"Amoché"

Was a book/binding/artwork of yours ever damaged or stolen while on display as part of an exhibition?

As an artist, one has to deal with exciting situations and some not so nice experiences. Lessons learned have jaded me from exhibiting. It is difficult to let go of your prized possessions for a month or more. One never knows what happens on the premises of a gallery.

Are you responsible for your books while alone in the darkness of a gallery?

I had an acrylic painting damaged back in 1984. I won my case in court and the city paid for the damages. If the gallery took serious responsibility for the artwork while dismantling an exhibition, they could save time and money for everyone involved.

I saw the inside of a courtroom for the second time when an owner of a Toronto gallery stole nine of my collages and drawings and shipped them to Korea while in his possession. I don’t know what happened to these pieces. Did he sell them? If you can’t trust the gallery owner, who can you trust? I won my case in Small Claims Court, but retrieving the money was another matter—never did, since jurisdiction did not extend to Korea!

By 2005, I picked up lots of information on how to do business—I thought—till I took part in an ARLIS conference after being invited to display a volume of City Shields in New York City. Several phone calls later and an amazing response to my inquiry, I found the reason for the un-returned book.

"The bad news is someone stole your volume of City Shields from the exhibition hall.
What was the good news, I asked?
It was loved enough to steal."
What the... is this for real?
The organization felt it was a great compliment!!! WOW! For me, it was a financial loss!

Not too long ago on the BookListServ, I read about similar experiences other artists have gone through. I communicated with them to find out their account. Some stories were positive and others were costly. Lucky or sensible?

Preparing for a show demands you ask many questions and more questions!
Who's responsible for the insurance costs?
Are galleries responsible for the art work displayed in the space?
Who should pay for damages during the show?...


Mary Kritz is an artist in Ottawa, Ontario, Canada. Exhibiting her books were positive experiences until showing a book in a private gallery. This disappointing situation happened when her book was damaged during the exhibit set-up. At the vernissage, the owner, (while in front of the crowd), embarrassed Mary by informing her that the book had “fallen apart”. As if Mary exhibited a book with an already damaged page with a detached corner. Mary mentioned she would repair the book the next day. At her return to the gallery, Mary learned the owner himself repaired the book without permission. Was he a binder? Did he use the proper materials? What right did he have to touch this artists’ book?


“I think the situation has happened to all of us artists at one point or other,” says Cathryn Miller from Saskatchewan.

It took two hours to repair her piece In Winter after being damaged in a touring exhibition. Cathryn was paid for the repair by the Saskatchewan Craft Council who insure all work while in their possession. The work is still salable which is great!

© 2017, Cathryn Miller, In Winter

© 2017, Cathryn Miller, In Winter

© 2017, Cathryn Miller, In Winter damaged during exhibition

© 2017, Cathryn Miller, In Winter damaged during exhibition

© 2017, Cathryn Miller, In Winter with smudge marks

© 2017, Cathryn Miller, In Winter with smudge marks

The Saskatchewan Craft Council ships touring exhibitions by commercial transport, the Council recommends that all works be packed so that the container can be dropped upside-down from a height of six feet without damaging the contents. What a risk factor!

Cathryn insisted on being paid for books damaged when a commercial gallery returned books with non-removable price stickers that adhered to the back. Who thought of that one, I wonder?

“I have exhibited at galleries who do not provide insurance but in those cases, I exhibit work I can afford to lose, comments Cathryn”.
“Very few galleries cover stolen work, so one has to think about what security measures are provided (vitrines, staffing, location, etc.) and we need to make a case-by-case decision.”

Cathryn writes long and descriptive directions for unpacking and re-packing art work for shipping. How difficult can it be to re-pack a book with its original box and filling? But, wait can they find the same box? What is the gallery’s best practices for keeping boxes and fillers connected to the book?

© Cathryn Miller, instructions for unpacking and re-packing In Winter

© Cathryn Miller, instructions for unpacking and re-packing In Winter

© Cathryn Miller, instructions for unpacking and repacking In Winter, part 2

© Cathryn Miller, instructions for unpacking and repacking In Winter, part 2

© Cathryn Miller, instructions for unpacking and repacking In Winter, part 3.  These instructions are fantastic, every artist should be this dedicated to their work!

© Cathryn Miller, instructions for unpacking and repacking In Winter, part 3.

These instructions are fantastic, every artist should be this dedicated to their work!


Alice Simpson who brings her ability of drawing and brush skills to paper talks about her experience with a damaged book. Alice’s books are hand-painted and mostly unique books, they are colourful and whimsical, and are of interest to international dance collectors.

BALLROOM, (a one-of-a-kind hand painted book Alice created in 1994), was damaged somewhere along the recent past. The gallery’s signage description had been carelessly Scotch-taped on the back cover, attached to the delicate paper used to bind the book.

When I attempted to remove the tape, it pulled the paper off. Unfortunately, I have no memory or record of where the book was damaged. It was returned a while ago, and I never opened the wrapping. If I had, I would have immediately notified the curator, and complained. What would they have offered to do? I have no idea. The book, the basis for my novel of the same name, is not for sale but now is damaged forever.

Forever is a long time! This subject matter is too important not to write more.

To be continued...

Back Home

I’m back!

Winter is just around the corner—I know, I know Ottawa, Ontario, Canada has it worse—I have the impression that Fall is colder than last year in Idaho. When I left Ottawa, the leaves were in full colour and the rain kept on coming. Here in Idaho the colours of the leaves are still stunning and has extended my Autumn experience.

I spent time with my dear friend Vera Greenwood, a fantastic writer who captivates your interest. Vera has successful exhibition installations under her belt.

Vera’s art practice is subjectively personal with an emphasis on storytelling, while observing the world. Her work is highly autobiographical, revealing a keen interest in recordkeeping and investigative research. Because her installations have always incorporated text—sometimes large amounts—bookworks have become a logical extension of Vera’s art practice. 

© 2011 Vera Greenwood, cover of her book "The Whole Enchilada, My Madcap Mexican Adventure," a terrific read

© 2011 Vera Greenwood, cover of her book "The Whole Enchilada, My Madcap Mexican Adventure," a terrific read


I visited the small studio of Mary Kritz, an Ottawa based artist who works with paper products to construct hand bound books and boxes. Inspired by nature, architecture, and art, Mary creates personal moments with rules and omissions, exploration and play.

© 2016 Mary Kritz

© 2016 Mary Kritz

Her book arts are notable for their unique finishes and tactile nature. This is of great importance and bears witness to well-developed artistic craftsmanship. Mary focuses on learned techniques and a wide range of materials to create her books.

© 2016 Mary Kritz

© 2016 Mary Kritz

© 2016 Mary Kritz

© 2016 Mary Kritz

© 2016 Mary Kritz

© 2016 Mary Kritz


I vacationed at my brother’s cottage with our new T@B trailer. I was eager to visit more studios but playing Bocce Ball and drinking wine enticed me to stay in the country with no worries to disturb happy hour.

I walked the streets of Ottawa and photographed new manhole covers. I discovered new cover designs while delivering 14 new volumes of City Shields to my contact at the National Gallery of Canada library. Here are my new volumes ready for cataloguing and join the other 52 volumes collected by the library.

© 2016 Louise Levergneux, new volumes of City Shields

© 2016 Louise Levergneux, new volumes of City Shields

In 2008, Gatineau launched a manhole cover design contest called Reg'art d'égout (artful covers) that involved designing two manhole cover models for the city's streets. These two manhole covers are part of Vol 3: No 10 Gatineau, Québec (secteur Gatineau) volume of City Shields published in 2009. To purchase this volume, please visit my website.

It is difficult to choose a favourite they are both a delight to view. These decorative manhole covers adorn most streets of Gatineau.

© 2016 Louise Levergneux, Une vie, Une ville (A life, A city)

© 2016 Louise Levergneux, Une vie, Une ville (A life, A city)

© 2016 Louise Levergneux

© 2016 Louise Levergneux

Topaz, my studio resident dog needs a walk, I need to finish the laundry, carry out maintenance on our T@B, and make supper—the only imaginative activity today except for this blog post.

Talk to you next week and in the meantime check out the manhole covers of your city...