The Art of the Book, 2015, Seager Gray Gallery

THE ART OF THE BOOK

Tenth annual exhibition of handmade artist books, altered books and book-related materials

The Art of the Book Tenth annual exhibition of handmade artist books, altered books and book-related materials Jody Alexander, James Allen, Rhiannon Alpers, Islam Aly, Alice Austin, Doug Beube, Donna Brookman, Sara Burgess, Macy Chadwick, Julie Chen, Marie Dern and Kay Ryan, Jessica Drenk, Foolscap Press, Casey Gardner, Andrew Hayes, Meg Hitchcock, Brooke Holve, Diane Jacobs, Lisa Kokin, Jon Kolkin, Vince Koloski, Leslie Marsh, Mary V. Marsh, Clifton Meador, Emily Payne, Maria Porges, Michelle PrĂŠvost, Lisa Rappoport, Judith Serebrin, Terry Turrentine, Barbara Wildenboer and Dorothy A. Yule.

May 5 - May 31, 2015 Reception for the Artists: Saturday, May 9, 5:30 - 7:30 Front Cover: Barbara Wildenboer: Murray’s Classical Atlas, 2015, Altered book, 20 x 25.6 in Back Cover: Dorothy A. Yule: Memories of Science, 2012, Artist book, 2.75 x 2.875 x 1.75 in, pop-up detail Photo Credits Jody Alexander: r.r.jones Alice Austin: Jon Snyder Donna Brookman: Hiroyo Kaneko Macy Chadwick: Lindsey Beal Julie Chen: Sibila Savage Marie Dern: Martin Ledyard Andrew Hayes: Steve Mann Meg Hitchcock: Guenter Knop Diane Jacobs: Bill Bachhuber Mary V. Marsh: Tony Bellaver All others taken by the artists themselves.

Direct inquiries to: Seager Gray Gallery 108 Throckmorton Avenue Mill Valley, CA 94941 415-384-8288 seagergray.com All rights reserved.

Ten Years of Artist Books This year marks the tenth anniversary of the gallery’s annual Art of the Book exhibition. In that time, the gallery has shown nearly 500 book works from countries around the world, but most particularly the Bay Area. In celebration, Donna Seager will curate an exhibition, Ten Years of Artist Books at the Brooklyn Public Library scheduled for October – January of 2015-16.

We believe that the book offers aesthetic possibilities not found in other media. They inspire multiple associations - associations to meaning, shape and memory. In no other medium is content so inextricably bound to form and the 2-dimensional world finds itself contained in a 3-dimensional object. It has been our experience that when form and content are in perfect agreement, there is a harmonic chord that is struck, deepening the experience and finding the place where visual enrichment and meaning converge.

Among the offerings is a collaboration between veteran book artist Marie Dern and poet Kay Ryan entitled Poems by Hand. Ryan, Pulitzer prizewinner, MacArthur fellow and former poet laureate of the United States, has handwritten seven poems that are letterpress into a small and intimate portfolio with silkscreens by Martha Shaw. It has been said that the book as a medium for art offers a level of intimacy not found in other media. The immediacy of the poet’s hand in these densely compressed poems takes us into a space so private it can’t help but feel like privilege.

On the conceptual end of the spectrum, Brooklyn artist Meg Hitchcock has painstakingly cut out letters from the Bible. (She often uses the Koran, the Bhagavad Gita and other sacred texts as well.) The words “I can’t breathe” are formed into concentric squares moving toward a center square in which the letters are lined up on their edge, forming a jagged edge around the middle. The phrase has become the symbol of the national protest against inequality and racism. The use of the sacred texts insert new complexities of irony and meaning to the message, punctuated by meticulous and exacting process.

Lisa Kokin’s thread work, Section 4, reproduces verbatum in thread, section 4 of the Voting Rights Act of 1965, prohibiting racial and language discrimination in voting. In her own words, “The words are barely visible and difficult to read and are sewn onto upholstery batting made of cotton, with all of that material’s historical allusions. Section 4 appears as delicate and fragile as democracy itself.”

The exhibition does much to illustrate the broad scope of possibilities the book offers to artists, both in substance and form. Artists included: Jody Alexander, James Allen, Rhiannon Alpers, Islam Aly, Alice Austin, Doug Beube, Donna Brookman, Sara Burgess, Macy Chadwick, Julie Chen, Marie Dern and Kay Ryan, Jessica Drenk, Foolscap Press, Casey Gardner, Andrew Hayes, Meg Hitchcock, Brooke Holve, Diane Jacobs, Lisa Kokin, Jon Kolkin, Vince Koloski, Leslie Marsh, Mary V. Marsh, Clifton Meador, Emily Payne, Maria Porges, Michelle Prévost, Lisa Rappoport, Judith Serebrin, Terry, Turrentine, Barbara Wildenboer and Dorothy A. Yule.

- Donna Seager. April, 2015

--------------------Jody Alexander Modern Library Classics I, 2015

book skins from withdrawn library books, linen, thread, walnut dye, image transfers 6 x 9 x .5 in unique book

Jody Alexander San Francisco Bay Area

Jody Alexander is an artist, bookbinder, papermaker, librarian and teacher who lives and works in Santa Cruz, California. She makes paper, in the Eastern-style, and uses her papers to bind books with exposed sewing on the spine in a number of historical and modern binding styles. She combines these books with found objects, wooden boxes and drawers, metal, bones, etc. to create sculptural works. Her pieces celebrate collecting, storytelling, and odd characters. She also likes to rescue books in distress and give them new life as rebound books, scrolls and sculptural pieces.

Modern Library Series Alexander’s work is always a response to the materials that surround her. The library where she works recently went through an extensive weeding project resulting in the withdrawal of thousands of books from the circulating collection. Many of these books ended up in Jody’s studio. At first she was attracted to content – mostly books with interesting illustrations – but then she began to notice the cloth covers from the mid-20th century and quickly became enamored with the reds, oranges, greens, blues, greys, and so excited when she found a rare purple or pale melon. At the same time she was interested in, and researching, Boro – a term used to describe patched and repaired Japanese textiles. These pieces are an amalgamation of those interests and obsessions with book illustrations, cloth covers and Japanese Boro. The imagery that runs through the pieces in this series originate from one particular withdrawn library book that quickly became her muse for this project – a book from the 1970’s about information storage and retrieval. Images of file folders, computer discs and punch cards dance around the colorful bookskins, stitches and repairs, on the books, wall pieces and other objects that make up this Modern Library.

--------------------Jody Alexander

Modern Library Classics II & III, 2015

book skins from withdrawn library books, linen, thread, walnut dye, image transfers 10 x 7.5,11.5 x 9 in wall pieces

--------------------James Allen World Theater, 2015 book excavation 15.5 x 20 in (framed)

James Allen San Francisco Bay Area

James Allen was born in 1977 in Illinois. He earned a BFA from the University of Wisconsin Milwaukee in 2000. Currently he lives and works in Portland, Oregon. Allen’s artwork is included in Art Made From Books: Altered, Sculpted, Carved, Transformed, published by Chronicle books in August 2013. His work was exhibited at the Bellevue Arts Museum in The Book Borrowers: Contemporary Artists Transforming the Book in 2009. His Book Excavations can be found in Public collections at UCLA, Johns Hopkins University, Ringling College of Art and Design, and University of Wisconsin Milwaukee. He’s also exhibited across the country in many cities including New York, Chicago and Miami.

Allen describes his work as “book excavations.” A book excavation is a sculptural work of art made by transforming various types of old books using precise cuts with a scalpel or knife, carving pages one by one until an astonishing new composition reveals itself. This almost surgical focus of dissecting books results in a wholly new object infused with a graphical history that evolves as the artist exposes each layer of the book while cutting around interesting images or text. For most artists working in this remarkable medium, the process is performed without pre-planning or mapping out the contents before cutting into the books pages and/or covers. Finished book excavations often appear as cross sections of the book, carved to create an alternate universe previously hidden between the covers.

--------------------James Allen Onomatopoeia 2015 book excavation 5.5 x 20 in (framed)

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Sacred Number, 2015 book excavation 12 x 11 in (framed)

--------------------Rhiannon Alpers Remnants, 2015 artist book 6.5 x 11 x 2.5 in edition of 20

Rhiannon Alpers San Francisco Bay Area

Rhiannon Alpers is a papermaker, letterpress printer and book artist.

She has an MFA in Book and Paper Arts from Columbia College Chicago and a BA in Book Arts from UC Santa Barbara, College of Creative Studies.

Alpers has taught workshops and college courses at San Francisco Center for the Book, Sonoma Community Center, Kala Printmaking Institute, Academy of Art University of San Francisco, Stanford University, Filoli Gardens Estate, Cabrillo College in Santa Cruz, Feather River Art Camp, Center for Book and Paper in Chicago, Columbia College Chicago, and Santa Reparata School of Art in Florence, Italy.

Remnants brings the world of four women naturalists to life, and re-frames their stories in a more personal context. The specimens included and documented in the piece open the door into the world these women wandered and wondered in. They offer a tangible and personal connection to the the discoveries and observations these women made. Remnants is a quest to find a new perspective by viewing nature through their lens, and to better understand their world by examining our own.

Written, designed and printed by Rhiannon Alpers of Gazelle & Goat Press. 4 x 6 in book with milk-painted and waxed wooden covers, bound with vellum straps and upholsterer tacks. Letterpress printed with polymer plates on Moab Entrada Rag 300 paper, with digitally printed original macro photography and folios interleaved with Hahnem端hle Bugra paper. 6.75 x 10.75 in cloth covered clamshell variant box with natural specimens under museum glass. Box interior lined with Ultrasuede, elephant hide, and bird of paradise handmade paper.

Produced in an edition of twenty signed and numbered copies, with three artist proofs.

Islam Aly

Iowa City, Iowa / Egypt

--------------------Islam Aly 28 Letters, 2013 (above and below)

Laser-cut handmade flax paper. Three hole pamphlet binding in an accordion binding. Linen thread, handmade paper covers.

This book displays the 28 letters of the Arabic alphabet; each letter is laser-cut on a folio. The accordion binding allows the viewer to explore and interact with the letters.

5 x 5.7 x 0.7 in (40 in extended), 28 folios. edition of 40

Islam Aly received a BA and an MA in Art Education from Helwan University, Egypt. He is currently a doctoral candidate in the College of Education’s Art Education program at the University of Iowa. In August 2013 he finished the MFA program at the University of Iowa Center for the Book. His books explore the possibilities of historical bindings in contemporary book art practice.

They have appeared in international exhibitions in the United States and abroad, and in private and public collections including the NewYork Public Library, the W.S. Hoole Special Collections Library at the University of Alabama, the National Library of Chile, the University of Iowa Special Collections and Bibliotheca Alexandrina.

Aly’s books play with classical forms and bindings, but by expanding spines, carving into the upper and side edges of the text block and laser cutting letters and symbols into his well-chosen papers, he has been able to create forms that are in perfect agreement with their content.

The books reveal a reverence for culture and history, particularly the culture and history of his native Egypt.

For 28 Letters, the artist has laser cut the letters of the arabic alphabet. The fluidity of the letters is mirrored in the fluidity of the form with it’s mobile accordion binding.

The Square In The Square, Al Midon, Tahrir Square in Cairo becomes the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: “The People Want to Bring Down the Regime” (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011.

This book focuses on the revolution slogan ‘al-sha`b yurid isqat al-nizam.’ Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan ‘The People Want to Bring Down the Regime.’ The last section contains the time and date when the regime stepped down along with the sentence ‘Al Saa’b Askat al Nezam’ with its English translation ‘The People have Brought Down the Regime’. Cairo’s map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo.

Orientation Cube Orientation Cube is inspired by The Kaaba, a cuboid building at the center of Islam’s most sacred mosque, in Mecca, Saudi Arabia. It is the most sacred point within this most sacred mosque, making it the most sacred location in Islam. Wherever they are in the world, Muslims are expected to face the Kaaba when performing prayers.

In addition one of the Five Pillars of Islam, every Muslim is required to perform the hajj pilgrimage at least once in his or her lifetime, if one is able. Multiple parts of the hajj require pilgrims to make circumambulation seven times around the Kaaba. A tiny black cube is positioned at the center of the inner back board, around which concentric circles are cut in the thirty sections of the book to reflect the process of circumambulation.

Spice Series: Concoctions 4 In his spice series, Aly wanted to document the spices used at his home in Egypt. In order to replicate how these spices appeal to the five senses, he created books that have a unique touch and smell. Incorporating herbs and spices such as black pepper, clover, cardamom, coriander, anise and hibiscus. Each spice reminds him of a memory: his mother’s cooking, walking through the old streets of Cairo, drinking herbal tea in cold winters and sharing food with family and friends. He documents these experiences and gives the audience the opportunity to reflect on their own experiences when viewers see, touch and smell the pages of the book.

--------------------Islam Aly The Square, Al Midon, 2014 (above and below)

20 sections with four folios. Mould-made Johannot paper. Colored and laser engraved edges. Bound in laser-etched wooden boards.

Ethiopian and Coptic binding with linen thread. Signed by the artist.

4.5 x 4.5 x 2.5 in edition of 40

--------------------Islam Aly Orientation, 2014

30 sections with three folios. Mould-made Johannot paper. colored and laser-engraved edges. bound in laser-etched plexi glass. two needle Coptic sewing and Coptic end bands with linen thread. Presented in a folding box with gilded wooden cube and magnetic closure. Box dimensions closed: 3.25 x 3.25 x 4 in. open:2.6 x 2.6 x 3 in edition of 30

--------------------Islam Aly Spice Series: Concoctions 4, 2014

20 folios, thee-hole pamphlet stitch sewn on accordion, different spices, cave paper, boards covered with book cloth, handmade flax, linen thread, and magnets.

3 x 3.5 x 3 in (22 in extended) unique

Alice Austin

Philadelphia, Pennsylvania Alice Austin is a Philadelphia printmaker and book artist. She has worked as a book conservator since 1999 at the Library Company of Philadelphia, the first library in the U.S., founded in 1731 by Benjamin Franklin. She has been a lecturer at the University of the Arts, teaching book structures, and also teaches workshops at the Center for Book Arts, NYC, and other locations. She earned a BFA from the Philadelphia College of Art, now the University of the Arts, and has been an active member, heading many committees, of the Guild of Book Workers since 1998.

Alice has been awarded many artist residencies in Europe, some of which involve teaching and exhibiting. Her work is widely held in private, public and special collections worldwide and you can listen to a podcast about her work from the University of Alabama. Her art work is also featured in “500 Handmade Books,” “Magic Books and Paper Toys,” “1000 Artists’ Books” and “Making Handmade Books.” Her artist books have been reviewed in Fine Books magazine and on-line in the New Yorker book bench blog.

Ca’ d’oro Ca’ d’oro is a tunnel book inspired by the palace of the same name on the Grand Canal in Venice. The book consists of two etchings executed in Venice; one is used as the background and the other is cut for the middle ground. Linoleum prints, based on the pattern of an iron window grill, make the foreground and sides. The book is housed in a handmade paste paper covered box with a magnetic closure.

--------------------Alice Austin Ca’ d’Oro, 2012

etchings and linoleum prints 12 x 7.5 in unique

Doug Beube New York, New York

Trained as a filmmaker and photographer, Doug Beube turned to another narrative form in the late 1970s: books. Focusing on novels, reference volumes, atlases, and art monographs, he approaches each text as if it were a body or an archaeological site, as he explains: “Like a physician or an archaeologist, I am driven to examine it, to dissect it, to cut it open, to dig into it. I am compelled to unfix margins, make tomes weightless, empty volumes of their stories and twist a point of view into its opposite.�

Through these processes, he turns the books into objects and sculptures, and incorporates their parts into his mixedmedia works. Beube both honors and critiques authors, re-crafting their words into works through which he comments on the state of the world.

--------------------Doug Beube Scrambled Message,2014 altered page, foam core 7.5 x 1.125 in

Scrambled Message and Veiled Route In Scrambled Message and Veiled Route, portions of the book by Bob Woodward, Veil: The Secret Wars of the CIA, are excised by drilling out selected words one page at a time, a process that displaces the narrative content.

Overlapping pages of hollowed out letters with frayed edges remain as ghostly shadows of the text’s former shape. Since the obliterated words can no longer be read, the page becomes a memory of a memory. What we see in place of the original text is a mysterious, fragmented calligraphy of broken words and rough edged spaces.

Each page is both a palindrome and palimpsest, a white veil through which the underlying page can be glimpsed.

Underneath the top page are layers of torn pages or colored maps with their printed words or maps broken into pieces as if in code. A visual, rather than a linear read is necessary to understand the meta-language created by this altered syntax of disparate letters and empty spaces.

--------------------Doug Beube Veiled Route, 2009

altered page, map, foam core 9 x 6 x 1.125 in

--------------------Donna Brookman, Anne Barrows riverrun, 2013

poetry by Anne Barrows written in response to drawings by Donna Brookman. printed by the artist, then assembled in a long accordion fold format and boxed

by John Demerritt 9.5 x 6.5 x 2 in

Donna Brookman San Francisco Bay Area

Donna Brookman received her BA from the University of California in Berkeley and her Masters from the San Francisco Art Institute. She is a painter whose work is strongly influenced by a lifelong practice of making artist books and prints. Her interpretation of the creation myth in Ovid’s Metamorphosis (translated by Ted Hughes) was exhibited at 5&5 Gallery in Brooklyn and Donna Seager Gallery in California. Her recent collaboration with poet Anne Barrows began with spontaneous drawings of moving water, which in turn became the impetus for Barrows’ suite of water poems, riverrun. A further suite of River Scroll prints produced at Magnolia Editions led to her most recent body of work, Palace of Memory, a narrative sequence of twenty-seven large paintings. Her most recent solo exhibition of paintings, fullflood was at Thomas Paul Fine Art, Los Angeles.

Statement by Anne Barrows For a long time, Donna and I talked about doing a book together. But how to start? How would it work if I wrote poems to go with her art? If she made art to go with my poetry?

Either way, one of us would be “illustrating” the work of the other. What changed was a trip Donna took to the Sierras, where she found herself immersed in a project of sketching the movement of water as it ran its course. Eighty line drawings reflecting moods of that water in motion.

When I saw them, I felt at once how the dilemma of “illustration” had vanished, and how it was not only possible but even imperative for me to write a parallel set of poems on the theme of water, so fundamental an element in our lives. The first poem in the book was inspired by the drawing that precedes it, but the inclusion of particular poems, particular drawings, is the result of our combined sense of visual compatibility and an arc of meaning that resulted in the order of both in these pages.

--------------------Sara Burgess no. book, 2015 (left, two views)

3D printed cover. hand-cut paper pages. slots together, no glue or stitching used.

2.5 x 5 in unique

--------------------Sara Burgess Flat Planet, 2013 (right)

cut paper handmade artist book 5 x 5 in unique

Sara Burgess San Francisco Bay Area

About fifteen years ago, Burgess put an x-acto blade to an unfinished sketchbook. She liked the silhouettes, the relationship between positive and negative space – still does.

Today, she draws and then cuts, slicing thousands of lines until a story emerges – seeing and planning for what stays versus what falls away. She says things like, “your brain has to think of what remains” She is meticulous and calculated, some might say, downright crazy.

She, like you and I, didn’t realize that people still practiced this tradition. She remarks on how it’s refreshing to see someone put a lot of time and patience into something – so few of us have time and patience anymore. She loves how unequivocally non-digital this craft is. It’s the opposite of technology. It’s raw, simple, soft, tangible and breathtaking.

Burgess studied printmaking at the University of Victoria and received her MFA in Illustration from San Francisco’s Academy of Art College. She’s designed product lines (table linens, dinnerware and bedding) and has worked as an illustrator, animator and graphic designer in the UK, US and Canada.

Today, Burgess develops new things using all of the above: products, ideas, homewares, and so many more materials that she hasn’t yet realized. Her clients include IDEO, Pottery Barn, Restoration Hardware and Levis. She also has exhibited her print and cut paper artwork in the UK, US and Canada and teaches at the San Francisco Center for the Book.

--------------------Macy Chadwick Locus, 2015 artist book 12.5 x 10.5 in edition of 40

Macy Chadwick San Francisco Bay Area

Macy Chadwick publishes artist’s books and limited-edition prints under the imprint In Cahoots Press in Oakland, California. Through her work she addresses themes of memory, personal communication and visual language systems. She is interested in the connection between people: interactions both verbal and non-verbal, shared experiences, and the urge to communicate clearly.

Macy Chadwick received an MFA in Book Arts and Printmaking from The University of the Arts in Philadelphia and assisted book artist Julie Chen at Flying Fish Press for three years. She currently splits her time between Providence, Rhode Island, and Oakland, California, where she creates books and limited edition prints in her letterpress studio.

Macy is on the faculty at the Academy of Art University, San Francisco, and her work is in prominent collections in the U.S. and abroad, including the Victoria and Albert Museum, Yale University Special Collections and the Jack Ginsberg Collection in South Africa.

Locus Locus, a personal geography, is about existing in the space between the known past and the unknown future. In this exploratory realm, the narrator considers her past, locates herself in the present and finally embraces her many possible futures.

Relief and pressure printing on Mohawk and Gampi Shi papers. Hybrid french doors/accordion book in soft cover.

Housed in a clam shell box.

Julie Chen

San Francisco Bay Area FLYING FISH PRESS was established in 1987 by internationally known book artist and book art educator Julie Chen. The press focuses on the design and production of limited edition artists’ books with an emphasis on three-dimensional and movable book structures and fine letterpress printing. Editions range in size from 25 to 150 copies. Work from the press Is known for combining meticulous attention to craft, intricate structural design and inspired artistic vision.

Chen’s approach to the artist’s book involves intensive explorations of both form and content.

Her work is heavily rooted in the ideas of the book as a physical object and a time-based medium.

She views reading as an intimate act in which the reader must be in close physical proximity to the book, can control the pace of reading through the self-directed turning of pages, or equivalent action, and must interact with the book through the manipulation of the book’s physical structure.

Chen strives to present the reader/viewer with an object that challenges preconceived ideas of what a book is, while at the same time providing a deeply engaging and meaningful experience through the presentation of her own text and imagery in a purposefully structured format.

Chrysalis Chrysalis is an interpretation of the complex and transformative nature of the process of grief.

The piece consists of a sculptural book object housed in a box. The book object is held together by a series of magnets and can be opened by the viewer until all the panels lie in a flat plane, revealing an inner book with circular pages that can be held in the hand and read. All content is letterpress printed on handmade paper using photopolymer plates.

--------------------Julie Chen Chrysalis, 2014

letterpress on handmade paper 6.75 x 11.75 x 6.625 in (box), 7 x 11 x 7 in (closed book) edition of 50

Marie Dern

San Francisco Bay Area Marie C. Dern was born and raised in Salt Lake City. She attended the University of California, Berkeley and received a Bachelor of Arts degree. After graduation she followed a course of study at the Sorbonne in Paris. Marie returned to school in the 1980s and received a Master of Arts degree in Book Arts from Mills College in 1986.

In 1974 Dern began Jungle Garden Press in Berkeley in the basement of a house surrounded by a wild garden. She has since printed and published more than 40 books, including her own writing as well as others. She also makes sculptural books, one of a kind and small editions. Her books are printed letterpress and are bound by hand with attention to combining structure and content of the book to illuminate the meaning of the text. The subjects are most often humorous and ironic.

Books from Jungle Garden Press are found in many collections including the Achenbach Foundation for Graphic Arts, the National Museum of Women in the Arts, Mills College Library and the New York Public Library.

Poems by Hand Kay Ryan is an American poet and educator. She has published seven volumes of poetry and an anthology of selected and new poems. From 2008 to 2010 she was the sixteenth United States Poet Laureate. In 2011 she was named a MacArthur Fellow and she won the Pulitzer Prize. She is also a good friend of Marie Dern. Poems are an intimate medium, as are books when approached as a medium for art. Dern and Ryan took that sense of intimacy a step farther by imagining a portfolio of poems written in the poet’s own hand. They incorporated silkscreen prints by artist Martha Shaw, box by Bay Area bookbinder, John DeMerritt and Polymer plates of the poet’s handwriting were created by Richard Seibert.

--------------------Marie Dern Poems by Hand, 2014

seven poems written out by Kay Ryan. printed letterpress on Twin Rocker paper. title page and colophon page handset Garamond type and printed letterpress.

6.25 x 9.25 in edition of 15

Jessica Drenk Titus, Florida

Jessica Drenk was raised in Montana where she developed an appreciation for the natural world that remains an important inspiration to her artwork today. Tactile and textural, her sculptures highlight the chaos and beauty that can be found in simple materials. Drenk’s work is also influenced by systems of information and the impulse to develop an encyclopedic understanding of the world.

In 2009, Drenk received an Artist Project Grant from the Arizona Commission on the Arts, funding the installation of Archaeologica at the Mesa Arts Center in Mesa, Arizona. In 2006, she was awarded the International Sculpture Center’s Outstanding Student Achievement in Contemporary Sculpture Award. Her work has been pictured in Sculpture, Interior Design and Curve magazines and seen in shows at the International Grounds for Sculpture in New Jersey, the Albuquerque Museum, the Tucson Museum of Art, the International Book Fair of Contemporary Creative Books in Marseilles, France as well as galleries and art fairs across the United States.

Jessica Drenk has an MFA from the University of Arizona, graduated Cum Laude from Pomona College, and is a member of the Phi Beta Kappa academic honor society. Drenk currently recently moved to Titus, Florida.

--------------------Jessica Drenk Interleave, 2015

books, cut into thins strips and interwoven, frame has a fabric backing.

12 x 48 x 2 in There are three works in this series.

--------------------Foolscap Press St. John’s Fragment: Against All Odds, 2015

printed letterpress on Frankfurt Cream and bound in handmade Cave Paper, the endsheets are handmade Lokta.

8.25 x 6.25 in edition of 116

Foolscap Press

Lawrence G. Van Velzer & Peggy Gotthold Santa Cruz, CA Lawrence G. Van Velzer & Peggy Gotthold started FOOLSCAP PRESS in 1990 after many years in the business in order to publish books under their own imprint. All of their books are designed, printed and bound at the press and generally distributed directly to their customers.

Peggy Gotthold worked as a bookbinder at Schuberth Bookbindery in San Francisco and Arion Press. She trained in letterpress printing and typesetting at Cowell Press (UCSC), Yolla Bolly Press and Artichoke Press.

Lawrence G. Van Velzer operated his own press and worked as a printer and typesetter at Arion Press. His father taught printing in technical high schools and was a letterpress printer who learned printing from his father, who published a newspaper printed on a handpress in the 1870’s.

Saint John’s Fragment: Against All Odds This book is a collaboration between the calligrapher Thomas Ingmire and the poet David Annwn, taking inspiration from a small fragment of papyrus.

Although written on papyrus this fragment is not part of a scroll, it is a very early codex. Specifically, the text on this piece of papyrus, on the recto, is from the Gospel of John 18:31, and the verso holds a snippet of verses 37-38, where Jesus is brought before Pontius Pilate who asks “What is truth?” and after interviewing Jesus, states: “I find not one fault in him.”

David Annwn’s poem is a direct response to viewing the fragment in the Rylands Library in Manchester, England.

Thomas Ingmire has redrawn the Fragment and its Greek text by hand. Then, in a second version, Ingmire reproduced the Fragment completing the Greek lines. Each version is letterpress printed from polymer plates with additional color hand painted using the stencil method known as pochoir. In a final touch, Ingmire has laid down gold diamonds on the title page and on the half-title.

--------------------Casey Gardner Cartographical Incantations, 2015

letterpress and digitally printed. hand bound with accordion & sewn binding. Hahnemuhle Ingres and Nepalese Lokta silkscreened paper.

6.5 x 10 in

Casey Gardner San Francisco Bay Area

Casey Gardner worked as a journalist before studying printmaking & graphic design at California College of the Arts. In making books, she approaches a subject from many directions and levels of inquiry. Her pages open to a landscape of options and layers of detail for the reader to navigate. Through analytical probing and outlandish premises, she creates a world of language and imagery, inviting the reader to travel into her books along varied routes that render new destinations with each reading. Her award-winning books are collected in university and private collections.

Cartographical Incantations Cartographical Incantations is book of cartographical unfoldings, tessellated map fragments and beasts of the imagination. The book spreads open to reflected images of historical map details from the Dutch Age of Discovery.

Turn the book over, the patterns become more complex, abstracting the repetition and reflection many journeys entail. Text includes wayfarer invocations and wayfinding instructions, with mapmaking histories relating to a time when the unknown could take on magical qualities.

Also included is a traveller’s tale of chance and choice. The story begins with a door opening and continues to hinge on the word perhaps relating the either/or possibilities that occur and move back and forth on journeys. A forgotten map presents the traveller with options at various crossroads while venturing forth into landscapes of uncertainty.

--------------------Andrew Hayes Junction, 2014

steel and book pages 4 x 4 x 4 in

--------------------Andrew Hayes Bulwark,2014

steel and book pages 10 x 4 x 3.5 in

Andrew Hayes Asheville, North Carolina

Andrew Hayes grew up in Tucson, Arizona and studied sculpture at Northern Arizona University. The desert landscape inspired much of his early sculptural work and allowed him to cultivate his style in fabricated steel. After leaving school, Andrew worked in the industrial welding trade. While living in Portland, Oregon, bouncing between welding jobs and creating his own work he was invited to the EMMA collaboration. This one-week experience was liberating for Andrew and he was encouraged by his fellow collaborators to apply to the Core Fellowship at Penland School of Crafts. During his time as a Core Fellow, Andrew was able to explore a variety of materials and techniques.

Surprisingly, the book became a big part of this exploration.

In this work he faces the challenge of marrying the rigid qualities of metal with the delicacy of the book page.

Seager Gray discovered Hayes during his 2012 exhibition at the Portland Museum of Contemporary Craft. Since that time, his work has been embraced by collectors and he has been included in exhibitions and collections at Yale University, Hartford University, the Morris Museum in Morristown, New Jersey and the Mesa Contemporary Art Museum in Mesa, Arizona to name a few. He will have his second one-person exhibition in September, 2015 at Seager Gray. His work is characterized by a combination of extreme mastery of materials and an innate understanding of form.

--------------------Andrew Hayes Balastae, 2013

steel and book pages 16 x 8 x 3 in

Meg Hitchcock Brooklyn, New York

Meg Hitchcock is an artist living and working in Brooklyn, New York. She received her BFA in painting from the San Francisco Art Institute, and studied classical painting in Florence, Italy.

Her work with sacred texts is a culmination of her lifelong interest in religion, literature and psychology. Hitchcock’s work has been shown in New York, Los Angeles, San Francisco, Chicago, London and Berlin, and reviewed in Art in America, ArtCritical, The New Criterion, Huffington Post, Hyperallergic and The Daily Beast. Her work is included in “State of the Art: Discovering American Art Now” at Crystal Bridges Museum in Arkansas.

--------------------Meg Hitchcock I Can’t Breathe II, 2015 (left) letters cut from the Bible 14 x 11 in

--------------------Nicene Creed, 2015

(upper right) letters cut from “The Buddha’s Golden Path” 14 x 11 in

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Shivalingam, 2014 (lower right)

letters cut from “The Confessions of St. Augustine” 14 x 11 in

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What a Wonderful World, 2015 (following page, left) letters cut from the Koran 14 x 11 in

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Ancient of Days, 2015 (following page, right) letters cut from the Koran 14 x 11 in

Brooke Holve Sebastopol, California

Brooke Holve grew up shaped by the itinerant life of a military family. A visual artist for more than two decades, her art practice has taken her through explorations of calligraphy, bookbinding, printmaking, digital technology and poetry. Interested in combining mediums, she draws from each discipline to make mixed media works, installations, constructions and artist books.

Her probing work investigates culture, memory, place, language, time and natural phenomena. She often looks for materials and objects that hold a history. The interplay of the materials and methods inform her process; and over time expose possibilities for shaping form. She often attempts to put together disparate ‘things’ that have come apart, but were once traditional structures used to preserve, protect and hold. Brooke’s work has been exhibited in the US and Europe and is included in both private and public collections. mtlaugwalkcuts mtlaugwalkcuts is part of an installation of seven mixed media constructions made from “cuts” of book covers. The installation was inspired by a walk the artist took up to the summit of Mt. Laugarvatn during an artist residency in Iceland. Holve recorded the shape of the walk with a GPS device and printed it out into 23 sections. She selected seven “cuts” from the shape to influence the forms. She was also interested in how to ‘round’ a rectangular structure. The work is informed by the changing role of the book as the world moves from constructed forms that held and protected printed images and text to primarily digital delivery systems.

Discarded book remnants are the dominant material of this work. *In Iceland, place names often reflect something of the landscape and sometimes a story that occurred there. Like Icelanders, I named this series to reference my process of working and the place that inspired it. *note from artist

--------------------Brooke Holve mtlaugwalkcuts 3, 5 & 7, 2014 book covers 9.13 x 8.66 x 3.25 in

--------------------Diane Jacobs NOURISH, All our Relations, 2012 artist book 8 x 8 x 2 in edition of 21

Diane Jacobs Portland, Oregon

Diane Jacobs has been making artists’ books under her imprint Scantron Press for over 20 years. Her work is held in over 50 distinguished collections including The Getty Museum, SFMOMA and the Walker Art Center, among others. She holds an MFA in printmaking from San Francisco State University and has taught book arts and letterpress printing in the Bay Area, at the Oregon College of Art & Craft and at the Women’s Studio Workshop.

Nourish: Artist Statement: Personal experiences brought Nourish to fruition: visiting Opal Creek’s pristine ancient forest, witnessing a breathtaking starling murmuration, listening to musical compositions that transcend cultural boundaries and sleeping under the expansive starry night sky. Nourish comes from gratitude and a desire to celebrate the wonders of our natural and created world. It also acknowledges that beneath this beauty looms environmental catastrophe: dying bee colonies, lack of safe drinking water, increasing oceanic garbage, loss of habitat for species whose diversity is dwindling, and our changing climate to name a few. Time is ticking, we must find our way through the labyrinth, unlock the doors of perception, and embody the notion “to be with higher self.” We can become the spider that protects and weaves creative solutions.

Nourish is an unbound artist book composed of eight twice-folded folios printed on both sides and housed in a handcrafted collapsible bamboo box.

These pages have endured over 100 runs through the Vandercook letterpress. The artist explored new artistic territory in this project; investigating color by mapping out fifteen different multi-color reduction relief prints and experimenting with layering images on transparent paper.

Section 4: Artist Statement June 25, 2013 was a bittersweet and paradoxical day in my personal life and my life as a citizen of the United States. I was recovering from thumb surgery when I heard my soon-to-be-spouse Lia yelping for joy down the hall as she heard the news that the Supreme Court had struck down the Defense of Marriage Act, thus making it possible for us and other same-sex couples to marry and have our relationships legally recognized.

Ironically, on the same day, the voting rights of lowincome voters, young people and people of color were jeopardized. Specifically, Section 4 of the Voting Rights Act of 1965, which prohibits racial and language discrimination in voting, was struck down.

In the piece I have stitched the complete text of Section 4. The words are barely visible and difficult to read and are sewn onto upholstery batting made of cotton, with all of that material’s historical allusions. Section 4 appears as delicate and fragile as democracy itself.

--------------------Lisa Kokin Section 4, 2015

thread, cotton upholstery batting 34 x 16 in

Lisa Kokin

San Francisco Bay Area Lisa Kokin received her BFA and MFA from the California College of the Arts in Oakland, CA. The recipient of numerous awards and grants, Kokin was most recently given the Dorothy Saxe Award from the Contemporary Jewish Museum in San Francisco and the Purchase Award from the Richmond Civic Center Public Art Interior Acquisitions Project in Richmond, CA. Kokin’s work has been featured in many books and articles including the upcoming Art Made From Books, Chronicle Press, by Laura Heyenga.

Her one person exhibition, “How the West Was Sewn” was at the Boise Art Museum in 2013.

Kokin’s work is often a critique of the sociopolitical status quo imbued with a healthy dose of levity and a keen sensitivity to materials and process. Sewing and fiber-related sensibilities play a key role in much of Kokin’s work, which she attributes to growing up in a family of upholsterers. Thread, which in the past she used to construct and embellish her work has, in her most recent body of work, become the primary material. Kokin explores irony and memory in her seemingly ephemeral pieces, allowing transiency itself to be immortalized in lasting works of art.

It is difficult to classify Lisa Kokin’s work. She is a conceptual artist to be sure, but few conceptual artists break as many boundaries in working with their materials. Her work has content, humor and social commentary while maintaining a rigorous adherence to painstaking process.

Jon Kolkin

Raleigh, North Carolina Jon Kolkin has drawn the attention of the art world due to his ability to look at his subject matter from a very fresh, original and unique vantage point. He is known for his minimalist style, stripping away all distractions and focusing on the soul of his subject matter.

He was first introduced to photography as a young boy working in his father’s darkroom. He expanded his artistic horizons, becoming a nationally recognized clarinetist who toured Europe with the National Youth Symphony. These passions, combined with his fascination with the sciences, resulted in Kolkin’s decision to pursue a major in chemistry at Emory University with a minor in the Arts. After college he received a degree in Medicine. However, he never abandoned his love for the arts, taking photography courses at night while simultaneously completing his residency in Orthopedics.

Inner Harmony… Learning from the Buddhist Spirit Inner Harmony… Learning from the Buddhist Spirit Covered in imported Japanese silk cloth and handbound using traditional Asian techniques. Inside are rare, intimate photographs of Buddhist monks and nuns from throughout Asia. Each photograph is complimented by calligraphy created by the internationally recognized artist, Tai Oi Yee. The underlying theme of Inner Harmony is to emphasize the importance of looking inward in our search for wellbeing (happiness) rather than expecting it to come from external sources. Text is written in English and translated into traditional Chinese.

--------------------Jon Kolkin Inner Harmony… Learning from the Buddhist Spirit , 2014 photography, calligraphy 12 x 11 in edition of 50 (Photographs from book pictured in lower left and right hand page.)

Vince Koloski San Francisco Bay Area

Minneapolis born artist, Vince Koloski has an extensive background in neon sculpture and was an integral member of the original group that founded the American School of Neon and St. Elmo’s Gallery. With a dual B.A. in sculpture and poetry, his interests have always been in the combination of form and content.

For Koloski, making books that use light to create the images and text marries the symbolic and the practical aspects of light. Light in its role as a symbol of knowledge illuminating the symbols which transfer and preserve knowledge Is a powerful melding medium and meaning.

Imprisoned Words All of the passages quoted in this piece are from works created while the writers were in prison or while their freedom was denied them. The quotes are from Boris Pasternak, Steve Biko, Martin Luther King, Dietrich Bonhoeffer, Adolf Hitler, Mohandas Ghandi, and Nicola Sacco. Some of the writers wrote while they were imprisoned, others were imprisoned because of what they wrote.

--------------------Vince Koloski Imprisoned Words, 2000

neon, laser-etched acrylic sheets, jail bars 23 x 18 x 8 in

Leslie Marsh

West Chester, Pennsylvania From her studio in West Chester, Pennsylvania, Leslie Marsh solders and binds together books of various sizes. These books become the archives for thoughts, memories and photographs. Her passion for books includes an extensive personal collection of current and antique titles. With a strong focus on nature and vintage material, she creates books that combine surprising elements into a tactile framework for personal expression.

Using centuries-old binding techniques, she forges elements into covers that hold signatures wrapped in ecoprints. Marsh has studied under Dan Essig and Australian textile and natural dye artist India Flint.

Her books are held in private collections across the US, Europe and Australia.

--------------------Leslie Marsh

Georgia O’Keeffe - Terrified, 2014 (left)

Coptic-bound book made from silver-bearing, lead-free solder, vintage brass chain and findings. The image on the cover of Georgia O’Keeffe sits in a hand-crafted brass bezel under resin 6 x 4 x 1 in

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Adirondack Lake, 2014 (upper right)

coptic-bound book made from silver-bearing, lead-free solder, vintage brass book chain and findings 3 x 2 x .75 in

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Elk - Stand Wherever I Am , 2014 (center right)

Greek bound book, assorted hand-made paper, stones: carnelian, wood and red creek jasper, turquoise, garnet in schist, chrysocolla, black onyx, quote by Mary Oliver 9 x 6 x 2 in

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Pilot’s Log Book , 2014 (lower right)

Coptic-bound book made from silver-bearing, lead-free solder over a brass foundation, 1945 photo of a P-51D Mustang named “My Girl” taking off from Iwo Jima during World War II and rests in a handcrafted brass bezel under resin, cover has been riveted to effect the skin of this plane.

4 x 6 x 1 in

--------------------Mary V. Marsh Market to Market: A Commuter Diary, 2014

handset type, polymer plates, watercolor and inkjet on Rives BFK, Canson Mi-Tientes and Enhanced Matte. Hand-cut, hand bound in carousel format. cloth covers, matching slipcase.

6.75 x 5.25 x 2 in 23 x 18 x 8 in edition of 18

Mary V. Marsh San Francisco Bay Area

Mary V. Marsh was born in Portland, Oregon and has been making art and working in libraries in the Bay Area since 1984. She received an MFA from the San Francisco Art Institute in 1992 where she met her husband and collaborator Tony Bellaver.

She has exhibited throughout the Bay Area with solo shows at San Jose Museum of Art, San Francisco Art Commission at Grove Street, Berkeley Art Center, San Francisco Public Library Skylight Gallery and Mercury 20. Currently an artist in Residence at Kala Art Institute in Berkeley, California, she makes artist’s books, prints and collaborative work with Tony Bellaver at Quite Contrary Press in Oakland, California.

Marsh’s work explores the intersection of mass media, consumption and personal habits. She is interested in how information is delivered, how it is perceived and the gap between presentation and meaning.

Each new format for communication transforms the nature of our thinking, its access dependent on how it is controlled. She recorded the patterns of her daily activities and observations of her surroundings in journal drawings and diary entries. These notes and ideas are synthesized with media images into prints, artist’s books and assemblages. Materials and techniques suggest a history of printing, nostalgia, and anxiety from constant and rapid changes.

Market to Market: A Commuter Diary Scenes from a daily journal of the artist’s commute by bus, bike and BART from Oakland to San Francisco and back in 2012. Drawings of commuters are letterpress printed, hand colored and cut out in front of a phone photo background. The five vignettes frame views through a bus window with a journal entry for each day of the work week.

--------------------Clifton Meador Pankisi Prayer Rug, 2014

hard cover book wrapped in chiaroscuro felt print 11.25 x 13.25 x 2 in edition of 30

Clifton Meador

published by DeMerritt l Pauwels Editions San Francisco Bay Area Clifton Meador combines writing, photography, printmaking and design to make narrative works that explore culture, history and place. His books are in many major collections, including the Library of the Museum of Modern Art in New York, the Victoria and Albert Museum in London and the Yale Art of the Book collection.

Pankisi Prayer Rug Pankisi Prayer Rug is an ingenious work evoking the tension found in the international hysteria over Islamic fundamentalism, the long history of conflict in the northern Caucasus and the reality of life in a small district that briefly became a hot spot in the War on Terror. Meador was in the Republic of Georgia to teach book arts to traditional craftspeople, felt-makers. A family from the Pankisi Gorge invited them into their home, showed their private mosque and were very welcoming. The circumstances of their lives - the hardships evident in their struggles to earn a living inspired reflection on how the hysteria of a huge powerful country had trampled reality in the rush to exact retribution for 9/11. And so it was no big jump to the idea that all the fear surrounding the Pankisi Gorge was myth, that this was a small place with people just trying to get on with their lives.

Pankisi Prayer Rug was printed by Clifton Meador at the Center for Book and Paper at Columbia College, Chicago during the Spring of 2014 on a one color Heidelberg press. The color palette of Pankisi Prayer Rug is based on the blues and grays of a winter afternoon in the Caucasus Mountains in the Republic of Georgia. Images are printed in six non-process colors – including a fluorescent red – in an effort to recreate chromolithography as a contemporary practice.

The book is published by DeMerritt|Pauwels Editions. Each book is hand-sewn with six colors of thread and bound in a Bradel binding with slate antique English buckram. The book is wrapped in a chiaroscuro felt print (produced at Magnolia Editions) and housed in a custom pull-off box. All binding work and design was executed at DeMerritt | Pauwels Editions in Emeryville, CA.

Emily Payne San Francisco Bay Area

Emily Payne grew up in Mill Valley, California and Amherst, Massachusetts. She received her BA from Oberlin College in Ohio and her MFA in Printmaking and Book Arts from San Francisco State University in 1999. She lives and works in Berkeley, California. Payne’s focus has always been on materials themselves, finding ways to think ourside the box in working with the colors, textures and natural qualities.

In her latest work, Payne is working specifically with book board, creating a canvas on which she paints with gouache and graphite.

In addition to her many collectors, Payne has been included in many public art projects including the Gordon and Betty Moore Foundation in Palo Alto, the Lafayette Library and Learning Center, the Alameda County Arts Commission Purchase Award for the County Clerks Office and the Kaiser Permanente Medical Center in Santa Clara, California.

--------------------Emily Payne Blue Basin, 2015

gouache & graphite on book boards 46 x 46 in

Maria Porges San Francisco Bay Area

Maria Porges is an artist and writer whose work has been exhibited widely in solo and group exhibitions since the late eighties. She received a SECA award from the San Francisco Museum of Modern Art and has twice been in residence at the Headlands Center for the Arts. For over two decades, her critical writing has appeared in many publications, including Artforum, Art in America, Sculpture, American Ceramics, Glass, the New York Times Book Review and a host of other now-defunct art magazines. She has also authored essays for more than 75 exhibition catalogues and dozens of scripts for museum audio tours.

Porges is an Associate Professor at California College of the Arts in the Graduate Program in Fine Arts. Born in Oakland, California, She received her BA from Yale University and MFA from the University of Chicago. She also attended Grinnell College and the San Francisco Art Institute.

--------------------Maria Porges American Progress, 2015 (left) altered book 9.5 x 12.5 x 6.5 in

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Amerika, 2015 (upper right) altered book 10.5 x 7 x 2.5 in

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Mary’s Book 7, 2014 (lower right) altered book 14 x 14 x 2.5 in

--------------------Lisa Rappoport Zane Grey and Me, 2015

handmade artist book with leather cover 8.25 x 10.75 in edition of 47

Lisa Rappoport San Francisco Bay Area

Lisa Rappoport publishes poetry broadsides and artists’ books under the imprint Littoral Press. Since 1998 she has produced a series of broadsides by the poets who teach at the Squaw Valley Community of Writers; she has also printed poetry broadsides for Lawrence Ferlinghetti and City Lights Books, Lyric Poetry Review, and many others (last but not least, the Poets Pulling Prints series of the SFCB). Her poetry has appeared in Five Fingers Review, Literal Latte, and elsewhere. She is the winner of the 1998 Icarus Poetry Competition and the recipient of a poetry residency at Centrum. Lisa has taught at the New College in San Francisco, at a middle school in Lafayette, and in her own studio.

Her work has been displayed nationally and is in collections throughout the U.S. Zane Grey and Me juxtaposes excerpts from the 1917 novel, Wildfire, with autobiographical responses, obliquely addressing the role of both romance and romance novels in modern life. This book grew out of Rappoport’s childhood in New Jersey and her years working with horses in Europe and New Mexico. The colors and sculpted shapes of the pages evoke the landscape of the Southwest. The two columns of text on each page, one from Zane Grey’s novel and one from the author’s life, reveal the tension between fiction and reality, past and present.

Illustrated with vintage dingbats, frontispiece drawing

by Andrew Larkin and anatomical heart drawn by Bobbe Besold. Printed damp in purple ink on eight colors of St. Armand paper and bound in leather with exposed longstitch. The tops of the pages are cut into canyon and mesa outlines. Mr. Grey’s text is set in Farmers Old Style, via monotype composition from M & H Type; Ms. Rappoport’s text is handset Centaur.

--------------------Judith Serebrin Soul Book: The Ragged Empath, 2015

sculpture: stained porcelain mixed-media book: monotypes on paper, watercolor & ink, linen thread, acrylic medium on covers, coptic binding 8.75 x 2 x 1.875 in

Judith Serebrin San Francisco Bay Area

Judith Serebrin graduated in 1990 from the University of Utah with a masters degree in Fine Arts. Her primary focus is in book arts. She has been making limited edition and unique books from etchings, monotypes and drawings since 1989.

Her work has been exhibited widely and has been collected by libraries, museums and individuals in the United States and abroad. She was featured in an article on contemporary book arts in the November 1998 issue of ART PAPERS and was the recipient of the Pacific Center for the Book’s (PCBA) 1994 D. Steven Corey Award. Currently she is a Book Arts instructor at the San Francisco Center for the Book and is an active member in The Main Gallery, a juried cooperative gallery in Redwood City, California.

Soul Books Judith Serebrin has been creating Soul Books since 2002.

To Serebrin, the soul represents a spiritual essence that is both inherent and particular to a person, but is also made up of the triumphs and hurts of our lives. She says, Whatever has impacted us, as we live in a world that has a great deal of irrational institutions and social mores, has made us who we are. Telling our stories and being able to listen to them - including any emotions that are attached - are acts of healing. Our perspective of the world expands, our compassion increases and our knowledge grows when we can hear what is being said.

Each sculpture contains small handmade coptic bound books.

--------------------Judith Serebrin Soul Book: Raven II, 2015

sculpture: stained porcelain mixed-media book: monotypes on paper, watercolor & ink, linen thread, acrylic medium on covers, coptic binding 31.25 x 3 x 3.75 in

Terry Turrentine San Francisco Bay Area

Award-winning photographer, Terry Turrentine celebrates nature and specificallly wild birds in her compelling images.

Her first artist book, The Great Egret encapsulates over 20 years’ experience photographing Great Egrets and is included in special collections libraries throughout the country.

Snowy Owl Snowy Owl contains color photographs of a female Snowy Owl with essay by Richard Lang and a poem by Pulitzer Prize winner Mary Oliver. Having completed her series on the egret, Turrentine was looking for a species to study, one with a similar combination of beauty, power, and grace. She chose the snowy owl.

After four years and thousands of miles of travel in Canada and the Arctic, Turrentine was fortunate to find a 3-year old solitary female snowy owl in a frozen cornfield in northern Quebec, Canada. She named her Charlotte. “She flies gracefully and silently in the stark winter environment. Her piercing yellow eyes capture warmth and sunlight and become a focus against the cool blue shadows of the snow.”

One of the heaviest owls, with a 5-foot wingspan, Charlotte still exhibits the graceful gentleness and powerful beauty of the feminine. Since ancient times, the Owl has been regarded as a sacred, mystical being, whose vast mythology expresses strength, beauty, and prophetic vision.

The extraordinary clarity of the images - in flight, standing, stalking her prey and even seemingly smiling with satisfaction goes beyond mere documentation. The viewer is given an intimate full portrait of this single extraordinary creature.

--------------------Terry Turrentine Snowy Owl, 2013

archival pigment print and letterpress in clamshell box 14 x 19 in edition of 30

--------------------Barbara Wildenboer Plant and Planet, 2015 altered book 19.68 x 25.2 in

Barbara Wildenboer Cape Town, South Africa

Barbara Wildenboer has participated in several group exhibitions and art fairs both nationally and internationally, including South Africa, San Francisco, Dubai and Hong Kong. In 2013 she had her 7th solo exhibition entitled Disjecta Membra at Amelia Johnson Contemporary in Hong Kong. Her latest body of work entitled The Lotus Eaters, opened at The Reservoir at the Oliewenhuis Art Museum in Bloemfontein in 2014 and subsequently toured South Africa.

She has been awarded several international residencies including the Unesco-Aschberg residency (Jordan, 2006), the Al Mahatta residency (Palestine, 2009), the Red De Residencias Artisticas Local (Colombia, 2011) and the Rimbun Dahan artist residency (Penang, Malaysia, 2013).

Wildenboer lives and works in Cape Town, South Africa.

She obtained a Masters in Fine Art (with distinction) from the Michaelis School of Art at the University of Cape Town in 2007. Before that she completed a BA (Ed) with majors in English literature, Psychology and Pedagogics at the University of Pretoria in 1996 followed by a Bachelor of Visual Arts from UNISA.

--------------------Barbara Wildenboer Murray’s Classical Atlas, 2015 altered book 20 x 25.6 in

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The Life of Vertebrates,2015 altered book 23.62 x 27.56 in

Barbara Wildenboer/ Michelle Prévost Cape Town, South Africa A Parallel Universe A Parallel Universe is a theoretical universe that mirrors our own universe. This would imply that whatever would occur in this universe would also occur in the alternate universe albeit in a slightly different manner. This animation consists of two world atlases hovering side by side in a starry night sky.

Organic tentacles grow and shrink from the pages of each atlas in what seems to be a similar manner. The sound of a singing comet speeding through deep space echoes in the background. (Space Agency officials landed the Rosetta spacecraft on Comet 67P/Churyumov-Gerasimenko. The comet song captured by Rosetta is produced by oscillations in the magnetic field surrounding the comet).

All images are stills from different points in the loop.

The video was created as a collaboration between Barbara Wildenboer and artist Michelle Prévost.

--------------------Barbara Wildenboer/ Michelle Prévost A Parallel Universe, 2015 single channel video (DVD) duration: 15 minute loop edition of 3 plus 2 AP

--------------------Dorothy A. Yule Memories of Science, 2012 artist book with CD box: 4.06 x 4.06 x 3 in book: 2.75 x 2.875 x 1.75 in edition of 50

Dorothy A. Yule San Francisco Bay Area

Dorothy A. Yule is fascinated by paper engineering and has created many unusual pop-up and movable books. She often collaborates with her twin sister, Susan Hunt Yule, on books produced under her imprint, Left Coast Press, two of which were published as trade books by Chronicle Books (Souvenir of New York and Souvenir of San Francisco).

Her books are in many museums and special collections including those of the Cooper-Hewitt Museum in New York, the Museum of the Book in the Hague, the Victoria and Albert Museum in London and the Walker Art Center in Minneapolis.

She teaches book arts at the Academy of Art University and has taught pop-ups and movables as a visiting instructor at the California College of the Arts.

Memories of Science Science fascinated Yule when she was young. She wanted to understand how the universe worked, what made things tick, where everything came from. She also enjoyed making things, especially books and small toys. She lost the academic thread of science somewhere between physics and calculus but sublimated her scientific desires into the making of artist’s books. This book, which she originally wrote in 1996, recalls in verse her experiences as a young scientist: the early lure of bugs, the shining world of astronomy, experiments in magnetism and the electric motor and biology with its seductive taxonomy. The text alternates in folds of the accordion structure with pop-ups which illustrate her memories. The small scale of this book necessitates a close encounter - holding the book in the hand to watch the motion of the pop-ups as they rise from the page. Hopefully its accompanying CD sound track - the text of the book set to music by Doug Yule and performed by Big Red Dog - creates a tiny theatrical experience as the reader turns the pages.

You can see a video of this book in action at http://youtu.be/xW5cyti0N0w