993 Publication Evaluator, Visual Arts Organizations grant review panel, National Endowment for the Arts

Panelist, “Glass: The Maturing of a Medium,” College Art Association Annual Conference, Seattle, WA

1992 Curator, “Fluid Measure,” group exhibition sponsored by Nomadic Site Project, Hollywood Branch, L.A. Public Library

Curator, “In Flux,” section of Connections: Explorations in the Getty Center Collections by Raymond Pettibon, Ed Ruscha, Alexis Smith, and Buzz Spector, Getty Research Institute, Santa Monica, CA

Juror, Artist Grant application review, works on paper, Arts Midwest

Panel Moderator, “The Situation of Pleasure,” College Art Association Annual Conference, Chicago

1991 Panelist, “The Book of the Future,” College Art Association Annual Conference, Washington, DC

1989-90 “Artists’ Writings” Section Editor, Art Journal, College Art Association, New York 1989 Member, Visual Artists Forums grant review panel, National Endowment for the Arts

1988-95 Member, Advisory Board, Franklin Furnace Archive, Inc., New York

1985-88 Member, Visual Arts Advisory Panel, Illinois Arts Council

1983-85 Member, Board of Directors, N.A.M.E. Gallery, Chicago 1983 Guest Book Reviews Editor, Exposure (Vol. 21, no. 3), New York

Guest Editor, The Flue (Vol. 3, no. 1), Franklin Furnace, New York

1982-83 Juror, Artist Grant application review, Visual Arts, Illinois Arts Council

1981 Co-curator (with Reagan Upshaw), Words As Images, The Renaissance Society at the University of Chicago

1980-83 Member, Board of Directors, The Renaissance Society at The University of Chicago 1980 Curator, Objects and Logotypes: relationships between minimalist art and corporate design, The Renaissance Society at the University of Chicago

1978-87 Publisher and Editor, WhiteWalls, a magazine of writings by artists, Chicago

Selected Academic Positions

2019 Visiting faculty, PhD in Creativity, University of the Arts, Philadelphia

2018-20 Visiting Scholar of Art, Central Academy of Fine Arts, Beijing, China

2014-19 Professor of Art, Sam Fox School of Design & Visual Art, Washington University in St. Louis

2009-14 Dean, College and Graduate School of Art, Sam Fox School of Design & Visual Art, Washington University in St. Louis

2001-09 Professor and Chair, Department of Art, Cornell, University, Ithaca, NY

1994-01 Professor of Art, School of Art & Design, University of Illinois Urbana-Champaign

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ARTISTS

Sara Ghazi Asadollahi

Laura Beard

Heather Bennett

Lisa K. Blatt

Michael Byron Bunny Burson

Judy Child

Carmon Colangelo

Alex Couwenberg

Terry James Conrad

Jill Downen

Damon Freed

Yvette Drury Dubinsky

Douglass Freed

Richard Hull

Kelley Johnson

Chris Kahler

Leslie Laskey Estate

Justin Henry Miller

James Austin Murray

Yvonne Osei

Patricia Olynyk

Robert Pettus Estate

Charles P. Reay

Daniel Raedeke

Tom Reed

Frank Schwaiger

Charles Schwall

Christina Shmigel

Thomas Sleet Buzz Spector Mark Travers Monika Wulfers