Dignity

So many things to see as one travels the country. As we crossed South Dakota, my eyes were attracted by a large statue on Interstate 90 in Chamberlain. I grabbed my phone and googled the statue, its reason and its installation on the banks of the Missouri River at the Lewis and Clark rest area where it overlooks the river.

I discovered a soaring 50 feet/15.24m high, 16 feet/4.88m deep and 32 feet/9.75m wide stainless steel sculpture entitled Dignity created by South Dakota Artist Laureate Dale Lamphere.

© 2018 Louise Levergneux, Dignity by Dale Lamphere

Dignity represents the courage and wisdom of the Lakota and Dakota people who hail from the area.

© 2018 Louise Levergneux, Dignity by Dale Lamphere

The statue depicts an American Indian woman holding a star quilt made of 128, 4-foot-tall glass diamonds in shades of blue that move in the wind "like an Aspen leaf." The colours in the quilt shift in intensity depending on the time of day. colours in the quilt shift in intensity depending on the time of day. The glass diamonds also spin when the wind passes through them so as to reduce the statue's wind resistance.

"In the shadows or at night, that dark blue looks really dark blue. The sun shines lighten up the colours" says Brook Loobey, who painted the glass diamonds. 

“Wind and sun will pass through the sculpture so that rather than resisting the natural environment she moves with it,” Lamphere said. “She is of the earth and sky and the water that surround her.”

© 2018 Louise Levergneux, Dignity by Dale Lamphere

Dale Claude Lamphere has created over 60 public monumental sculptures from Washington, D.C. to Burbank, California. He recently installed a 23’stainless steel and stone sculpture in Snowmass, Colorado. Additional recent monumental sculptures have been placed in Chicago, Kansas City, Colorado Springs, Omaha, and Dallas.

Lamphere has consistently derived direct inspiration from the land and people of the prairie and mountain environment where he lives. Innovative use of new materials and technologies are frequently incorporated on his evocative and elegant sculptures.

© 2018 Louise Levergneux, Dignity by Dale Lamphere

If you travel by Chamberlain, South Dakota, do not miss this inspiring and amazing sculpture.

This short two-minute video shows the statue Dignity from the air.

A Bridge Between Two Cultures filmed by KOTA TV in September 2016. This video is approximately 25 minutes long, but if you are interested in the production process, it is excellent. The statue was commissioned by a Rapid City couple.

Phase Two

It’s a memorable summer, and this is the period to travel. Oh! Wait! I am traveling. 

It’s difficult to schedule work time, especially with the significant heat wave and our much-needed change of “home” from putt-putt to château. Even with the pleasant distraction of all the wonderful National Parks, the planning phase for the page's template of my ABC book has begun. In addition, the research on binding structures to enhance the content is on the way. 

© 2018 Louise Levergneux, White Sands National Monument

© 2018 Louise Levergneux, Old Faithful in Yellowstone National Park

The key theme is the alphabet via a sprained foot, properly introducing this subject matter by implementing elements and design that complement the content is important.

I’m favorably inclined or should I say having a penchant towards metal for parts of the binding, maybe Wire-O referencing the crutches. Should I use cloth covered boards or a printed photo to illustrate the cover? The big black boot remains an integral feature of the book on the cover—right—perhaps? 

© 2018 Louise Levergneux, ABC book's image/photo for content

© 2018 Louise Levergneux, ABC book's image/photo for content

For the substrate, could I apply various types of paper representing the phases of healing—differences in skin colour and texture. This might work since my inventory is filled with many types of papers. Using these soon would be good, because of the length of time since their purchase.

I would like to interject a distinction between the typefaces for the alphabet and the text. Naturally, there are 26 pages to think of and thick papers! I’m concerned about the weight of paper, double-sided pages will help but sheet registration can be monotonous. The gutter has to be calculated for facing-pages, details, details, details! What size? What orientation? Maybe the use of transparencies. Where to place the text or words that accompany the alphabet? Planning is the fun part or at least the beginning!

© 2018 Louise Levergneux, ABC book's image/photo for content

Varied structural types of binding for my published books include the accordion, perfect binding, spiral, supple binding sewn in Japanese style, screw post, hard-cover case-binding, saddle-stitched, French doors, Turkish Map folds, the new oriental binding, wrap-around case with a tray, explosion box,

© 2018 Louise Levergneux, ABC book's image/photo for content

The accordion is enjoyable and many alphabet books utilize the form, but because of the type of paper and the number of pages, I need a structure that would harmonize with its design, form, and content, in this creative expression of an unpleasant event. I want to take the time and pay attention to materials and their interactions on the subject. Once all these aspects are figured out, the path of production will be clearer.

I am so looking forward to the actual creation, being on the computer for the express purpose of an artists’ book instead of administrivia or other activities. How do you find time to undoubtedly create? How many hours in the day are spent in the studio? What phase do you prefer or do you enjoy all phases of producing your book?

Salt Lake City, Utah

This chaotic week is making my head spin after traveling 360° from Utah at the end of May to Ohio and back during the past two months.

© 2018 Louise Levergneux, Lake Powell in Page, Arizona

At my return in Salt Lake City, I promptly communicated with a local artist, I, unfortunately, missed the last time around.

Desarae Lee is a talented artist and illustrator who lives and works in Salt Lake City. Her art has appeared in galleries and art shows across the US and she has won numerous awards for her work including Best of Show, Best Illustrator, and Featured Artist. Desarae a published author and illustrator serves as a founding board member at Salt Lake City’s Downtown Artist Collective, where she can occasionally be found teaching drawing or printmaking.

© 2018 Louise Levergneux, Desarae's studio in Salt Lake City, Utah

Desarae works primarily with pen and ink and balances exact meticulous line-work with natural flowing compositions. Over time, her art has developed organically to include watercolor, tea staining, and printmaking. 

© 2018 Louise Levergneux, dry point by Desarae Lee

© 2018 Louise Levergneux, dry point by Desarae Lee

Influenced by personal trauma and struggles with depression and anxiety disorders, Desarae naturally creates work that revolves around themes of finding humor in pain, beauty in the grotesque, and light in the darkness. 

© 2018 Desarae Lee, Memory, dry point print

© 2018 Desarae Lee, Meronymy, pen & ink and watercolour

© 2018 Desarae Lee,Octopus, pen and ink

Desarae’s work ranges in the themes she develops but her work inevitably attempts to connect the deep places in herself to the unknown places in a potential viewer, to somehow create a bridge of communication over the immense expanse of our differing perceptions, beliefs, and experiences.

I enjoyed the hour spent talking with Desarae in her studio and I’m looking forward to meeting more and more artists on this fruitful journey. In the next  couple of weeks I will be in the area of Houghton Michigan.

New Acquisitions on the Road

As an artist, I recognize my world and the many hours I spend on administrivia. The constant disruption of non-stop tasks is troublesome but necessary. I schedule my creativity in between the repetitive tasks and hope there is enough time to finish what delights me.

Apart from the creativity and the operation of a business, it’s meaningful for me to have my published books acquired by collections. How do you manage this part of your art world? How do you create opportunities to sell? Communicating and visiting libraries is all part of the fun side of the territory. The artist is likely the optimum person to talk, explain or promote hers/his work. The creator knows all the details, the frustrations, and the stories behind the wonderful final product—the artists’ book.

I benefited from the privilege of engaging with other dealers in the past. I still pursue an excellent relationship with Vamp & Tramp, Booksellers, LLC out of Birmingham, Alabama.

I discovered that presenting your work is a bit of an adventure. I enjoy seeing the expression of someone reading/viewing my book for the first time. Since some of my books exhibit a playful aspect, the smiles and laughter are inspiring. Traveling and meeting with librarians in the previous year contributed to my self-reflection and recognition of who I am as an artist.

In the Spring, I reached out to Katherine Krzys, Archivist, Interim Head of Distinctive Collections Curator at the Arizona State University Library. The artists’ book collection includes small-print publications created as works of art, exemplifying the importance of collaboration between a writer, artist, papermaker, and printer. Katherine was interested in Entre deux and La Guadalupe and purchased both for the Rare Books and Manuscripts Library. deux and La Guadalupe and purchased both for the Rare Books and Manuscripts Library. 

© 2013 Louise Levergneux, Entre deux

© 2013 Louise Levergneux, Entre deux

© 2013 Louise Levergneux, La Guadalupe

© 2013 Louise Levergneux, La Guadalupe

© 2018 Louise Levergneux, Vernon Alden Library, Ohio UNiversity in Athens, Ohio

In June, I visited with Michele Jennings at the Vernon Alden Library of the Ohio University in Athens, Ohio. I was fascinated by what books attracted Michele. I received an email just the other day that Michelle was interested in adding 26NOV2006 to the Arts and Archives Library collection.

© 2008 Louise Levergneux, 26NOV2006

© 2008 Louise Levergneux, 26NOV2006

I communicated with Jessy Randall, Curator, and Archivist of The Tutt Library of the Colorado College in Colorado Springs. The library maintains collections of rare books, special editions, manuscripts, and published archival material on Colorado. Two volumes of City Shields that include manhole covers around Denver, Vail, Highlands Ranch, and Colorado Springs were added to Special Collections.

© 2018 Louise Levergneux, Tutt Library at the Colorado College in Colorado Springs

© 2016 Louise Levergneux, City Shields, Colorado volume 1

© 2016 Louise Levergneux, City Shields, Colorado volume 2

At the beginning of July, I met with Holly Prochaska, MLIS Preservation Librarian of The Robert A Deshon & Karl J Schlachter Library for Design, Architecture, Art, and Planning at the University of Cincinnati. The DAAP Library acquires examples of works in order to provide a rounded view of contemporary attitudes towards the book and to inspire students to think outside the book. Holly is a welcoming individual who also creates artists’ books. In the end, Holly purchased Xtraction and City Shields—the nine Ohio volumes for the Special Collection. 

© 2018 Louise Levergneux, an exhibition of globes at The Robert A Deshon & Karl J Schlachter Library for Design, Architecture, Art, and Planning at the University of Cincinnati

© 2018 Louise Levergneux, display of artists' books at the DAAP Library of the University of Cincinnati. A book by JoAnna Poehlmann attracted me with its delicate detail of a tulip, just gorgeous! On the last shelf is the Bon Bon Mots of Julie Chen.

© 2016 Louise Levergneux, Xtraction

© 2016 Louise Levergneux, Xtraction

© 2006 Louise Levergneux, City Shields, Ohio volume No 5

Excited when reading obsession, Holly decided to add a copy for her own personal collection.

© 2012 Louise Levergneux, obsession

© 2012 Louise Levergneux, obsession

One can never expect to land a sale while visiting a library; but I have been surprised at the response to my publications.

Enjoy your visit and contacts when you can, since it is the best part of the business of art, apart from creating your work.

Cincinnati, Ohio

I’ve tried to connect with artists and librarians in and around Cincinnati for a couple of years, but scheduling has always been an issue. This year, Cincinnati, Ohio, here I come! Last month a decision to write to the Cincinnati Book Arts Society and inquire if any group member would be interested in meeting with me and introduce me to their work and studio was a success.

I received an email from Judith Serling-Sturm, past president of CBAS, to join her for a morning of conversation in her atelier. Sitting in this wild and art-filled space, Judith was as curious about my work as I was about her's. 

© 2018 Louise Levergneux, Judith describing her work

Judith’s studio is in the Pendleton Art Center. The Center strives to encourage and nurture artistic creativity. It provides a supportive and inspiring environment for artists by offering art exhibitions, events and educational programs that raise public awareness and appreciation for the arts.

© 2018 Louise Levergneux, Judith's studio

Judith Serling-Sturm had been a freelance essayist before she apprenticed with a binder whose specialty was exposed bindings. She was instantly captivated by the textures and beauty of the artists' books, as well as the way book arts elevate the efforts and magnify the beauty of binding.

© 2018 Louise Levergneux, Judith's blank books are often created from recycled leather jackets, incorporating zippers, pockets, hooks, and snaps in the cover design, lined with fabric reclaimed from treasured jeans, work shirts, skirts and silk ties

In her work, the binding technique, structure, materials, as well as content, are important in the communication of an idea. Her work incorporates found objects and natural elements and often addresses issues of social justice.

© 2018 Louise Levergneux, Unarmed in America by Judith Serling-Strum

Judith teaches binding techniques in her studio and a visiting artist in classrooms up and down the east coast. She's currently a participating artist in the Taft Museum’s Artists Reaching Classroom program, as well as the Chair of the Cincinnati Book Arts Society.

© 2018 Louise Levergneux, a fun piece by Judith hanging in her studio

© 2018 Judith Serling-Strum, Banned

My morning was wonderful, the interaction with a new contact made the trip worthwhile. Many artists seek to meet and talk to other artists it gives us all more knowledge on the world of binding and artists’ books.

Bye Bye city of wall paintings. These painted walls are exquisite and fun, I saw five out of ten murals from this article "10 Must-See Murals in Cincinnati."

My favourite is on Pendleton St where we parked our putt-putt for a few hours.

© 2018 Louise Levergneux, wall painting on Pendleton St in Cincinnati

Walnut Creek, Ohio

Traveling transports me to locals I never thought of going and unfamiliar places of being. While in Walnut Creek, Ohio, awaiting the repairs on our trailer we organized a few touristy things to do on the extensive list of places to visit and shop in the area.

© 2018 Louise Levergneux, a daily scene in Walnut Creek, Ohio

I devoted a couple of hours at the exhibit of nationally known maritime artist David Warther, a fifth-generation carver of Swiss heritage. In the breathtaking Amish countryside of Sugarcreek, Ohio, David records the history of the ship from 1st Dynasty Egypt, 3,000 BC, to the present day.

© 2018 Louise Levergneux, David talking about the ships he carves

© 2018 Louise Levergneux, David Warther's carving of the Lioness of Thebes, 1190 BC

© 2018 Louise Levergneux, the creation of the Royal Ship of Tutankamen, 1335 BC by David Warther

© 2018 Louise Levergneux, David Warther's creation of the Star of Memphis, 1350 BC

© 2018 Louise Levergneux, David's carving of the Royal Ship of Queen Hatshepsut, 1500 BC

With over 80 major works in the collection, David carves daily in his on-site workshop utilizing antique ivory and ebony wood. His works are designed using blueprints and drawings furnished by maritime scholars and researchers worldwide.

© 2018 Louise Levergneux, David Warther's creation of Bonhomme Richard, 1779 AD

© 2018 Louise Levergneux, one of David's exhibit room and carving studio in the background

David's carvings are made of legal pre-ban ivory. He has become an expert in knowing the laws and regulations of buying, selling and gifting old legal estate elephant tusks and ivory carvings within the United States.

© 2018 Louise Levergneux, David explains the hand filing and sanding technique of making the ivory rigging lines

The rigging on his ships is made of his "ivory string"; a technique that is a signature of his artwork. These ivory threads are seven-thousandths of an inch in diameter (.007"), twice the thickness of a human hair.

David engraves the highly polished antique ivory through a process known as scrimshaw where fine lines are scored on the ivory's surface with a hand-held stylus. Later, when ink is applied to the scored surface, the microscopic pores in the ivory absorb the ink while the polished areas remain white. The scrimshaw process allows the intricate details of the ship's planking, doors, and windows to come to life.

© 2018 Louise Levergneux, details of the scrimshaw effect where fine lines are scored, Lightning, 1854 AD

© 2018 Louise Levergneux, David's carving of the Wanderer, 1878 AD

When his art project is complete, David expects to have close to 100 carvings that will convey the progress man has made in shipbuilding over the past 5,000 years.

The viewing of the exhibit and the conversation with David were worth being a tourist for an afternoon. What will I encounter next? Are you on the path of my travels? Will I discover your work throughout my journey?

Time in Ohio

June 26th, 4:30 pm. I sit in a hotel room reflecting on my blog post for Monday, July 2nd. My posts are written with studio activities in mind or an artist's work that corresponds to the happenings. I also consider an event that takes place in or out of the atelier...

It’s all about time these days.

Summer has arrived, and I’m making headway on lots of activities while others allow themselves to slow down and go on holiday.

© 2018 Louise Levergneux, June 26th at 8:30 am, view from our room on the 5th floor of The Wallhouse Hotel, Walnut Creek, Ohio

It’s fascinating for me to discover the world from our trailer. This week our Putt-Putt is being fixed so, we are living at The Wallhouse Hotel in Walnut Creek, Ohio. What an unusual lifestyle! There’s space here! Zones to get used to! There’s a counter to cut, glue, and assemble... Create for goodness sake! But like most of us, it involves a bit of time to research, create and publish an artists’ book. Looking back I routinely need a year to mull a publication over before an artists’ book is successfully revealed.

© 2017 Louise Levergneux, November 11, 11:56 am, San Antonio, Texas. Image for an artists' book on surveillance.

© 2017 Louise Levergneux, December 13, 3:34 pm, San Antonio, Texas. Image for an artists' book on surveillance.

Following a creative sequence, starting with an idea, I carefully explore my surroundings and photograph what captures the imagination. The flow of work comes when the intention stimulates me enough to grab the computer and get close and personal with the whole concept. The adaptation of the photos I investigate, manipulate, re-organize, write and plan demands the most extensive amount of time. What presentation do I prefer? How will the viewer interact with the content? Is the content versus the context achieved? What structure to choose? Only after my conceptual framework has materialized, do I know that the physical object — my artists’ book — is attained?

The primary goal is to produce a book that tells a story in a dynamic way for the reader to experience.

© 2018 Louise Levergneux, June 28th, 12:21 pm, producing on the countertop of The Wallhouse Hotel, Walnut Creek, Ohio

© 2018 Louise Levergneux, June 28th, 12:30 pm, producing on the countertop of The Wallhouse Hotel, Walnut Creek, Ohio

© 2018 Louise Levergneux, June 28th, 1:49 pm, producing on the countertop of The Wallhouse Hotel, Walnut Creek, Ohio

June 29th, 5 pm. Utilizing the countertop in our room, I produced two copies of Shadow Me. It took part of a day to figure out the process. The first copy was produced a year ago to re-create another copy was difficult! Are you capable of writing good notes to continue an incomplete edition at a later date? Thinking I was, NOT! 

© 2018 Louise Levergneux, June 29th, 7:01 pm, producing on the countertop of The Wallhouse Hotel, Walnut Creek, Ohio

© 2018 Louise Levergneux, June 30th at 6:30 am, view from our room at The Wallhouse Hotel, Walnut Creek, Ohio

Have a great 1st of July! 

July 2nd at 8:00 am. Email blog post to subscribers. Start thinking of the next blog post.

Have a great 4th of July!

The Ohio University

I’m visiting the state of Ohio this week, a familiar area from when we lived in Stow for three years between 2004-2007. This period has allowed me the time to write, think of book structures and do some photography. 

© 2018 Louise Levergneux, Restaurant Salaam's door handle, Athens, Ohio

© 2018 Louise Levergneux, Athens County Courthouse, Athens, Ohio

In between the rain and the sun, I communicated with contacts of various libraries and museums in Cleveland, Akron, Athens... Most librarians are on or leaving for a holiday, probably well deserved. City Shields and Windows of the Soul were acquired in 2006 when I visited with Gary Ginther at the Vernon R. Alden Library. I did get a chance to return to Athens and visit with Michele Jennings the present contact person for the Library of the University of Ohio.

© 2018 Louise Levergneux, Vernon R. Alden Library of The Ohio University, Athens, Ohio

The Mahn Center Archives and Special Collections of The Ohio University include over 1100 books. These creations complement the study of art and architectural history, theory, criticism, materials, techniques, and practice in the artists’ books that are part of the Fine Arts Library.

Athens is a charming small city nestled along the Hocking River in the southeastern part of Ohio. Surrounded by hills that rise about three hundred feet from river valley to the narrow ridge tops. Even with the pouring rain, I enjoyed being driven around and discovering the campus from my private carriage (remember the sprained foot.) Where has the sun gone? We are no longer in Arizona Toto!

My journey represents an opportunity to connect with librarians only communicated with in the past by email or phone. These meetings and talks with current or recent contacts about artists’ books or subjects that pop-up on the theme of my work energize me.

© 2018 Louise Levergneux, Ohio University Convocation Center, Athens, Ohio

With all the administrivia and trying to survive the humidity, I have yet to get back to the printed pages from my Utah séjour and assemble my books.

Northeast Ohio is home until the 29th of June then we embark on our westward trip to Tucson. Tucson is the city we’ll be collecting our bigger home on wheels. This will permit me to work on my books.

If you would like to meet or know an artists’ bookmaker I should be introduced to please email me… at this moment I will be traveling in and around Circleville, Ohio on the 30th of June. Then on my way to Cincinnati from July 2nd through to the 4th. St. Louis, Missouri is next on the 4th or 5th of July, depending. Once our plans to Tucson, Arizona are tangible, I will have more concrete dates and cities to announce in my next post as we travel through Kansas City, Denver, and Colorado Springs.

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