Book Arts News

Enjoy the new look of my Email Campaigns!

How are you all doing, after such a scorching summer (especially here in Arizona)? I’m looking forward to Fall with its cooler weather. I have been busy nesting more than producing artists’ books. My mind is cogitating on new ideas while my body is recovering from heat intolerance!

2021 © Louise Levergneux. Fishhook Barrel Cactus photographed in the resort where I live in Apache Junction, Arizona. It is a very prevalent in Arizona. Barrel Cactus (different types) are round, squat cacti that can live as long as 130 years. The most interesting fact about this cactus is that is often leans towards the southwest, so it can be used as a compass of sorts if you’re stranded in the middle of the desert.

The last few weeks I re-evaluated internet services, softwares, hours spent preparing posts, writing... This administrivia will make work flow better and less time consumed on managing different accounts and passwords. Those little tasks take so much time, but need to be done.

So, with all the nesting in our tiny home/studio, painting walls, cabinets, doors... I was able to achieve a home like feel to our small abode. This type of work which I have not done in long time triggered many memories. I enjoyed it, and I’m sure it will bring a fresh point of view and creativity for my next book with the working title “Secrets,” after the frenzy settles down.

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Receiving news (links below) from galleries and museums through the month is uplifting. Many thanks, great work!

How can you not be excited by shows at 23 Sandy Gallery. The last exhibition through November 20, 2021, had many fantastic works. The International Juried Exhibition of Book Arts is entitled UNSEEN and is on view at the gallery form & concept. When imperceptible phenomena burst into view, revolutionary changes may follow. We learned this in 2020, as an invisible but deadly virus spread across the world, an urgent racial justice movement illuminated dark societal realities, and humanity’s long-simmering crimes against the environment unleashed fires and floods. Unseen forces can shape our lives and surface in unexpected ways, often altering our behaviors and worldviews if and when we are made aware of them. This exhibition explores the idea of the “unseen”—physically, psychologically, and philosophically.

Artist's Books Unshelved is an ongoing video series exploring selected pieces from the Cynthia Sears Artist’s Books Collection at the Bainbridge Island Museum of Art.

I love seeing emails from Robert Bolick in my inbox — it typically means goodies for the eyes and mind. Robert Bolick curates Books On Books Collection.

John Cutrone, Director of the Jaffe Center for Book Arts at Florida Atlantic University Libraries, is curator of the Jaffe Collection, and host for Book Arts 101 : Home Edition. John unpacks new items for the JCBA's permanent collection on each episode. These episodes can also be viewed at JCBA's Vimeo Channel.

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I love reading blog posts written by artists. I equally enjoy receiving news on newly produced works.

If you are looking for a bit of humour, Big Jump Press blog written by Sarah Bryant is always encouraging.

I enjoy receiving news from Magog, Québec, through the blog of Guylaine Couture. You can also view her most recent book “Interest & exchange in the dirt,“ part of the exhibition UNSEEN.

Check out Cathryn Miller’s blog to follow what Byopia Press is teaching us these days.

2021 © Amandine Nabarra. The last Breath

Amandine Nabarra’s blog presents us with her sensitive, well designed artists’ books.

2021 © Thomas Parker Williams. Two Moons, published by Thomas; text and poetry selection by Mary Agnes Williams.

If conceptual sources from the theme of mathematics, music, literature, theology, philosophy, astronomy, history, natural sciences, architecture, and Eastern thought are of interest, view Thomas Parker Williams artists’ books.

Read more on Philip Zimmermann’s recent artists’ book Delirium and watch this short video.

Let's not forget Helen Hiebert and her superbly, well-informed posts on papermaking. Helen Hiebert video — All About Helen Hiebert Studio.

And last but no least, reading information coming from the BOOK_ARTS-L@LISTSERV.SYR.EDU can be eye opening. Sara Halpert, Museum Manager at The Printing Museum in Carson, California, compiled THE ULTIMATE PRINTING MAP where you can examine local places of interest in your corner of the world.

Videos that are part of this post are viewable only on my website!

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Need to get back to work and read more news coming via email. Thanks for keeping me informed. Oh! By the way, Let me say that working with Squarespace’s Email Campaign feature is so much easier than Mailchimp. What has been your experience?

City Shields and « a fair deal »

Last month provided me the opportunity to progress with the 20th Anniversary edition of my artists’ book City Shields. The 78 manhole covers included are printed and die-cut. The text for the booklet explaining the project across the last 20 years is currently finished and translated. A few maquettes of the accordion booklet accompanying the edition were printed. While folding and including more pages, an accordion was not the ideal format. City Shields continued to take shape by changing the structured format to a meandering book. With the page template finished and printed, next is folding and scoring the new meandering book — it’s exactly what was needed.

© 2020 Louise Levergneux. Re-thinking City Shields’ book format. Top right: an accordion format maquette; bottom left: mini maquette of a meandering book; top left: cover design.

© 2020 Louise Levergneux. My standard template for printing manhole covers on Generation Paper. Next to my computer is a stack of previously published volumes atop a maquette for the 20th Anniversary edition.

The design of the insert cover also changed since my previous post. The colophon is dutifully written. I also figured out how to seamlessly incorporate six overprinted copies of manhole covers from past volumes into the published booklet. The first four clear plastic boxes are ready to receive all the essential components of this dedicated edition. All I require is to order more art paper, print, cut, score, place them in the container and the 20th Anniversary of City Shields will be completed.

© 2020 Louise Levergneux. The new cover version for CIty Shields.

© 2020 Louise Levergneux. Die-cutting of new maintenance covers.

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With a relative amount of time to write, I wanted to respond to Yama’s question posed on the BookListServ « Can non-refundable application fees for shows be a "fair deal”? »

In the 90’s I fell prey to an undesirable gallery and learned my lesson. Swearing to never give money to exhibit my work again. 

I've been on both sides of this issue, as an exhibiting artist and an art administrator working for a nonprofit alternative gallery. And yes, this alternative gallery in Ottawa, Ontario, received funding from yearly grants. The funding paid for all overhead expenses, the costs for promotion, documentation, and staff. The exhibiting artists could also write grants for their particular show. These galleries have to prove their worth during the grant writing process.

Alternative galleries in Canada are part of the Canadian Artists’ Representation / Le Front des Artistes Canadien. The organization claims that payment of entry fees is not appropriate to an exhibition of work by professional artists.” At the beginning of my career, working at Gallery 101, taught me that an artist should never pay for exhibiting their work, but, instead, “BE PAID.” Is it a « privilege » to exhibit our art and/or craft, or is it a « privilege » for a gallery to display an artist’s work?

No other ART form pays to be considered for a show or otherwise. It is not news that dancers, singers, and actors don’t pay to audition; a publisher does not charge a writer for reading her/his manuscript.

© 2020 Louise Levergneux. More poetic inspiration from the desert of Arizona.

Commercial galleries charge artists a fee to exhibit and another amount for all other expenditures. I have experimented with this type of business, but not in love with the model. The cost is usually prohibitive even with sales. The artist is the creator, they should get paid for working?

I did enjoy the out of the box idea by Alice Simpson, her response instantly reminded me of a similar gallery event in a private home, a long time ago. The show was incredibly successful thanks to the list of art collectors the person hosting the affair invited. The costs were divided by the artists, but the sales covered most of the expenditure. It was outstanding to be in charge of our event. And of course NO entry fees, NO shipping of any kind or insurance, NO hefty percentage for direct sales. 

Every time we ship our work; we take a chance of having our artists' books/objects damaged in transit or while being handled when taken out of the box!! When I am willing to pay an entry fee, the gallery better be prepared to handle my artists’ book like it was their own child!

We are probably the best person to promote our own work, but that does not always help with visibility. I don’t consider any organization asking for 40% or 80% to sell art work, a decent deal. So, definitely a big NO to that outrageous percentage, I don’t care how great the gallery is. Artists should typically receive more compensation since they are the creators. Is this type of percentage considered theft! One has to be reminded that if there were no artists, there would be no galleries. Galleries essentially depend on you to survive, not the other way around.

Moving to the US, it was like going back in time from the progressive approach of alternative galleries in Canada. How to cope with my artist’s rights and being able to exhibit? Being mindful at recognizing who to deal with and be willing to pay an entry fee remains an important decision. A annual budget is certainly a clever idea. I have submitted my artists’ books for exhibitions with fees that were non-refundable and shows without fees. I supported 23 Sandy Gallery's policies because Laura Russell was trustworthy. Ordinarily, galleries openly share their policies. It remains your choice to support a gallery that charges an entry fee or not. If you don't want to pay any fees, you should investigate other ways to find visibility and sales.

So, like most of you, I do not feel a visual artist should pay for the « privilege » of exhibiting. Changing this policy depends on how an artist reacts to such a statement. Canadian artists should follow the guidelines from the Canadian Artists’ Representation / Le Front des Artistes Canadien. I don't recognize an equivalent organization other than the National Artists' Equity Association in the US. If anyone can identify the correct equivalent organization, please let me know.

© 2020 Louise Levergneux. Picturesque scenes en route to Dewey-Humbolt a couple of weeks ago. If this scene does not inspire, what will?

While we genuinely need to continue with exhibiting our work, here are some tips: 

• The most significant thing an artist can do is understand where and how the book/work fits in a gallery or collection. This will help not waste your earned money or your precious time. 

• Accumulate more knowledge regarding your rights, make a decision on how you want to deal with galleries and staff.

• Be vigilant about the gallery or organization you intentionally choose to do business with. 

Hope this post helps in the success of discovering the appropriate answers for your art career. Be comfortable about your decision.

Confined in Arizona

I hope you are all safe and taking this self-isolation time to keep busy so doldrums don’t become the new normal. 

For me, social distancing means no studio visits, I do miss the physical interaction with artists in their private atelier. Strategically planning these impressive outings throughout the year was a lovely diversion during my continuous travels. Talking and sharing ideas with artists paved the way for brainstorming on new concepts. I undoubtedly gained in depth knowledge on binding, which could be applied in my new artists’ books.

My only communication these days, like most of you, is by virtual contact between family and friends. Some of us share “happy hour”, converse our quest for life’s journey and most important knowing everyone is safe and well.

© 2020 Louise Levergneux. An Argentine Giant Cactus in bloom at the Fiesta Grande RV Resort in Casa Grande, Arizona.

In late March, with the shelter-in-place directive, we got grounded in Casa Grande, Arizona. The southwest is not a bad area to be stuck in, with it’s sunshine and blooming cacti. But, by the end of April, severe temperatures reached 107° F. It is getting HOT, HOT, HOT!

Shelter-in-place has given me the opportunity to start working on different projects. Meticulously planning my concepts, printing the visuals, writing statements, and studying Photoshop in more detail... 

© 2020 Louise Levergneux. Working on my 20th Anniversary cover for City Shields. Already 20 years has passed since the beginning of my on-going projet of manhole covers. WOW!

I’m making headway with the 20th Anniversary booklet of City Shields. One can’t wield a mighty hammer to pierce a small hole! — I’m frustrated at trying to use the necessary software rarely utilized in the past year.

© 2020 Louise Levergneux. The cover for City Shields’ 20th Anniversary package edition in progress. This is the first draft, the design may change as the work progresses.

We often swear at the technology in our possession but in these uncertain times, the internet has proven to be a valuable tool. I sincerely appreciate the social contact with all of you through private emails or communications received by the BookListServ though not as many as before the pandemic. Listening to Helen Hiebert podcasts brings a sense of closeness. The informative videos of John Cutrone, Book Arts 101: Home Edition takes us on different journeys. Different blog posts like the familiar one from Catherine Miller and Guylaine Couture naturally prompt me to smile as I have visited both artists. Many sincere thanks for your continual dialogue during our social isolation. 

These digital dialogues expand opportunities for me to receive information on newly completed artwork or work in progress from many artists. You could say that these are my new virtual studio visits. I joyfully received this artist statement from Jim Jenkins of Illinois. Jim is conscientiously working on a wordsculpture and transmitted it for review and comment. Between his first email and now, he has undoubtedly gone through additional re-crafting as we all do at the early stages of creative production.

After the clever piece had stirred up a bit more in Jim’s active mind, I received a shortened version of his statement for Cosmic Clockwork Comet and some images of the final artwork to present to my readers.

It has been said that time is an event more than anything else. We remember events, we usually don’t remember time passing as in the ticking of a clock. We usually don’t remember our hours of uneventful boredom unless we find some important thought momentarily hidden and then revealed within our boredom. Perhaps, this is when and how the sculpture began. Halley’s Comet and the fact that it is periodic and only visible to us every 75-76 years; provides a beginning, which in and of itself, is an event. The comet is on a far reaching elliptical orbit, a self-referential timed event, chronicled historically, beginning in 239 BCE in China. Mark Twain who was born and raised very near Quincy famously said that he was born on the arrival of Halley’s Comet in 1835 but would probably not be on Earth to witness the return. This proved to be true as he did pass away within the year of the return. Our perception of all things is contingent upon our ability to see, our individual vision. Things that are unseen or left out are many times as valuable to our understanding as what is visible. Some objects mirror other objects within our field of vision. An object like the comet is only occasionally visible. That doesn’t mean that it isn’t there it just means we lack the long range vision to see it. We do know however, it’s out there physically but imperceptible. I’ve incorporated two purposeful dates into the sculpture: 2020 the year of the placement of the sculpture and 2061 the return date of the comet. The students attending Quincy Junior High School today may very well see the return of Halley’s Comet, it’s unlikely I will. This will give me and Mark Twain something in common. What the world will look like in 41 years is of course unknowable and un-seeable today. This is at the core of the sculpture. The seen and the unseen, the thing and the no-thing.

J. Jenkins © 04.17.2020

© 2020 Jim Jenkins. COSMIC CLOCKWORK COMET by Jim Jenkins for Quincy Junior High School “Celebration of Education Sculpture Series.”

© 2020 Jim Jenkins. COSMIC CLOCKWORK COMET by Jim Jenkins, funded by The Moorman Foundation & Arts Quincy.

© 2020 Jim Jenkins. COSMIC CLOCKWORK COMET, drawing by Jim Jenkins.

As we all continue to self-Isolate, remember that communication with others via digital dialogue helps us to be together alone. STAY WELL! 

© 2020 Louise Levergneux. Beauty is everywhere. First Light, Hybrid Torch Cactus in Casa Grande, Arizona.

New York

After a haunting experience in Gettysburg, Pennsylvania, our route brought us through New York State.

© 2017 Louise Levergneux, arriving at the Stevenson Bird Library in Syracuse, to meet with Peter D Verheyen. See my reflection in the window!

Peter is the Librarian, Researcher, and Emerging Issues Analyst in the Program Management Center at the Syracuse University Libraries. His position assists the Library in identifying, processing, analyzing, interpreting and maintaining the information it needs to keep abreast of trends in libraries, and meeting organizational and operational needs. 

Providing a virtual home for all the book arts that allows participants from across the globe to share events, training and exhibition opportunities, ask questions, provide answers, and discuss all book arts related topics, Peter says:

I am best known for building and sustaining a community based on sharing.

© 2016 Peter D Verheyen

Peter was the past exhibitions and publicity chair for the Guild of Book Workers. He was awarded the Guild's Laura Young Award for service to the organization in 2009, and their Lifetime Achievement Award in 2016. Here are some of Peter's bindings:

© 2017 Peter D Verheyen, Ladislav Hanka, Remembering Jan Sobota, 2012

Modified Bradel binding; layered Indigo Night Cave Paper endpapers; sewn on 5 vellum slips; spine in parchment; leather endbands; boards edged in parchment and covered with distressed birch wood veneer on covers with onlaid suede salmon leather closure; title stamped in gold on front board. 29.5 x 25.5 x 1 cm

© 2013 Peter D Verheyen, Gaylord Schanilec and Clarke Garry, Mayflies of the Driftless Region, Midnight Paper Sales Press, 2005

Dorfner/de Gonet "open joint" binding; sewn on 3 brown salmon leather slips; flyleaves and doublures of Cave Paper “layered indigo day” paper; graphite top edge; rolled endbands brown salmon leather; spine covered in gray salmon leather; boards covered in full vellum with printed illustrations from text below; salmon leather slips attached to boards and framed with decorative weathered wood veneer; tied mayfly attached to front board. 26.5 x 19 x 2 cm

© 2010 Peter D Verheyen, Pamela Leutz, The Thread That Binds, Oak Knoll Press, 2010

Modified Bradel binding; red Roma endpapers; sewn link stitch on four reinforced leather tapes; dark red and gray handsewn endbands; spine covered in gray leather with cutouts for tapes; boards covered in reddish brown Pergamena deer vellum; title stamped in gold on front cover with leather onlays. 23 x 15.5 x 4 cm

© 2005 Peter D Verheyen, Noirs, Bleus, Sables, Livre de poète de Nane Couzier, 2001

Textblock sewn on 5 leather/vellum slips in black, blue, and brown; graphite top edge; sewn silk endbands; case covered in full blue dyed goat vellum; leather/vellum slips laced through at joint; multicolored colored spine label with title in graphite foil. Leather onlays on case derived from typography of text. 40 x 25 x 2.5 cm

I first came across Peter through The Bonefolder: e-journal for the bookbinder and book artist founded in 1994 managed and published by Peter. My next interaction with Peter was through the Book_Arts-L listserv founded in 1994 and still stimulating after 22+ years. 

© 2014 Peter D Verheyen, the cover of the last published issue of the Bonefolder, found at Book Arts Web

I'm a subscriber to the BOOK_ARTS-L listserv and enjoy the subjects and questions that keep popping into my email inbox since 2008. Feeling isolated in Utah and Idaho, the book listserv permitted me to be part of an authentic arts community, one that celebrates and sustains book arts. Thank you, Peter! 

To learn more about the Book_Arts-L, review the full FAQ with detailed instructions. If you would like to familiarize yourself with Peter’s career and his path into the field, click here.

Unable to visit Peter’s studio because of my short notice and his previous commitments, Peter emailed me the following photos of his creative space.

© 2017 Peter D Verheyen, Peter's studio

© 2017 Peter D Verheyen, Peter's studio

An enjoyable hour meeting and talking with Peter about his work, his career and the artists’ book field. Too short!

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"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?...

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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?

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“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 damaged during exhibition

© 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 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!

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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.

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

To be continued...