Archiving and the Past

Last May, after gathering the rest of our belongings in Utah, I realized we possessed boxes of DVDs stored to the rim full of photos. Living in a compact space and thinking of our carbon footprint, an extra 1TB LaCie mobile external hard drive was purchased as noted at the end of last month’s post. July, was spent re-organizing and copying photos from a couple of portable external drives and many DVDs to an older 1TB and duplicating these files to a new 1TB. Duplication and backup in the digital world are important!

© 2021 Louise Levergneux. Over 72 DVDs and CDs stored on 1TB. What to do with all these jewel cases and other leftover unused DVDs and CDs?

By the way, for any of you who still utilize DVDs or CDs to store files, photos, or music, I have 20 unused DVD-R (4.7 GB) and 6 CD-R (700 MB) available for only $10 + shipping. Also available are the DVD jewel cases shown above for 25¢ each plus shipping. If you are interested, please email me.

After a week of archiving personal photos and those taken for the production of artists’ books, memories rushed to mind bringing the past and my career path to the forefront.

While in college, a professor described the visual elements of my work as seen through the eyes of a photographer. At that time, the intricacies (settings, functions, buttons, menus, icons, and dials) of a SLR camera were cryptic to me. I didn't understand the comparison. Now that the foundation of my work starts with a DSLR camera in hand, I understand!

I have been fortunate for the friendship of many mentors along my career. They encouraged me to develop a strong work ethic, which is still used today when preparing ideas for an artists’ book. Back in the early 1980s, I taught drawing to students in the world of publication and layout — Graphic Arts — for a few years. When we moved to Toronto, an associate of my husband assisted in the development of certain softwares. He supplied me with Illustrator ‘88 and Adobe Photoshop .63 (before the introduction of layers).

© 1988 Louise Levergneux. During the late 80's, I was learning all about Illustrator and Photoshop, at the time my production was sculptural and involved plexiglass and coloured pencil drawings, collaged material, and kinetic parts. While archiving photos, I noticed an altered, pop-up artists’ book. This made me realize my future media of choice began long ago — interesting!

© 1988 Louise Levergneux. “Kissing in the Energies of Greece” or slide number G107, was inspired by my collection of pop-up books.

© 1988 Louise Levergneux. G107 was part of an exhibition titled “The Changer of the Changed” at the Kozak Gallery in Toronto, Ontario, in October 1988.

Adobe needed to explore the visual artist’s point of view without any knowledge of photography versus the application of a software product based on photography. From this understanding, the application improved to be what it is today — a fully fledged image editor. This opportunity introduced a particular freedom to my skills of photo manipulation and montage on the Mac for the last 30 years.

Learning different software programs helped with future contracts including page design and layouts for publications and the creation of posters. A print shop owner in Ottawa, Ontario, instructed me on the steps for prepping my files for printing. Subsequently, there were lots of self-learning and digging deep into Photoshop online.

For all those years, I didn’t realize, I was educating myself for the development and creation of my own artists’ books. It was interesting to view old photos I integrated in my books. These were good memories and I’m grateful that all these diverse activities brought me closer to my goal as an artist.

© 1996 Louise Levergneux. The large format of “Memories of My Memories” was developed as part of an installation at Gallery 101 in Ottawa, Ontario, in 1997. The size of the book was 59.69 X 77.47 Cm (23.5 X 30.5 inches).

© 1996 Louise Levergneux. “Memories of My Memories” was collected by The Library and Archives Canada, Gatineau, Québec, in 2007.

© 1999 Louise Levergneux. In 1999, I participated in a mailing art project at Struts Gallery in Sackville, New Brunswick. Without knowing an accordion book format was chosen and bound to look like a package with brown paper and twine.

© 1999 Louise Levergneux. The inside of “Wind and Water” a double sided accordion presenting a 360° view of our back and front garden in Rockland, Ontario.

© 1999 Louise Levergneux. Detail look at “Wind and Water”.

So, here I am today after decades of working with Photoshop creating and distributing artists’ books that incorporates digital photography as a device that expresses my interest in the concepts of memory and identity.

© 2021 Louise Levergneux. The 20th Anniversary of City Shields.

The sales of my last two artists’ books “Surveillance” and "20th Anniversary of City Shields" would not have been possible without the numerous mentors, artists, and library contacts who supported my work along the way.

I’m honoured to announce that with the addition of the 20th Anniversary of City Shields the complete series is now part of two Canadian collections — The National Gallery of Canada Library in Ottawa, Ontario, and The Canadian Center for Architecture in Montréal, Québec.

© 2021 Louise Levergneux. Surveillance.

Two more copies of Surveillance have found a home at the Temple University Libraries collection in Philadelphia, Pennsylvania, and the Criss Library of the University of Nebraska at Omaha, Nebraska.

The last copy of 26NOV2006 has secured a home in the Miller Library of Colby College and with it the collection has added my artists’ book Conversation.

Now that archiving memories and reminiscing is done — on to another new project, this time about Google Street View — still feeling watched!

Tools and Equipment

May was an extremely active month with ideas for a new book and the completion of a couple of editions for recent orders. After four years on the road, having access to a workbench even in a tiny-winy studio is great. Space is still at a premium, and after selling most of my STUFF back in 2017, I need to re-examine what is needed to work productively?

In the mid-1990’s, I allowed myself time to figure out if I enjoyed the making of artists’ books before spending extensively on equipment. Bigger equipment, (like a Jacques Shear, or a guillotine), was never in the cards. Through the years, I purchased more and more tools as I developed my production of artists’ books.

While living in Utah, having a spacious studio was fantastic. With the help of my brother Henri, the top of my workbench was designed to cut binders board manually. A small bindery in Salt Lake City used to cut boards of 20 in x 12 inches for me, which made cutting easier on my workbench, but inventory is getting low!

© 2021 Louise Levergneux. I still have the same system, and it consists of a cutting mat, a ruler screwed in on the right for alignment, and an aluminum angle bar at the bottom.

© 2021 Louise Levergneux. A Logan straight handheld cutter with a carpenter’s square is what I utilize for the making of book covers and boxes. It’s doable, but it takes longer and more effort to manage squaring.

A Kutrimmer 1058 tabletop — (not sure if it’s the best for boards) — was repeatedly on my list of investments. In 2016 I was close to owning one, but then our lifestyle changed. As for a guillotine, I have always been fortunate to borrow one. Has anyone tried the guillotines below?

Guillotine Desktop Stack Paper Cutter COME-5770EZ - 17" Cutting Width

TEXALAN 17'' Blade A3 Heavy Duty Guillotine Paper Cutter A3-17'' Paper Cutter Black

© 2021 Louise Levergneux. This list represents some of my basic tools of the trade at the moment.

Awl, hole punchers, stylus; bone folder; brushes (flat, bridled paste, various sizes); carpenter’s square; divider; knives (Olfa, X-acto), razor blades, cutting mat; Logan straight handheld mat cutter; measuring and precision tools; right-angle brackets; rotary cutter; rulers (stainless steel, Incra, rule set in 1/8", 1/4", 1/2", 3/4" and 1" strips); triangles (Sage magic triangle, aluminum); scissors; squares (machinist, T, corner); long stapler; tape/adhesive (3M, PVA); weights. Other tools not picture here are: press (still in Canada); sand papers; thread and needles.

© 2021 Louise Levergneux. Binders boards; book cloth (not shown); numerous types of paper, depending on the publications at hand; wastepaper.

© 2021 El Libro. Glueing remains a significant part of binding. Do you have tricks to manage adhesives? I found this glueing compass from El Libro Rojo on Etsy but the shipping cost from Barcelona, Spain ($26.72) was expensive.

Are there any glueing compass sold in Canada or the US? Maybe you have invented one!

© 2021 iBookBindingStore. Some other interesting small tools made with a 3D printer from iBookBindingStore on Etsy seemed very useful. It might be time for a new gig for corner cutting. Their box making tools were equally fascinating.

Completing the inventory of my tools triggered research on artists and their studio set-up. I found an article by Transient Books “Bookbinding Tools: The Good, the Great, and the Beautiful” from 2015 describing their studio tools.

You are probably all familiar with Jeff Peachey who designs, makes, and sells tools for bookbinders, conservators, and leatherworkers. Jeff’s tools were exquisite and I’m certain they are outstanding to work with.

I would love to hear about your tools and equipment. Where do you purchase your tools? Where or how do you cut your binders board? How creative are you with finding interesting objects for weights, or do you prefer store bought?

If one does not have the means for bigger equipment, there’s always the opportunity to rent or borrow. The artists’ book community is a friendly and helpful group. More on this in the upcoming month.

Have a great productive month of June!

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.

Still in Casa Grande, Arizona

After ten weeks of sheltering in place, I'm experiencing the pressure of the unknown. I do humbly admit the effect of teleconferencing is beneficial. My artists’ book entitled “Finding Home” which I created in 2016 comes to mind at this key moment. I feel the need to properly nourish my sense of belonging. I dream of the day when a hug isn’t an imminent threat, and I can visit family, friends and artists studios in real time.

© 2020 Louise Levergneux. In the last month, I’ve continued working on my 20th anniversary volume of City Shields. This is a blast!

The remarkable beauty of the flowering cacti, the forever lasting sunny days and the dry heat of Arizona, is no longer nourishing my creative soul. As a nomad without being able to travel, I’m increasingly feeling trapped in the vehicle meant to liberate me.

© 2020 Louise Levergneux. A Senita Cactus in the heat of Casa Grande, Arizona.

Most of the time it’s peaceful here in Casa Grande. While I’m content to work on my recent artists’ book, creating, researching... Sitting for too long can gnaw at the imaginative mind even if busy with activities one loves.

Covid-19 has undoubtedly affected our humble lives. Artists currently possess extended periods of time to be creative, but our minds are on the uncertainty. We are trying to work and live through these hard times. Ultimately, the crisis has forced its way into our creative work.

Thomas Parker Williams from Pennsylvania has emailed me information on his recent unique artists’ book entitled Pestilence.

Thomas’ conceptual sources include mathematics, music, literature, theology, design, philosophy, astronomy, history, natural sciences, architecture, and Eastern thought. 

© Thomas Parker Williams. Pestilence by Thomas Parker Williams, 12” x 24" x .875” closed.

© Thomas Parker Williams. Pestilence by Thomas Parker Williams, original drawings with dry pigments in alkyd medium, stains, ink and coloured pencil.

© Thomas Parker Williams. Page one of Pestilence by Thomas Parker Williams.

© Thomas Parker Williams. Page three of Pestilence by Thomas Parker Williams.

“Pestilence was drawn during the week of April 13-20, 2020. It is a metaphor for the worsening COVID-19 crisis and the rejection of reality by some in our country. This crisis will change life as we see it. My hope is we will be able to accept the cooperative action needed to survive it.” Thomas Parker Williams

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Another artist — Guylaine Couture — who juggles with the specific ideas she wants to powerfully convey, recently completed a zine entitled “Mes indispensables, pandémie 2020”.

© 2020 Guylaine Couture. My Indispensable, Pandemic 2020, drawings and texts by Guylaine Couture. The zine is folded and cut manually; 16 pages.

© 2020 Louise Levergneux. I received an actual, physical wild pink coloured envelope in my mail box last week, inside I found a copy of “My indispensable.” This little zine brought a smile to my face.

© 2020 Louise Levergneux. Surprise! included in the envelope were a set of three small cards printed manually on recycled paper by Guylaine.

Guylaine enjoys working on subjects that challenge us like cancer, ecology, mourning or the landscape. These subjects depend upon introspection. It is critical for Guylaine to produce each book differently, that the form changes, evolves and adapts to its point of view.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is a single sheet format. 2 ¾ inches x 4 ¼ inches when closed.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is 2 ¾ inches x 4 ¼ inches when closed.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is also available in English.

“Vivre ce moment historique est toute une aventure. Elle est différente pour chacun de nous. Pour ma part, j'ai voulu en témoigner par ce zine sur le sujet. J'y parle de mes (nouvelles) expériences et découvertes.” Guylaine Couture

“Living this historic moment is quite an adventure. It varies for each of us. For my part, I wanted to bear witness to this complex issue with a zine. I talk about my (new) experiences and discoveries.” Guylaine Couture

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On another note, James G. Jenkins’ sculpture provides a theme for both intellectual and visual curiosity. Jim’s work reflects an eclectic and deep understanding of philosophy, spirituality, history, physics and other sciences, and our current societal state. “COST-O-TOM(B), You will feel a slight pressure” presages the current health crisis.

© J. Jenkins 2018. The creation of COST-O-TOM(B), You will feel a slight pressure by Jim Jenkins.

“There are several instruments normally associated with the practice of medicine or health care displayed. Combined in this way it becomes a hyper-anachronistic-allegorical-metaphysicalperplexing-conundrum.

Please note specifically there are no bodily fluids in any sort of suspension. The suspension of disbelief has been removed as well. Perhaps consider that the system has already been sucked dry, the life blood removed with nothing remaining. 

A cast trooper marches steadfastly along a very short plank. Soldiering on without complaint, silent, noble but encouraged to Bite the Bullet should anything untoward happen. The .45 caliber bullet suggests this and is labelled as such. 

A country in distress is symbolically displayed. The parties responsible might be discovered by examining the white paper with words provided with impact. A scalene triangulation suggesting unequal influence is fabricated with a surgical suture suggesting perhaps that we have been stitched up.

The Elephant in the Room remains in a carefully folded origami display concealing what is right in front of our face.” J. Jenkins

© J. Jenkins 2018. “COST-O-TOM(B), You will feel a slight pressure” by Jim Jenkins. Materials: Costotome, hypodermic syringe, distillation glassware, surgical tubing, surgical sutures, test tube, an American flag, sealing wax, peacock feather, gilt frame, aristocratic purple velvet fabric, a .45 caliber bullet, cast trooper, white paper with words typed, brass nameplate, stainless steel angle, flat bar, rod, discs, shredded money, and glass tubing.

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Congratulations to everyoe who is being resourceful in continuing their teachings during these strange times. With many hours, to create, how is your art work progressing?

Arizona in the midst of the Pandemic

Most days are clear, sunny and warm in Arizona. Here, one might forget that the world is experiencing a crisis and it’s affecting how we live and work. I sit here, as a nomad in a 24 foot travel trailer in Picacho Peak — a hidden gem of Arizona, reflecting on what to write for my April blog post. 

My husband, Michael, and I are fortunate to be able to hike every day in the desert behind the resort. As two people living 24/7 in 181 square feet, we need to naturally take some air. With the Covid-19 pandemic it’s important for us to be settled where we can still safely walk or hike everyday. Having an excellent MIFI allows us virtual contact with others while sheltering in place. To keep busy, we are attending online classes, carefully searching the web for information, getting news... For me it’s important to talk every day with my aging mom back in Canada and keep her spirits up while she is self-isolating in Gatineau.

Apart from conversation and long hikes in the desert, I have time to catch up on artwork and our own personal Incessant Journey blog. Even as full-time travelers, like most people life has undoubtedly changed. Being in Arizona, I had prepared months ahead on visiting artists studios. From a pragmatic point of view, the artists mutually agreed self-isolation was the best policy. Therefore, planned meetings with five binders and book makers in the Tucson area were postponed. Till next year!

In the meantime, staying at home gives me the opportunity to think of the concept for a 20th-anniversary package for my artist book project City Shields. I have over 80 new photos of manhole covers to go through plus text and information from the last 20 years to compile. Hoping to have most of the package done by the Fall.

© 2020 Louise Levergneux. The new package for the 20th anniversary of my project CIty Shields.

Earlier in the year, Barbara Grygutis and I had been in contact for our annual get together. That visit was also differed. At the beginning of March, just before the health crisis, I had time to view Barbara’s new installation in Phoenix, Arizona — A Path For Water.

© 2020 Louise Levergneux. A Path for Water by Barbara Grygutis, at the corner of 6th & Butler in Phoenix, Arizona.

© 2020 Louise Levergneux. A closer look at A Path for Water by Barbara Grygutis.

© 2020 Louise Levergneux. Looking inside A Path for Water by Barbara Grygutis.

“Conceptually, the sculpture is the funnel through which the water is collected for the site. The sculpture was developed for the tip of the site. The ribbon style walkway, commencing at the top of the sculpture, makes its way down the sculpture, and becomes the walkway, which ends at the fence. My approach to creating a work of art for the 6th and Butler site is to look at the entire site as the canvas for the artwork. Most importantly, the landscape development is integral to the sculptural elements. The entire site will ultimately be the work of art.” Barbara Grygutis

© 2020 Louise Levergneux. A Path for Water by Barbara Grygutis.

© 2020 Louise Levergneux. A Path for Water in its environment.

© 2020 Louise Levergneux. I’m appreciative for all of your continued virtual news and posts while we are self-isolating. Be safe. To give back here is a Cactus in bloom with spectacular flowers..

Texas in November

As I prepared to make my way across Texas in the Fall of 2019, I took the time to communicate with a few university libraries to establish a possible visit. At the beginning of November, after a couple of personalized emails, I received an invitation from Kevin M O’Sullivan, Curator of Rare Books at the Cushing Memorial Library and Archives at Texas A&M University for a tour of their collection. Unfortunately, our travel plans changed, and I couldn’t accept Kevin’s invitation. Maybe, next year.

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A week later, in Denton, I was delighted to visit and present my artists’ books to Kimberly L. Johnson, Director of Special Collections for the Texas Woman’s University Blagg-Huey Library. The Woman's Collection, Artist's Books Collection, with nearly 300 works of art, focuses primarily on photographic book art, either by or about women. The library acquisitions timeframe is April, so, I’m looking forward to the choice of books that might join the Artist's Books Collection in 2020.

© 2019 Louise Levergneux. The Blagg-Huey Library at the Texas Woman’s University.

© 2019 Louise Levergneux. The entrance of the Blagg-Huey Library.

© 2019 Louise Levergneux. The Blagg-Huey Library at the Texas Woman’s University.

© 2019 Louise Levergneux. WASP Memorial Statue – The WASP memorial statue was sculpted by Jewel Estes of Dallas and donated to the Texas Woman’s University Library on April 20, 1995, by the Women Airforce Service Pilots, WWII. The life-size bronze statue commemorating the experience of America’s women pilots of World War II is located on the second floor of the Blagg-Huey Library in the Woman’s Collection.

© 2019 Louise Levergneux. The Blagg-Huey Library, Special Collections’ reception at the Texas Woman’s University.

© 2019 Louise Levergneux. The reading room where I met with Kimberly Johnson.

The Woman’s Collection at the Blagg-Huey Library is the most comprehensive source of research materials on Southern and Southwestern women in the United States and in 1979 was appointed by the Texas legislature as the state’s authentic collection on the history of women and the official archives of the Women Airforce Service Pilots of World War II.

The Mary Evelyn Blagg-Huey Library is a beautiful classical style building with marble floors, chandeliers and stained-glass windows. There are exhibits about the role women have played in history throughout the library. It’s a very warm and inspiring library.

© 2019 Louise Levergneux. Currently, the Woman's Collection features one of the vastest repositories of women in aviation in the world, housing the official collections of Women Airforce Service Pilots of World War II, the Whirly-Girls International Helicopter Pilots, Women Military Aviators, Association of Women Airline Mechanics, International Society of Women Airline Pilots, the Air Race Classic, as well as many of its individual members' collections.

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© 2019 Louise Levergneux. The Peace Library at University of Texas in San Antonio.

© 2019 Louise Levergneux. The grand entrance to the Peace Library at University of Texas in San Antonio.

As November came to an end, I met with Stephanie Noell, the Special Collections Librarian at University of Texas in San Antonio and introduced my artists’ books. Prior to my visit, through our emails, Stephanie outlined some of my publications that were of interest. Four books intrigued her: Finding Home, City Shields, Traverse, and Parade. 

© 2019 Louise Levergneux. Special Collections Reading Room at the University of Texas in San Antonio.

It was an absolute pleasure to connect with Stephanie who was very cordial. I was fascinated by the questions and the reason for her interest in certain artists’ books especially “Perception”. After a marvelous demonstration and conversation, I’m thrilled to announce that my artists’ books Finding Home, City Shields, Parade, and the last copy of Decades Apart, have joined more than 200 artists' books located in the Special Collections Library at UTSA.

© 2016 Louise Levergneux. Finding Home.

© 2010 Louise Levergneux. City Shields, Texas Vol US11: No 1

© 2014 Louise Levergneux. Parade.

© 2012 Louise Levergneux. Decades Apart

The congenial approach at UTSA was apparent in how I was received and how easy it is for researchers to access the library materials through appointments. On my way out of the Reading Room, as we finished our conversation on special collections, my curiosity was sparked by five huge books in an impressive cabinet. I discovered John James Audubon’s pictorial works, The birds of America: from original drawings, (Audubon, J., Lizars, W., & Havell, R. (1985). The birds of America: from original drawings. New York: Abbeville Press). 

© 2019 Louise Levergneux. Standing beside John James Audubon’s The birds of America.

The month of November finished on a high after my artists’ books introduction. Let’s see what Arizona will bring, with its sun and warmth. 

Pennsylvania

My plans for the end of September were to present my artists’ books to libraries in Pennsylvania. 

The first visit was to the Special Collections Research Center of the Charles Library of Temple University in Philadelphia. The library had completely been reconstructed by the AD100 architectural firm Snøhetta. This space echoes Snøhetta’s completed work at the Calgary Library in Alberta, Canada. The Charles Library is filled with a variety of specialized and innovative spaces providing a gateway to Temple’s campus.

© 2019 Michael Grimm. Outside the Charles Library, Temple University, Philadelphia, Pennsylvania.

Standing in front of the Charles Library, I was amazed at the soaring cedar-clad roof that continues throughout the inner atriums. The unique architecture made me pause at the information desk. I was gobsmacked at the building’s unique structure and the number of students engaged in flexible multipurpose rooms, reading areas, and study spaces giving them access to knowledge and technology.

© 2019 Michael Grimm. Inside view of the Charles Library, Temple University.

I was escorted through the « pièce de résistance » — the grand entrance, a three-story, domed atrium to the Special Collection Research Center on the first floor — an inspirational environment. Special Collection Research Center collects, preserves, and makes accessible primary resources and rare or unique materials, to stimulate, enrich, and support research, teaching, learning, and administration at Temple University.

Before entering enthusiastically into my appointment with Margery N. Sly, the librarian in charge of acquiring artists’ books, I spotted an exhibition filled with book arts reflecting the theme of architecture, celebrating the current facilities. I viewed books by Julie Chen, Brian Dettmer, Colette Fu, Malini Gupta, Guy Himber, Emily Martin, Carol Schwartzott, Jana Sim, and Thomas Parker Williams. 

© 2019 Louise Levergneux. Exhibition at the Special Collection Research Center of the Charles Library, Temple University.

© 2019 Louise Levergneux. Ashima by Colette Fu part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. left: The Gist of Romeo and Julier by Emily Martin, right: A Brief History of the Fan by Carol Schwartzott at the Special Collection Research Center.

© 2019 Louise Levergneux. Language Möbius by Jana Sim at the Special Collection Research Center.

© 2019 Louise Levergneux. Spiral Dome Sculpture in Paper and Steel by Thomas Parker Williams at the Special Collection Research Center.

© 2019 Louise Levergneux. [Material in the tissue spaces] by Brian Dettmer at the Special Collection Research Center.

© 2019 Louise Levergneux. Clock Work Fish by Guy Himber part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. The Fortune Teller by Malini Gupta at the Special Collection Research Center.

© 2019 Louise Levergneux. Chrysalis by Julie Chen at the Special Collection Research Center.

My experience went beyond my interaction and presentation to Margery; I felt enveloped by art. Margery was a very approachable librarian who expressed considerable interest in artists’ books. I’m thrilled to announce that Finding Home, A Day Filled with Onomatopoeias, and Earth.15 (Outside the Studio) are now part of Special Collections Research Center of the Charles Library of Temple University.

© 2016 Louise Levergneux. Finding Home, a visual narrative on being unsettled in an environment— to find a sense of place, a sense of belonging.

© 2013 Louise Levergneux. A Day Filled with Onomatopoeias (book and audio), is an interactive book based on the word onomatopoeia and it’s definition.

© 2012 Louise Levergneux. Earth.15 part of the series Outside the Studio, a photographic documentation and a study in movement and time featuring the four basic elements published in a weekly edition.

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My subsequent visit was the McCabe Library of Swarthmore College in Swarthmore. Amy McColl, Head of Collections provided explicit instructions to the library making it a pleasant introduction to the campus. Most librarians I have encountered provide a visual characterization of the library; Amy’s description was a fun and surprising one “the building looks sort of like a fortress” she naturally added in her email. At my arrival I was delightfully surprised by the architecture, it does look like a Medieval Castle outside and inside. With great astonishment the building is referred to as “The Cage,” McCabe Library inspires a wide range of feelings among the student body, many of which are far from positive. Though, I enjoyed the cozy feeling of the atrium, its stone walls and dim lighting seemed to set a claustrophobic mood, but the atmosphere does not transfer to the librarians.

© 2019 Louise Levergneux. McCabe Library, Swarthmore College in Swarthmore, Pennsylvania.

© 2019 Louise Levergneux. The main lobby of the McCabe Library, Swarthmore College.

Swarthmore College is home to a vibrant and continually growing collection of contemporary artists' books. The Book Arts and Private Press Collection is committed to the acquisition of fine printing and artists' books and endeavours to represent all aspects of the physical book including bookbinding, typography, letterpress and offset printing, hand paper-making, illustration, and book design.

After a very up-beat dialogue with both Amy and Susan Dreher, my artists’ books Traverse, Parade, and City Shields (Pennsylvania volume) have fortunately found a new home in the Special Collection of the Rare Book Room in McCabe Library. These join four flip books: Air.10, Earth 16, Fire.3, H2O.11 (Outside the Studio) already collected through Vamp and Tramp in 2018.

© 2015 Louise Levergneux. Traverse, a documentation on the artist’s annual trip across the country to her home town of Gatineau, Québec, Canada.

© 2014 Louise Levergneux. Parade, presents the strange and intriguing scene of empty chairs waiting for the owner that will be curb side when the parade begins.

© 2008 Louise Levergneux. City Shields, Pennsylvania Vol US6: No 1. A photographic documentation using manhole covers to depict exploration of geographical locations along the artist's life journey.

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This brings me to a sad moment for the community, as I convey my sincere condolences for the profound loss of Bill Stewart of Vamp & Tramp, Booksellers at the beginning of November. Bill, with his wife Vicky, were very instrumental in introducing my artists’ books to Special Collections of university libraries in the United States. I will always be appreciative for his demanding work, dedication, and professionalism. Bill will be sorely missed.

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.