Tucson, Arizona

February 18, 2018

I enjoy meeting artists as I travel across the US and Canada. To my pleasant surprise, after emailing Barbara Grygutis for permission to feature her work on my last post, I received an affirmative answer to my request for a studio visit.

© 2018 Louise Levergneux, Barbara Grygutis' studio — © 2018 Louise Levergneux, Barbara Grygutis' studio

Her studio in Tucson is at the back of a historic building inside a greenish cage, as Barbara calls it. It was a delight to walk through the wood and glass doors and enter Barbara’s space.

The studio is considerable and airy, with multiple areas, each with a different purpose: spot for the printer, a place for administration, a corner for the computer-assisted design specialist who turns her ideas and designs into computerized renderings. A large shelf with archives of maquettes/models and workstations everywhere... I was given a complete tour of her studio and the first look at some of Barbara’s up-coming public sculptures.

Stuff is widely distributed and filled with the characteristics of Barbara’s work and personality.

Amazed to see the architectural drawings and maquettes for such work as Front Row Center and Sonoran Passage in Tucson.

© 2018 Louise Levergneux, Barbara Grygutis' studio, maquette for Front Row Center — © 2018 Louise Levergneux, Barbara Grygutis' studio, maquette for Front Row Center

Large drawings of new work in progress covered windows and walls. Notes or changes had been made directly on the drawings. The stories and connection to their environment were shared... We talked about the desert and how it related to some of the pieces as in Sonoran Passage where pleated and tapered columns look like stylized saguaros.

© 2018 Louise Levergneux, Barbara Grygutis' studio, sketches and images for Sonoran Passage — © 2018 Louise Levergneux, Barbara Grygutis' studio, sketches and images for Sonoran Passage

I went back on 22nd Street to view Sonoran Passage from below the Parkway. These works of art are best viewed at all angles to understand the connection and interaction to the spaces.

© 2018 Louise Levergneux, Sonoran Passage by Barbara Grygutis from 22sd street

As one of the nation's most sought-after sculptor, Barbara impressed me with her openness to share and her warm welcome.

© 2018 Louise Levergneux, à bientôt Barbara Grygutis

Thanks Barbara for a wonderful tour and looking forward to Happy Hour next year!

Texas and Arizona—Environmental Sculptures

February 11, 2018

A public art piece in Ohio entitled Garden of Constants made me curious about Barbara Grygutis' other works. So far, I have visited two pieces in Texas, Leon Creek Crossing in San Antonio and Silver Lining in El Paso.

Leon Creek Crossing created in 2016, is a layered, multi-dimensional work of art designed for the Hausman Road Bridge at Leon Creek Greenway in San Antonio, Texas. The artwork brings images from the natural shapes of the riparian plant community up from below to create an inviting pedestrian walkway along the otherwise concrete bridge. The canopy of the passage echoes the tree canopy along the Leon Creek Greenway below.

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis, seven aluminum units, each 14’ H x 14’ W x 10’ — © 2017 Louise Levergneux, *Leon Creek Crossing* by Barbara Grygutis, seven aluminum units, each 14’ H x 14’ W x 10’

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis, a series of seven arched sculptures, evoking natural shapes, combine to form a sculptural space through which the viewer passes — © 2017 Louise Levergneux, *Leon Creek Crossing* by Barbara Grygutis, a series of seven arched sculptures, evoking natural shapes, combine to form a sculptural space through which the viewer passes

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis — © 2017 Louise Levergneux, *Leon Creek Crossing* by Barbara Grygutis

© 2016 Katie McCann, Leon Creek Crossing by Barbara Grygutis, at night, Leon Creek Crossing is lit from within to create vibrant blue color effects, integrated light — © 2016 Katie McCann, *Leon Creek Crossing* by Barbara Grygutis, at night, Leon Creek Crossing is lit from within to create vibrant blue color effects, integrated light

We drove to El Paso, Texas to see Barbara's Silver Lining. Fourteen identical sculptures created in 2009, emanate computer-synchronized kinetic light. They are sited on the second story of the El Paso Civic Center to create an elevated pedestrian promenade, which circles the civic center. The circa 1964 building becomes the canvas for a shifting display of brilliant colored light.

One can no longer walk through the sculptures as the second floor is barricaded. I shot my photos from the barricade and the stairs. It is unfortunate that the city has permitted this building to fall into disrepair. Barbara's sculptures still look good!

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis — © 2017 Louise Levergneux, *Silver Lining* by Barbara Grygutis

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis, fourteen sculptures, 18’ H x 6’ D x 6’ W — © 2017 Louise Levergneux, *Silver Lining* by Barbara Grygutis, fourteen sculptures, 18’ H x 6’ D x 6’ W

© 2009 Vanessa Monsisvais, Silver Lining by Barbara Grygutis, computer-synchronized light — © 2009 Vanessa Monsisvais, *Silver Lining* by Barbara Grygutis, computer-synchronized light

While traveling through Tucson, last December, I had a chance to view Front Row Center built in 1999, at the University of Arizona. Front Row Center, the environmental sculpture consists of ten bronze chairs and five small amphitheater units used during outside performances and gatherings.

© 2017 Louise Levergneux, *Front Row Center* by Barbara Grygutis, integrated into the front landscape of the Marroney Theatre at the University of Arizona Fine Arts Department

© 2017 Louise Levergneux, Front Row Center by Barbara Grygutis, 12'H x 3'W x 3'D, fabricated sheet bronze, handmade tile, landscape — © 2017 Louise Levergneux, *Front Row Center* by Barbara Grygutis, 12'H x 3'W x 3'D, fabricated sheet bronze, handmade tile, landscape

© 2017 Louise Levergneux, Front Row Center by Barbara Grygutis — © 2017 Louise Levergneux, *Front Row Center* by Barbara Grygutis

We are back in Tucson, Arizona, and serendipitously to my surprise while driving on Kino Parkway I saw Sonoran Passage a sculptural treatment of the major interchange bridge connecting Kino Parkway over 22nd Street.

This gateway constructed in 2015 is the entry point to downtown Tucson and the University of Arizona from the airport. It includes 14 large sculptural elements integrated into the overall layout of the bridge. The bridge piers echo the sculpture forms’ design. The inspiration for this cohesive artwork was the cross-section of the Saguaro cactus, uniquely native to the Sonoran desert setting. Pedestrian rail arches additionally pull together all of the sculptural elements of the bridge. The sculptures are lighted at dusk creating a safe and welcoming atmosphere for commuters around the clock.

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis, 40’ H x 100’ L x 60’ D, aluminum, concrete, light — © 2018, Louise Levergneux, *Sonoran Passage* by Barbara Grygutis, 40’ H x 100’ L x 60’ D, aluminum, concrete, light

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis — © 2018, Louise Levergneux, *Sonoran Passage* by Barbara Grygutis

© 2015, Katie McCann, Sonoran Passage by Barbara Grygutis — © 2015, Katie McCann, *Sonoran Passage* by Barbara Grygutis

Barbara’s sculptural environments enhance our surroundings and reveal unspoken relationships between nature and humanity. She engages the public through her works of art by identifying themes meaningful to each specific site and community. With over 75 large-scale commissioned works of public art throughout North America, Barbara is recognized internationally for her sculptural environments.

When you look at a city from a different and new perspective, one can find the most extraordinary phenomenon for the mind and eyes.

Looking forward to visiting other cities that have commissioned Barbara’s work.

California Palm Trees

February 5, 2018

Where to go when Texas gets cold? California!

We settled in and reconnoitered the place as we drove around the desert. Traveling in the Thousand Palms Canyon of the Coachella Valley, we found the most delightful haven—the Thousand Palms Oasis.

© 2017 Louise Levergneux, Thousand Palms Oasis

Everything is silent in the oasis and you can immerse yourself in the beauty and solitude of the magnificent palm trees.

Stepping into this sanctuary, I was startled by the unexpected lushness of the palms. I absorbed the feathery fronds and admired the stately trunks soaring 60 feet high.

Like all palms, the Washingtonia filifera, isn’t actually a tree at all, but is related to grasses and bamboos. Rather than sprouting growth rings, a palm is basically a column that sucks water from the roots to its sprouting crown via a series of drinking-strawlike tubes. The palm trees of this oasis feed on water from the San Andreas Fault line.

© 2017 Louise Levergneux, Thousand Palms Oasis, the skirt of dried leaves hanging down the trunk of the native California fan palm is more than a fashion statement; it’s a home to animals who help the palm propagate

To experience the magnificence of the Preserve, one can trek a two-mile round trip that takes you through a palm oasis, across the fault zone, through a desert wash to the McCallum Oasis, one of the largest groves of desert fan palms in California.

We were enjoying the trek, our boots filling up with desert sand. I stepped on a tiny rock twisted my ankle and my face hit the ground. Argh!

Remember the two-mile round trip, we still had the one mile back to the parking. Yeow!

© 2017 Louise Levergneux, Thousand Palms Oasis, all these photos were shot before the fatal kiss the dirt act

Charles Hobson created a marvelous limited edition artists’ book entitled Trees and it includes a poem by W. S. Merwin. Merwin’s poem is soft and contemplative and conveys a sense of quiet awe as he looked into trees from a mysterious time and place.

© 2010 Charles Hobson, Trees, an edition of thirty copies

When the book is opened, one can read the poem by standing up the first pages and using it to prop each page against it as the pages are turned.

The small tree in the opening at the front of the book is used to suggest the beginning of a recollection of trees in some distant, remembered time, following one of the threads of the poem.

When "accordion’d-out" the book offers a succession of palm trees that can be positioned on different sides of the standing pages, giving a front and back view of the same image. A large architectural model palm tree sits in the window cut in the last panel which is backed by a transparent image of the night sky.

© 2010 Charles Hobson, Trees, 16 pages, 4-1/4 x 12 x 2 inches — © 2010 Charles Hobson, Trees, 16 pages, 4-1/4 x 12 x 2 inches

The monotypes of palm trees are reproduced as high-resolution digital prints on transparency film. The monotypes lay over the words of the poem, which have been set letterpress to follow the shape of the palm tree trunks – the words of the poem climbing the trees.

When one shines the flashlight on the tree and through the opening at the back of the book, the light projects mysterious shadows of trees against the luminous night sky.

The book can be oriented in several ways, much as the poem offers subtly varied interpretations. Setting it on its side presents the type reading from left to right (rather than up and down), but results in the trees having fallen.

A stop action animation about the making of Trees with Charles Hobson and Alice Shaw.

You never know what will inspire you and where you will find amazing, superlative ideas.

Marfa, Texas

January 29, 2018

We said goodbye to Austin—for now—and visited the city of Marfa recommended by Craig Jensen before leaving the State of Texas.

Marfa, known as a place of creative exploration, is a must see in your lifetime. A small city in the high desert of the Trans-Pecos, near the Davis Mountains and Big Bend National Park is captivating and eccentric.

Marfa, is a good choice, whether you enjoy history, want to tour the coolest homes, need to get away, or view the mysterious orbs known as the “Marfa Lights.” You can find your groove here. Maybe you could live here.

In 1971, Minimalist artist Donald Judd moved to Marfa from New York City. After renting summer houses for a few years, he bought two large hangars and some smaller buildings and began to create his art. The buildings in Marfa allowed him to work on a larger scale. In 1976, he bought the first of two ranches that became his primary places of residence, continuing a long love affair with the desert landscape.

© 2017 Louise Levergneux, building that houses Judd's work, The Chinati Foundation, Marfa — © 2017 Louise Levergneux, building that houses Judd's work, The Chinati Foundation, Marfa

In 1979, with assistance from the Dia Art Foundation in New York, Judd acquired decommissioned Fort D. A. Russell and transformed the fort's buildings into art spaces.

Since Judd's death in 1994, two foundations have worked to maintain his legacy: the Chinati Foundation and Judd Foundation.

In recent years, a new wave of artists has moved to Marfa to live and work. As a result, new gallery spaces have opened in the downtown area.

The Crowley Theater hosts public events to nonprofit foundations.

© 2017 Louise Levergneux, The Crowley Theatre, Marfa — © 2017 Louise Levergneux, The Crowley Theatre, Marfa

The multifunctional art space Ballroom Marfa shows art films, hosts exhibits, and musical performances. Marfa Myths, was founded in 2014 by nonprofit contemporary arts foundation Ballroom Marfa and Brooklyn-based music label Mexican Summer. The festival brings together a diversity of emerging and established artists and musicians to work creatively and collaboratively across music, film, and visual arts contexts.

Furthermore, Building 98, is a project of the International Woman's Foundation, which has operated an artist-in-residency program since 2002.

As you can see there are lots to see in Marfa, unless you arrive on a Sunday and leave on Tuesday morning and all these wonderful art organizations are closed on Monday.

We stayed at the Tumble Inn RV Park east of Marfa. I photographed an installation that seemed to appear out of nowhere glowing in the twilight. I got up early the next morning to photograph the same installation at the rose-pink light of dawn. It was bloody cold, well below 50 F/10 C.

© 2017 Louise Levergneux, our little T@B trailer at the Tumble Inn RV Park, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at twilight, Marfa — © 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at twilight, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park after dark, changing colours as we walked around, Marfa — © 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park after dark, changing colours as we walked around, Marfa

Do you know this public art? If so please let me know, I enjoyed this piece and would love to find out who the artist is!

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at dawn, Marfa — © 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at dawn, Marfa

The trip does not end once you leave the town limits. 10 miles/17 km west on the Ryan Ranch you will see the skeleton of the mansion from the movie Giant filmed in 1956.

Keep your eyes peeled! 37 miles/60 km past the city you will encounter the pop art exhibit entitled Prada Marfa.

© 2017 Louise Levergneux, The Ryan Ranch, look closely on the very left of the buildings and trees is the skeleton of the set of the film Giant

Great visit—too cold to stay! We went to California for warmer weather!

Book Arts Collection in Texas

January 21, 2018

As I travel, my on-going goal is to promote my artists' books. After a few emails to book arts collections in Texas, I scheduled two appointments.

My first rendez-vous was with Shā Towers, Curator of the Book Arts Collection, Art Liaison Librarian, and Associate Director of the Central Libraries at Baylor University. Since 2007, the artists’ book collection of The Crouch Fine Arts Library has grown to over 800 works representing many artists and presses. The collection functions as a teaching collection for both studio artists working in the medium and various disciplines outside the arts. The collection includes a wide-ranging representation of everything from single-page constructions, complex forms, sculptural book-works, fine press, letterpress, photography, handmade papers, textiles, collaborative works, and more.

© 2017 Louise Levergneux, the Jesse H Jones Library, one of the central libraries at Baylor University in Waco, Texas

© 2017 Louise Levergneux, the Jesse H Jones Library entrance to a very friendly staff

I arrived in Waco, had a pleasant visit and exchange on the Library collection with Shā. Following my artists' books presentation, I left re-energized. It’s nice to talk with someone who has an understanding, interest and creates artists' books.

I'm thrilled to say my artists’ books: Conversation, Decades Apart, Traverse, the Texas and New Mexico volumes of City Shields, are now part of the Crouch Fine Arts Library.

© 2006 Louise Levergneux, City Shields, New Mexico volume

© 2017 Louise Levergneux, door in downtown Waco, Texas

My second consultation was with Rebecca Pad, Humanities Liaison Librarian for the Fine Arts Library at the University of Texas.

© 2017 Louise Levergneux, Oak trees around the Doty Fine Arts Building

Examples of Artists' Books can be found in Libraries and Art Collections across the University campus. The artists' books in these collections contain illustrations by artists, livres d'artistes, multiple-copied and inexpensive produced booklets, limited-edition, and handcrafted books.

Rebecca Pad, three other colleagues and I sat and reviewed my books. I took pleasure in seeing my ideas and concepts experienced with amusement. I’m fond of bringing a smile to the reader, part of my artistic statement and philosophy behind my work.

At the end of our session, the Fine Arts Library acquired Ambivalence, a flip book from the Outside of the Studio series entitled Earth.20 and my last published book Shadow Me.

© 2012 Louise Levergneux, Earth.20 from the Outside the Studio Series

Shadow Me is a documentary that exemplifies solitary moments after the loss of unconditional love of a devoted companion. Rebecca was touched by this book, I’m glad it's now part of the collection.

In the past, I wasn’t keen on talking about my work, but Texans have a way of welcoming you, what can I say Y'all made me feel at home!

The Harry Ransom Center

January 14, 2018

The structure of the Harry Ransom Center building is alluring. My camera came out of my bag and I began shooting. I wanted to take photos of the etched glass images of the first-floor plazas—trying to recognize the images became a game!

© 2017 Louise Levergneux, right plaza etched glass of the Harry Ransom Center, *Gloria Swanson, Edward Steichen, 1924*

© 2017 Louise Levergneux, left plaza etched glass of the Harry Ransom Center, Austin, Storyboard from Gone with the Wind, 1939 — © 2017 Louise Levergneux, left plaza etched glass of the Harry Ransom Center, Austin, *Storyboard from Gone with the Wind, 1939*

© 2017 Louise Levergneux, right plaza etched glass of the Harry Ransom Center, Austin, Horse in Motion, Eadweard Muybridge, ca 1886 — © 2017 Louise Levergneux, right plaza etched glass of the Harry Ransom Center, Austin, *Horse in Motion,* *Eadweard Muybridge, ca 1886*

Olivia Primanis invited me to a second French lunch. I enjoyed dialoguing thoughts and ideas in my native tongue. French conversations stimulate a different rapport. This get-together gave me the chance to visit the Conservation Departments of the Harry Ransom Center.

© 2017 Louise Levergneux, we started with the Book Conservation Lab where we met the week before for my presentation of my artists’ books

© 2017 Louise Levergneux, Olivia Primanis working at her station in the Book Conservation Lab

Then we stepped into the Paper Conservation Lab where this year’s intern Kimberly Kwan was working. I met Ken Grant, Head of Paper Lab, Preservation and Conservation and Jane Boyd, Conservator of the Paper Lab.

© 2017 Louise Levergneux, Kimberly Kwan and Jane Boyd in the Paper Conservation Lab

© 2017 Louise Levergneux, Ken Grant and Kimberly Kwan in the Paper Conservation Lab

The third lab was the Photograph Conservation, I found it interesting to see the equipment used by the staff to accomplish assignments.

© 2017 Louise Levergneux, Photograph Conservation Lab

Last, but not least, I visited the Preservation Lab, where I was introduced to the different collections that are maintained and kept. Genevieve Pierce, Preservation Technician, was informative and knowledgeable.

© 2017 Louise Levergneux, Genevieve Pierce in the Preservation Lab working on boxes for a specific collection

© 2017 Louise Levergneux, the other side of the Preservation Lab

This was a great exploration, I’m looking forward to perusing the Books Arts Collection in depth next year.

© 2017 Louise Levergneux, my last gaze at the Harry Ransom Center before leaving Austin

© 2017 Louise Levergneux, The Harry Ransom Center

Austin, Texas

January 8, 2018

I visited the Harry Ransom Center at The University of Texas in Austin, twice during my séjour. The structure captivated my attention from the outside in with its two inside plazas etched in glass with images of the collections.

© 2017 Louise Levergneux, The Harry Ransom Center, Picasso's Eyes, David Douglas Duncan, 1957; silhouette of Oliver Twist, Sir Francis Carruthers Gould, 1890s; Rooster device, Golden Cockerel Press, ca 1923; Horse in Motion, Eadweard Myubridge, ca 1… — © 2017 Louise Levergneux, The Harry Ransom Center, Picasso's Eyes, David Douglas Duncan, 1957; silhouette of Oliver Twist, Sir Francis Carruthers Gould, 1890s; Rooster device, Golden Cockerel Press, ca 1923; Horse in Motion, Eadweard Myubridge, ca 1886

Front facade, first and second floors of the Center were re-designed and completed in 2003 under the direction of the San Antonio architects Lake/Flato. Abundant Texas light reflects architecturally the two-fold vision of the Ransom Center.

The mission of the Center encourages discovery, inspires creativity, and advances understanding of the humanities for a broad and diverse audience through the preservation and sharing of its extraordinary collections.

Enjoy an insider's glimpse into the Ransom Center. This 10-minute video provides a broad overview of collections, scholarship, conservation, exhibitions, and programs. Curators, students, members, and conservators discuss their work and how the Center shares and celebrates the creative process.

I received a wonderful Texan welcome by Olivia Primanis, Senior Conservator for the Ransom Center. Olivia was approachable and a gentle soul.

Olivia directed me to visit the artists’ books repository part of the Art Collection. To get access to the artists’ books one can open a research “Aeon" account then go to the reading room and page your chosen artists’ books for an original research or specialized study.

The Harry Ransom Website Collections page

© 2017 Olivia Primanis, a sample of the Book Arts database with thumbnail images online

It was a pleasure to do a “show and tell” session by sharing my process and books with Olivia and her co-workers; Ellen Cunningham, Associate Director for Preservation and Conservation, Dana Kull, a volunteer, Kimberly Kwan an intern for the paper lab, and Mary Baughman from the Austin Book Arts Center who also joined us.

After a wonderful hour, Olivia invited me to join her for French lunch. Olivia and other colleagues meet every Tuesday for lunch and speak only French for an hour. I did not realize I would speak French in Austin!

Cela était chouette d'être demandée !

Merci, Olivia pour une visite fantastique ! À la prochaine.

San Marcos, Texas

December 31, 2017

Sometimes, you find yourself in the right place at the right time. When I visited the Austin Book Arts Center a few weeks back, I did not know what wonderful opportunities would be presented to me. Some doors are worth opening!

I had the good fortune of meeting Craig Jensen a fine master craftsman. Craig produces custom designed housings and fine limited edition bindings. He executes bindings for some of the best-known libraries and private presses in the world.

It was an inspiring mid-day visit at Craig’s home and studio, BookLab II in San Marcos, Texas.

On arrival, a friendly four-legged muse—whose mission is to greet people—welcomed us with a smile. Most studios have a muse, a force who is the source of positive feelings in our space.

© 2017 Louise Levergneux, Craig Jensen's muse playing the "are they leaving so soon look"

Craig was generous with his time and shared his work stories and process in a natural open show and tell session. In front of his library filled with bindings and casing he has created, I was like a child in a candy store.

What would you like to see? Craig asked.

I thought any book will do, there was so much to choose from. Craig picked the first one, this book was the one Craig called the most technically difficult piece he had ever bound. Gaylord Schanilec's Lac des Pleurs, a study of the 22-mile length of the upper Mississippi River known as Lake Pepin, near Schanilec’s home in Stockholm, Wisconsin.

© 2017 Louise Levergneux, Craig Jensen talking about the process of binding Lac des Pleurs

© 2017 Louise Levergneux, Lac des Pleurs with full map open

© 2017 Louise Levergneux, Lac des Pleurs — © 2017 Louise Levergneux, Lac des Pleurs

On the many shelves of bindings a box covered in black Italian Canapetta lined with red rowlux caught my attention. Booklab II teamed up with Moving Parts Press to create the book DOC/UNDOC part of a grandiose collaboration between Guillermo Gómez-Peña and book artist Felicia Rice who created a work that stimulates all the senses.

© 2017 Louise Levergneux, a page of DOC/UNDOC

© 2017 Louise Levergneux, next, Craig displayed James Siena's book entitled Sequence One.

After a couple of hours, we went out for a healthy meal and lots of conversation.

Craig’s career began in 1977 when he was appointed Library Conservator for the Harold B. Lee Library at Brigham Young University in Provo, Utah. In, 1977-78 Craig interned at The Library of Congress Restoration Office under the keen direction of Peter Waters and Don Etherington to eventually become a bench conservator and bookbinder at The Library of Congress. In 1981, Don Etherington recruited Craig to serve as the Head of Book Conservation at the Harry Ransom Humanities Research Center Conservation Department at the University of Texas in Austin.

In 1984, Craig established the Jensen Bindery, for book conservation and box making, then focused on limited edition binding. Craig worked for Acme Bookbinding as Vice President of Imaging for a number of years then returned to the concept of a small book bindery, reestablishing a workshop, BookLab II, in 2003. After spending some time exchanging ideas and opinions with Craig, you can understand why he received the Lifetime Achievement Award from The Guild of Book Workers in 2011.

Here Craig is featured in the Oxford American: SoLost video series filmed by photographer and videographer Dave Anderson.

Craig Jensen demonstrates rounding and backing, techniques used in hand bookbinding with Olivia Primanis at the Conservation Department book lab of the Ransom Center, University of Texas, in 2009.

Guess who I met immediately afterwards—next week!

Tu dois juste ouvrir ton esprit à la rencontre de nouvelles expériences !

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Hello, my name is Louise Levergneux, I’m a book maker. This blog is where I share and reflect on the approaches and structures used in my creative process, artists' books, photography. and more...

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