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Material Assumptions Paper as Dia : logue JU
NE 15 – AU GU ST 11 , 20 12
Glenn Ligon, Self Portrait at Eleven Years Old (detail), 2004. From the collection of Dieu Donné
CURATING A S PEDAGOGY, PAPER A S DIALOGUE
The Center for Book and Paper Arts is perfectly situated within the Interdisciplinary Arts Department— our studios, classrooms, gallery and offices steadily hum with graduate student and faculty activity; it is an energizing atmosphere, and we are happy to harness not only the students’ enthusiasm, but also their ideas and growing expertise. In January 2012, Assistant Professor Melissa Potter and I initiated an independent study opportunity, for which graduate students could receive three credits for assisting me in the organization of our summer exhibition. From curatorial concept to marketing and installation, each student was granted creative agency in every stage of the process.
So it is with great pride that I announce our summer exhibition, Material Assumptions: Paper as Dialogue, cocurated by Elizabeth Isakson-Dado (MFA ’13), C.J. Mace (MFA ’12) and Hannah King (MFA ’13). Split into two sections, Material Assumptions features works in handmade paper by prominent artists made in-residence at Dieu Donné. For the second section, we have commissioned eleven interdisciplinary artists to create new works out of paper handmade in our studios. Because we are placing handmade paper into the hands of visual artists for whom paper (much less handmade paper) may not be a primary medium, the exhibition asks us to consider that “handmadeness points not to a certain visual or aesthetic trope, but to realms of possibility.” Consulting with each artist, Elizabeth, C.J. and Hannah not only produced the paper, but worked collaboratively with each artist to determine the types, sizes and fibers best suited to their project. In this model, knowledge flows both ways: our students are uniquely poised to share their sophisticated understanding of paper with contemporary artists; in turn they glean from each artist yet a new way this often-marginalized practice can translate provocatively and meaningfully into ever wider realms of art production and discourse.
Artists have long immersed themselves in the practice of exhibition making through the creation of artist-run spaces. Increasingly, however, artists are feeling comfortable adapting more explicitly curatorial roles within both an aesthetic and a professional dimension, hence the ubiquity of the term “artist as curator.” To that end, our reasons for adding a pedagogical layer to our exhibitions are as much about professional development as they are about artistic growth: professionally, exhibitions are an important public vehicle for display, communication and education, as we work to “center” the production of artists’ books and hand papermaking within the field of interdisciplinary arts discourse. But for an artist working today, how can the collaborative act of curating someone else’s project translate into a more nuanced consideration of the way one’s own work exists in the white cube… and then in the world beyond it? Read more about Material Assumptions on page four and on our exhibition blog materialassumptions.wordpress.com. – Jessica Cochran
Dieu Donné is an artist workspace dedicated to the preservation, creation and promotion of hand papermaking in contemporary art.
Steve Woodall Director Brad Freeman Studio Coordinator & JAB Editor
Gina Ordaz Assistant to the Director April Sheridan Studio Technician & Special Projects Coordinator
Jessica Cochran Curator of Exhibitions & Programs Tracey Drobot Administrative Assistant 2
During exhibitions, the Center for Book and Paper Arts gallery is open Monday – Saturday, 10:00 a.m. – 6:00 p.m.
Material Assumptions: Paper as Dialogue
JUNE 15 – AUGUST 11, 2012 OPENING RECEPTION, JUNE 15: 4 – 7PM
Works from the Dieu Donné archive by Polly Apfelbaum Sonya Blesofsky Beth Campbell Nina Bovasso Mel Bochner Chuck Close Ian Cooper Mark Fox Matt Keegan Mel Kendrick William Kentridge Glenn Ligon Kate Shepherd Jessica Stockholder Richard Tuttle Newly commissioned works by Deborah Boardman Annica Cuppetelli Christobal Mendoza Dan Devening Susan Goethel-Campbell Daniel Luedtke Niall McClelland Kate McQuillen Zoe Nelson Ian Schneller Matt Schlian Julie Schenkelberg Anna Tsantir
Featuring both works from the Dieu Donné archive, as well as newly commissioned works made by contemporary interdisciplinary artists using abaca and cotton paper handmade at the Center for Book and Paper Arts, this exhibition is about the discursive ways that artists approach paper as a medium, technology, and tool. Hand papermaking is a process that begins with the raw material of pulp and ends in sculpture, mixed media, and installation. To that end, this exhibition asks us to consider the utility of paper at the site of interdisciplinary contemporary arts and crafts. To us “handmadeness” points not to a certain aesthetic or visual trope, but to realms of possibility; for example, subtle combinations of texture and color or a deceptively weightless surface—all in service of conceptual gesture and complex, meaningful expression. Elevating the primary role of handmade paper as a conceptual and formal “supporting partner” in contemporary art itself, Material Assumptions points to the versatility, nuance and subtlety of handmade paper as medium. Curated by Center for Book and Paper Arts curator Jessica Cochran with Interdisciplinary Arts graduate students Elizabeth Isakson-Dado, Hannah King, and Christi Jo Mace, the exhibition underscores the Center’s commitment to hand papermaking through studio-based practice, experimentation, and research.
The Center would like to thank Lauren Shaw (Dieu Donné) for curatorial support, as well as Trisha Martin (MFA '12) and Boo Gilder (MFA '13) for paper production support.
Sue Gosin, Dieu Donne Papermill, 25 Years: The Sacred in the Commonplace (2001)
JESSICA STOCKHOLDER, VIOLET HA ZE, 2005; PIGMENTED ABACA BASE SHEE T WITH PULP PAINTING AND ARCHIVAL INK JE T PRINT. FROM THE COLLECTION OF DIEU DONNÉ
POLLY APFELBAUM, POWER TO THE FLOWER (2007); STENCILED LINEN PULP PAINT ON ABACA. FROM THE COLLECTION OF DIEU DONNÉ
For updated and detailed information visit colum.edu/bookandpaper
V I S I T I N G A RT I ST L EC T URE
OPEN IN G + ROUN DTABL E F RIDAY, J UN E 15
Helen Frederick: Investigating Cultural Literacy
T HU R S DAY, J U N E 7 , 6 PM What is an indigenous vocabulary? The lecture will approach the relationship of natural materials and their capacity to be made by hand into other transformed useful materials as a lesson in daily life, industry, art, politics and science. It will examine two very different papemaking areas in the Sichuan area of China to enable a further understanding of how hand papermaking provides an intersection of cultural values (“embodied” and “embedded” skills) and their affect on economic development. Other age-old traditions that are also a hybrid of so many complex parts that only dedicated communities can sustain their legacy and effectiveness into usefulness in various parts of the world will be viewed as comparative subalterns to contemporary Western cultural literacy and currency. Understanding how assimilated technologies can grow from an indigenous culture will be examined as a primary trajectory of this century. I am concerned with investigating the potentials of collective memory at sites of hand driven productions and discerning how they shape cultural bridging for indigenous peoples as well as foreigners and outsiders to their regions. Particularly with global ecosystem decline, what skills are most valuable for artists and artisans and their communities?
Material Assumptions: Paper as Dialogue
OPEN IN G RECEP T ION , 4 – 7PM
Group Effort: Hand Papermaking, Collaboration and Contemporary Art
ROUN DTABL E , 6:30 – 8PM This panel addresses the current role of hand papermaking within current residency and workspace models at the Center for Book and Paper Arts and Dieu Donné. How do these organizations make hand papermaking available and accessible to artists for whom hand papermaking was not already a primary medium? Featuring both interdisciplinary artists who have completed projects within these institutions and the master papermakers with whom they collaborated, the dialogue will address the challenges and opportunities of collaborative hand papermaking, the relevance of hand papermaking across disciplines, and efforts to promote hand papermaking as a process relevant to interdisciplinary art and craft practices. Panelists include Elizabeth Isakson, Hannah King & C.J. Mace, co-curators, Material Assumptions Deborah Boardman, Dan Devening & Ian Cooper, participating artists, Material Assumptions Sue Gosin, co-founder, Dieu Donné Moderated by Melissa Potter, Interim Director, Interdisciplinary Book and Paper MFA, Columbia College
IAN COOPER, CHALICE, 2010. HANDMADE DENIM AND COT TON PAPERS WITH MIXED MEDIA. FROM THE COLLECTION OF DIEU DONNÉ
CENTER FOR BOOK AND PAPER ARTS 2ND ANNUAL
June 1, 2012
REGIST E RING FOR CL A S S ES All community classes are held at the Columbia College Chicago Center for Book and Paper Arts, 1104 South Wabash Ave., 2nd floor, Chicago, IL 60605. See the registration form at the back of this brochure. You may also register by phone (312.369.6630) Monday through Friday 10am–5pm, or by fax (312.369.8082).
The Center accepts Visa, MasterCard, Amex, Discover and personal checks. Please note that you are not completely registered until we have your payment. We will email a confirmation of your reservation.
PREPA RI NG FOR C L A S S ES Papermaking: Wear waterproof gear and boots or shoes and expect to get wet. Letterpress: Bring rubber gloves and an apron. Prepare to get inky. Bookbinding: Please bring your own scissors, bone folder, needles, rulers, selfhealing mat and x-acto knife. If you don’t have these tools, we’ll supply them. Supply lists will be emailed to registered students with registration confirmation.
The Past is the Future
Pre-Panel Show & Tell Reception
FRIDAY, JUNE 1 5: 30–7PM Designers show off recent projects in an informal setting
T HE M FA IN INT E RDIS C I PL I NA RY B OOK & PAP E R ART S For information about our graduate program please see our department website: colum.edu/interarts. For a free brochure and an application form, call 312.369.7270.
MEMBER S HI P The Center’s members receive a 10% discount on class fees, and mailed announcements for our exhibitions and events. Standard membership is $40/ year; see our full list of membership levels on the registration form at the back of this brochure.
7 –9 P M Designers and typographers will discuss how historical research has influenced their current practice or a specific project. How does looking back push the industry forward? Panelists: Nick Adam is a photographer and connoisseur of vernacular type forms (and probably hates being called a “connoisseur”). He lives in Chicago. / Jackson Cavanaugh, designer of the celebrated Harriett, Alright Sans, Elephans, and Snibbles typefaces, runs Okay Type, a design studio in Logan Square. / Isaac Tobin is a senior designer at the University of Chicago Press, with numerous awards to his credit, including AIGA 50/50, The Type Director’s Club, Print Magazine Regional Award, and many others.
LOC AT ION & DIRECT IO NS The Center is located in the second floor of the Ludington building at 1104 South Wabash Ave. We are on the southwest corner of Wabash and 11th Street. The El stops at Roosevelt on the Orange, Green and Red Lines. There is some street parking, and a pay parking lot 1⁄2 block south of the Center on the west side of Wabash.
PHOTO BY JOHN BOEHM
Japanese and Western Sheet Forming
INSTRU CTOR: HELEN FREDE RICK , SWARD VI S I TI NG A RTI ST FRIDAY & S ATURDAY, JUN E 8 – 9 10AM – 5PM $200 (MATERI ALS I NCLUDE D) L IMIT 10 STUD ENTS FOR INTERMED I ATE PAPERM A KE R S
Modified Bradel Binding
I N ST RU C TOR : J OHN D EMERRIT T MO N DAY & T U E S DAY, J ULY 23 – 24 10AM – 5PM $ 1 8 0 , P LUS $ 2 5 MAT ERIAL S L I MI T 1 0 ST U D E N TS FOR I N T E RME D I AT E B I N D ER S joint. This binding also has a very clean and precise profile and allows for the use of very thin boards. This workshop will allow students to complete a full Bradel binding covered in cloth or paper or a combination of the two. Special attention will be paid to proper sewing and forwarding, making “made” endbands, and board lamination.
Developed in Germany in the late 18th century, the Bradel binding is named after a French binder working in Germany, AlexisPierre Bradel. The Bradel originally appeared as a temporary binding, but the results were durable, and the binding had great success in the nineteenth century. The Bradel binding most resembles a case binding in that it has a hollow back and visible joint, but is much more durable and in many ways, easier to make than a traditional case binding. The boards are built onto the text block, eliminating guess work in board size. The spine and boards are attached with a piece of jaconet (muslin) before covering, making for a much more durable and air-tight IN ST RUCTOR : J OHN D EMERRIT T T HUR SDAY & F RIDAY, J ULY 26 – 27 10AM – 5PM $180, PLUS $25 MAT ERIAL S L IMIT 10 ST UD EN TS FOR IN T ERMED IAT E BIN D ER S
Central to this papermaking workshop is the concept of aesthetic synthesis, a process of combining two or more preexisting elements to form something new. Participants will look to the natural world to select two systems for interaction, then research and determine useful elements by size, shape, patterns, and nature of construction. They will form two deckles from foam board to represent the shape of each selected system, designed to make use of the properties of either air drying or restrained drying. Finally, students will select inclusions (silk threads, wrappers, rubber bands, etc.) to go into the paper vat or deckle box that will intensify change by building up from a few to more inclusions. Forming ten sheets of paper for each system, students will construct a way for the two systems to work or interact together, constructing a form using the twenty sheets of paper.
Helen Frederick, Professor of Art and Visual Technology at George Mason University, is founder of the Pyramid Atlantic Art Center in Silver Spring, Maryland. She is a distinguished and widely-traveled artist whose passion for diverse ways of life and histories has led her to travel to observe the material cultures of many societies, their skills and ideas, and to make connections among disparate cultural traditions.
Producing an edition of books requires a very specific set of skills and approaches in order to make the finished products uniform and the workflow efficient. Editioning is also an exercise that lends itself to teamwork. This workshop will explore how to prepare work for binding, the use of jigs and templates, how to work and think in “batches” instead of on one book at a time. We will also conduct several exercises that pair students together to complete specific tasks. Specific techniques covered: calculating materials and time, group piercing and sewing, proper and accurate board cutting, fast and efficient adhesive application, casing-in books and curating the final work. Time permitting, students may also look at foil stamping and embossing techniques.
WORK BY HELEN FREDERICK BOARD AT TACHMENT, BRADEL BINDING
In this workshop, we will focus primarily on the physical structure of the book. Beginning with an examination of the traditional “codex” style book form and its history, we will explore the myriad ways in which the book is the ideal delivery system for text, image, sequence and theatre. After we’ve covered the building blocks of book structure, we’ll look at the “cornerstone” techniques of bookbinding, the bench skills that make clean, precise and efficient work possible. The second part of the workshop will be an examination of book structures particularly suited to photographic output, particularly digital output. The ever-changing landscape of photographic output has led to a rethinking and expansion by bookbinders and designers of the physical limitations of the codex form and introduced new ways of interacting with materials. At the same time, these changes reinforce and illuminate the importance of sound technical skills and an understanding of the traditional book form. John DeMerritt operates a studio in Emeryville, CA., where since 1995 he has produced small editions of books, boxes and portfolios for a wide variety of clientele, focusing on projects for artists, galleries, fine art publishers and printers. Recent clients include publishers Steidle-Mack, Granary Books and Crown Point Press; photographers Richard Misrach, Larry Sultan and Jim Goldberg; Fraenkel Gallery, Peter Koch Printers, The Lapis Press, UC Berkeley Press and the San Francisco Ballet. For the past ten years he has taught a popular class on book making for photographers at the San Francisco Art Institute.
The Center has a growing publishing program, which includes exhibition catalogs, editions and JAB, the Journal of Artists’ Books. To purchase a catalog or edition, visit our publications section at colum.edu/bookandpaper.
We accept check and credit cards, and a $5 shipping and handling charge will be added to each order; All sales benefit the Center for Book and Paper Arts publication fund.
JAB31 ( SPRIN G 2012) In JAB31 we continue our national and international expansion with essays from New York, Australia, the United Kingdom, Los Angeles and points in between. Thomas Kromann, who recently received a PhD from the University of Copenhagen focusing on artists’ books presents an essay about the New York Art Book Fair along with some reflections on the field of artists’ books. Anthony Leslie writes about the Judith Hoffberg archive at UCLA, especially the mail art aspect of the collection. Sarah Bodman, editor of Blue Notebook, gives us an extensive report on the wide variety of artist book activity in Australia. Alastair Brotchie, publisher of Atlas Books, contributes an anecdote-filled essay on the various editions of Daniel Spoerri’s seminal book An Anecdoted Topography of Chance. Book reviews by Karol Shewmaker, Brandon Graham, Claire Sammons, and Jenna Rodriguez give us compelling ideas about a number of recently published artists’ books. Two artists’ books inserts are included in JAB31 - one by Aaron Cohick and another by Kevin Riordan. And there’s LOTS more including a WILD cover by Mary Jo Pauly and the JAB Design Group! Brad Freeman, Editor, Journal of Artists' Books
Photography and the Book Form
INSTRU CTOR: JOHN D EMERRIT T S AT U RDAY, JULY 28 $95, PLUS $25 MATERI ALS L IMIT 10 STUD ENTS FOR INTERMED I ATE B I NDE R S
J O U RN A L O F A RT I STS’ B OOKS Founded in 1994 and published at the Center since 2007, the Journal of Artists’ Books (JAB) is the only publication of its kind-—a forum for critical and creative engagement with the fast-growing field of artists' books. Notable contributing scholars, critics and artists have included Nathan Lyons, Emily McVarish, Johanna Drucker, Tate Shaw, Betty Bright and Phil Zimmermann.
Since its inception, the medium of photography has fully embraced the book form. Many photographers claim that all their work is conceived as a book. The development of photography and the changes in book publishing and production share many historic parallels. It’s no coincidence that the two mediums compliment each other so well.
S U B S C RI B I N G I S E A SY!
EDITION BINDING AND PHOTO BOOK BY JOHN DEMERRIT T
ON L I N E : journalofartistsbooks.org/subscribe P HON E : 312.369.6630
AN N UAL SUB S CRIP T ION : $30 (two issues) IN D IV ID UAL C OPIES: $15 12
Wood Type, Evolved: Experimental Letterpress & Relief Printing in the 21st Century
Introduction by April Sheridan; full color; web press broad sheets; 8 pages; 2011
PUBLICATIONS + EDITIONS
Studio research from the Center for Book and Paper Arts; Sheroanawë Hakihiiwë: Recent Projects; Essays by Melissa Potter, Maggie Puckett and Laura Anderson Barbata; 8 pages; 2012
COLUMBIA COLLEGE CHICAGO CENTER FOR BOOK & PAPER ARTS 1104 SOUTH WABASH AVE, 2ND FLOOR CHICAGO, IL 60605-2328
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PHONE: 312.369.6630 FAX: 312.369.8082 EMAIL: BOOK&PAPER@COLUM.EDU COLUM.EDU/BOOKANDPAPER
PRI CE: $ 5
The World as Text
Essays by Dan Wang and John Preus; full color; 34 pages; 2011
DOW N LOA D the pdf at colum.edu/bookandpaper
I would like to enroll in the following workshops:
WORKSHOP DATE WORKSHOP DATE WORKSHOP DATE TOTAL If you are paying by check, please enclose a separate check for each membership and class. Thanks. TUITION MATERIALS FEE TUITION MATERIALS FEE TUITION MATERIALS FEE
By Aram Saroyan
Designed, printed and bound by Book and Paper MFA students under the direction of Clifton Meador; first in a series of literary publications guest edited by Don Share, Senior Editor, Poetry magazine; 2011; letterpress, edition of 300
PRI CE: $ 1 2
Marilyn Sward: Speaking in Paper
Essays by Jeff Abell, Tom Bannister, Audrey Niffenegger, Pamela Paulsrud and Steve Woodall; full color; 84 pages; 2010
P RICE : $ 4 0
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By Don Colley
Hand colored lithograph printed at Anchor Graphics; Edition of 20
CURRENT STUDENT/INTERARTS ALUM ($20) SENIOR CITIZEN 65+ ($30) BASIC ($40)
HOUSEHOLD ($65) JOB BACKER ($125) FULL DECKLE ($300)
Among Tender Roots: Laura Anderson Barbata
Essays by Melissa Potter and Guillermo Santamarina full color; 43 pages; 2010
A full listing of member benefits is online at: colum.edu/bookandpaper.
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Pearl of the Snowlands: Buddhist Printing at the Derge Parkhang
Foreward by Tsewang Jirme; Essay by Patrick Dowdey, Curator of the Mansfield Freeman Center for East Asian Studies at Wesleyan University; full color; 152 pages; 2009
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