College Book Art Association2012 Bay Area ConferenceTime, Sequence and Technology:Book Art in the 21st Century

College Book Art Association2012 Bay Area ConferenceTime, Sequence and TechnologyBook Art in the 21st Century

TableofContents#

PPage 6 Mission

PPage 7 Officers and Board of Directors

PPage 8 Welcome

PPage 9 Acknowledgements

PPage 11 Supporters, Donors and Benefactors; Vendors

PPage 12 Members Exhibition

PPage 13 Schedule at a Glance

PPage 16 Panel Sessions

Page 18+22 Demonstrations

P Page 19 Roundtables

P` Page 29 Keynote Speakers

PPage 30 Descriptions of Events

PPage 34 CBAA Committees

PPage 38+39 Maps

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Founded in 2008, The College Book

Art Association supports and promotes

academic book arts education by fostering

the development of its practice, teaching,

scholarship and criticism. The College Book

Art Association is a non-profit organization

fundamentally committed to the teaching

of book arts at the college and university

level, while supporting such education at all

levels, concerned with both the practice and

the analysis of the medium. It welcomes as

members everyone involved in such teaching

and all others who have similar goals and

interests. The association aims to engage in

a continuing reappraisal of the nature and

meaning of the teaching of book arts. The

association shall from time to time engage

in other charitable activities as determined

by the Board of Directors to be appropriate.

Membership in the association shall be

extended to all persons interested in book

arts education or in the furtherance of these

arts. For purposes of this constitution, the

geographical area covered by the organization

shall include, but is not limited to all residents

of North America.

A BACCOLLEGE ASSOCIATIONBOOK ART

A BACCOLLEGE ASSOCIATIONBOOK ART

A BACCOLLEGE ASSOCIATIONBOOK ART

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CBAA OfficersandBoardofDirectors2011

Officers

PRESIDENT

Richard Zauft, Emerson College, 2011–2014

EXECUTIVE VICE PRESIDENT

Julia Leonard, University of Iowa, 2011–2014

VICE PRESIDENT FOR MEMBERSHIP

Robert Blesse, University of Nevada, Reno, 2011–2013

VICE PRESIDENT FOR PROGRAMMING

Philip Zimmermann, University of Arizona, 2010–2013

SECRETARY

Lisa Beth Robinson, East Carolina University, 2011–2013

TREASURER

Sarah Hulsey, University of the Arts, 2011–2013

Board of Directors

Robert Blesse, University of Nevada–Reno, 2011–2014

Julie Chen, Mills College, 2009–2012

Sarah Hulsey, University of the Arts, 2010–2013

Julia Leonard, University of Iowa, 2011–2014

Cynthia Marsh, Austin Peay University, 2011–2014

Kitty Maryatt, Scripps College, 2011–2014

Bonnie O’Connell, University of Nebraska, Omaha, 2010–2013

Marnie Powers-Torrey, University of Utah, 2009–2012

Harry Reese, University of California, Santa Barbara, 2010–2013

John Risseeuw, Arizona State University, 2011–2014

Lisa Beth Robinson, East Carolina State University, 2010–2013

Michelle Strizever, University of Pennsylvania, 2010–2013 (student member)

Cynthia Thompson, Memphis College of Art, 2011–2014

Kathleen Walkup, Mills College, 2011–2014

Tony White, Indiana University, 2011–2014

Laurie Whitehill-Chong, Rhode Island School of Design, 2010–2013

Steve Woodall, Columbia College Chicago, 2011–2014

Richard Zauft, Emerson College, 2011–2014

Philip Zimmermann, University of Arizona, 2010–13

Former Directors

Betty Bright, Independent Book Scholar

Betsy Davids, California College of the Arts

Katy Govan, Student Member, University of Nevada, Reno

Charles Hobson, San Francisco Art Institute

Clifton Meador, Columbia College Chicago

Steve Miller, University of Alabama

Ruth Rogers, Wellesley College

Barbara Tetenbaum, Oregon College of Art and Craft

Karen Wirth, Minneapolis College of Art

UPCOMING CBAA MEETING AND CONFERENCE SITES:

January 4 and 5, 2013: General Meeting, Yale University, New Haven, Conneticut Jae Rossman, Event Chair.

January 9, 10 and 11, 2014: National Conference, University of Utah, Salt Lake City, Utah (tentative) Marnie Powers-Torrey, Event Chair.

January 9 and 10, 2015: General Meeting, Scripps College, Claremont, California (tentative) Kitty Maryatt, Event Chair.

Hope to see you there!

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WELCOME

From the President

Welcome to the College Book Art Association’s third biennial

conference. The CBAA was established to help educators, artists,

curators, librarians, and collectors attain greater professional

engagement and career recognition. In the last four years we

have taken significant steps in this direction by establishing

professional research grants, travel grants, exhibition

opportunities and awards, and career recognition awards for our

members. The newsletter keeps you informed about important

developments throughout the year. Our new scholarly journal

explores pedagogical, theoretical, and critical issues in the book

art field. The revamped web site lists job opportunities, shares

educational materials, and now showcases the work of students,

educators and programs. Our conference, however, is the most

important opportunity for all of us to learn from each other. With

over 60 events including presentations, panel discussions, tours,

portfolio sessions, an exhibition, and a members showcase, there

are many ways to learn, get involved, and meet new people.

Your attendance and participation is what makes this conference

so worthwhile. I thank Julie Chen and Macy Chadwick, our

conference co-Chairs, the Meetings and Programs Committee,

and the Board of Directors for putting together a fabulous

conference in the San Francisco Bay Area. I look forward to

working with all of you as the CBAA continues to grow and serve

your professional interests.

— Richard Zauft

From the 2012 Conference Co-Chairs

As the local conference hosts, we would like to welcome you

to the San Francisco Bay Area CBAA conference. We hope that

you will have a chance to take one of the book art tours, or do a

little sightseeing on your own. The Bay Area has much to offer

the book art enthusiast, from galleries and print shops to large

museums and wonderful dining opportunities, on both sides of

the bay. We will begin the conference in the heart of downtown

San Francisco with the reception for BiblioTech, the members

exhibition, at the main branch of the San Francisco Public Library

on Thursday evening, before moving on to the beautiful campus

of Mills College for the first full day of conference events on

Friday. The second day of events on Saturday will take place at

the Hilton Garden Inn, culminating in a banquet and live auction

in the Top of the Bay room, which offers fantastic views of the

bay and the East Bay hills. We have included a vast array of

exciting presentations and events on each day of the conference,

and hope that the only difficulty you may face during your time

here is deciding which presentation to choose to attend at any

given moment. There will be volunteers, identifiable by their

red conference aprons, available at all times to answer any

questions you may have, and to help direct you to the locations

of various events. The many members of the conference planning

committees have all put in countless hours to ensure the success

of this conference and we are very proud of the results. Our aim

is to showcase the vast talent among our membership, to provide

ample opportunities for community networking and to strengthen

our communal commitment to both our organization and our

field. We hope that your conference experience will be both

edifying and inspirational.

— Julie Chen & Macy Chadwick

Co-Chairs for the 2012 CBAA Conference

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Programs Committee Julie Chen, Chair Kathleen Walkup Kat Howard Kiala Givehand Lyall Harris, auction coordinator Linda Smith, auction coordinator

Local Arrangements CommitteeJanice Braun, Chair Lara Durback John DeMerrittSimran Thadani

Exhibition Committee Macy Chadwick, Chair Jennie Hinchcliff Casey Gardner Michael Henninger

Exhibition Jurors Emily McVarish Ruth Rogers

Webmaster Kiala Givehand

Graphic Design Karen Zimmermann Robert E. Wilson

Postcard Printing Clifton Meador

Volunteer Coordinator Lara Durback

Mills Book Art and Creative Writing Graduate StudentVolunteersRob Borges Emji Spero Kat Howard Kate Robinson

Student Volunteers Anna Boyer Monique Belitz Juliana Bradley Jacqueline Burciaga Emmalee Carroll Diana Erb Nicole Harrison Alyssa Ilves Kristin Libero Robin Lysne Jess Marks-Gale Lupe Martinez Mary McManus Erin MorrisFrances Osugi Leia Reedjik Mandie Rider Steph Rue Estee Schwartz Timmy Smith Hannah WaldschmidtKelly Wahlstrom Robert E. Wilson

Member Volunteers Jody Arthur Julia Bick Luz Marina Ruiz Matt Runkle Mary Tasillo

Portfolio Review Coordinator Kitty Maryatt

Portfolio ReviewersClifton Meador Julia Leonard Karen Wirth John Risseeuw Harry ReeseSteve MillerSusan Viguers Inge Bruggeman Mary Phelan Barb Tetenbaum

Members Showcase Coordinator Lisa Beth Robinson

Conference Blogger Michelle Wilson

Auctioneer for Live Auction George Fox

Additional Advising and Support Bob Blesse Jeff Groves Charles Hobson Antonia Nelson Kathleen Walkup Philip Zimmermann

Bay Area Book Arts Educators Advisory GroupCharles Hobson Kathleen Walkup Nance O’Banion Chris Rolik Betsy Davids Michael Henninger Macy Chadwick Julie Chen Karen Sjoholm

Development Committee Ethan Henderson Ruth Rogers Harry Reese Steve Woodall Charles Hobson Richard Zauft Tony White

ACKNOWLEDGEMENTSJulie Chen and Macy Chadwick, the Co-Chairs of the 2012 conference, would like to thank the following people for dedicating countless hours towards making this the best conference ever!

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SUPPORTERS, DONORS AND BENEFACTORS CBAA would like to thank the following donors for their generous support of the 2012 CBAA conference.

Benefactor $2000+ Hobson Family Foundation

Duke Collier

Patron $1000 Book Club of California

Paul Hobbs Winery

Mills College Center for the Book

Sponsor $500 Vamp and Tramp Booksellers

Arch Drafting Supplies

Center for Book and Paper Arts, Columbia College Chicago

Oregon College of Art and Craft

Rare Book School, University of Virginia

JAB (Journal of Artists Books)

Corcoran College of Art + Design

Kent Rasmussen Winery

Supporter $250 Flax Art & Design

Priscilla Juvelis—Rare Books

University of Iowa Center for the Book

Equator Coffee

Electric Works

With additional support from Moe’s Books

Mills College MFA program in Book Art and Creative Writing

VENDORS

Colophon Book Arts Supply

http://www.colophonbookarts.com/

McClain’s Printmaking Supplies

http://www.imcclains.com/

Hiromi Paper

http://store.hiromipaper.com/

M & H Type

http://www.arionpress.com/mandh/

Boxcar Press

http://www.boxcarpress.com/

SUPPORT THE FUTURE OF THE CBAAAs act ive member s in the CBA A you enjoy many benef its that enr ich

and help your career s. Conference at tendance and par t ic ipat ion,

the newsletter, the journal, fellowships, travel grant awards,

pedagogical resources, and the oppor tunity to show your work in

exhibit ions are among the member benef its. As a not-for-prof it

organizat ion, your member ship fees help suppor t these act iv it ies.

As the CBA A grows, we want to be able to expand this suppor t.

Among the top pr ior it ies for the organizat ion are increased travel

grants for all member s, fellowship and internship oppor tunit ies,

and greater suppor t for research and projects. If you, your family,

your employer, or an organizat ion you know might be interested

in explor ing the many dif ferent ways of direct or in-kind suppor t

for the CBA A and its goals, please contact any of the CBA A

Development Committee member s:

Ethan Hendersen, ethanahenderson@gmail.com

Harry Reese, reese@arts.ucsb.edu

Ruth Rogers, rrogers@wellesley.edu

Tony White, antmwhit@indiana.edu

Steve Woodall, swoodall@colum.edu

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BiblioTech CBAA Members Exhibition

Openingreception

Thursday, January 5, 2012

5:30-7:30 pm

SanFranciscoPublicLibrary,6thFloor,SkylightGallery

100 Larkin St.

San Francisco, CA 94102

Exhibition dates: January 5-March 11, 2012

BiblioTech is a juried exhibition featuring the broad range of technology in artists’ books, including handbound books, letterpress printed books and broadsides, digitally printed books, video, and works that combine old and new technologies in innovative ways. This show was juried by Ruth Rogers and Emily McVarish.

Artists included in the exhibition are: Matthew L. Aron, Jennifer Baker, Natalie Baldeon, Jessica Barness, Amelia Bird, Amaranth Borsuk & Brad Bouse, Elizabeth Boyne, Inge Bruggeman, Ruth Bryant, Michele Burgess, C & C Press (Matthew Cohen, Sher Zabaszkiewicz), Karen Carcia, Rebecca Chamlee, Rebecca Childers, Corcoran College of Art and Design Marginalia Press (Elizabeth Curren, Alessandra Echeverri, Amy Gonzales, Kristín Guðbrandsdóttir, Stephanie Hess, Camden M. Richards, Elizabeth Schendel and Lynette Spencer), Casey Gardner, Kendra Greene, Kristin Guðbrandsdóttir, Leilei Guo, Katie Harper, Lyall Harris, Gretchen E. Henderson, Rachel Hillberg, Charles Hobson, Sarah Hulsey, Paola Horevicz Hurtado, Sun Young Kang, Tatana Kellner, Janet Lasher, Amy LeePard, Kitty Maryatt with her students at Scripps College Press (Cat Dennis, Jeffrey Kang, Emily Friedman, Pilar Schmidt, Emily Chang, Catherine Parker Sweatt, Alexis Chuck, LeeAnn Allen, Caroline Anderson, Jeffrey Kang, Jane Kassavin, Theodore Lemann, Megan Pritchett, Aerienne Russell, Sky, Stephanie Stein, Alexandra Talleur, Liz Tyson, John Wick), Lisa Matthias, Marie McInerney, United Catalysts(Kimberly Garrison + Steve Radosevitch), Rachel Melis, Daniel Mellis, David Morrish, Bea Nettles, Bonnie O’Connell, Amy Pirkle + Bill Hall, Leia Reedijk, Harry Reese and Sandra Liddell Reese, Katya Reka, Laura Russell, Robbin Ami Silverberg, Jana Sim, Barbara Tetenbaum & Julie Chen, Peter and Donna Thomas, Tricia Treacy & Ashley John Pigford, Elsi Vassdal-Ellis, Michelle Wilson, Marilyn Zornado

Image credits (L-R): Daniel Mellis, History of Light; Robbin Ami Silverberg, Rondo; Michelle Wilson, Chacaltaya

CBAA2012 SCHEDULE AT A GLANCE

Thursday:VariousLocationss 9:00–NOON Board Meeting Placer Room

12:00–5:00 pm Registration + Auction Intake Hilton Lobby

1:00–4:00 pm Optional Bus Tours Buses Leave From Hilton

3:00–5:00 pm Portfolio Review Session 1 Board Room and Placer Room, Hilton

5:30–7:30 pm Reception for Members Exhibition San Francisco Public Library, Skylight Gallery

7:30 –9:00 pm After Party Electric Works, 130 8th street, San Francisco

8:30 pm onward Dinner On Your Own

Friday:MillsCollegee AM 7:30-8:00 Buses to Mills Buses Leave From Hilton

7:45-11:30 Registration + Auction Intake Student Union, Rothwell Center

7:45-8:45 Morning Coffee Student Union, Rothwell Center

7:45-5:30 Vendors Fair Student Union Lounge, Rothwell Center

9:00-9:30 Opening Remarks Littlefield Concert Hall

9:30-11:00 Keynote Address; Q & A Littlefield Concert Hall

11:00-11:30 Coffee Break Student Union, Rothwell Center

11:30- 1:00 PANEL SESSION A (See pages 16–18)

Lokey Graduate School of Business (GSB)

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CBAA2012 SCHEDULE AT A GLANCE

Thursday:VariousLocationss 9:00–NOON Board Meeting Placer Room

12:00–5:00 pm Registration + Auction Intake Hilton Lobby

1:00–4:00 pm Optional Bus Tours Buses Leave From Hilton

3:00–5:00 pm Portfolio Review Session 1 Board Room and Placer Room, Hilton

5:30–7:30 pm Reception for Members Exhibition San Francisco Public Library, Skylight Gallery

7:30 –9:00 pm After Party Electric Works, 130 8th street, San Francisco

8:30 pm onward Dinner On Your Own

Friday:MillsCollegee AM 7:30-8:00 Buses to Mills Buses Leave From Hilton

7:45-11:30 Registration + Auction Intake Student Union, Rothwell Center

7:45-8:45 Morning Coffee Student Union, Rothwell Center

7:45-5:30 Vendors Fair Student Union Lounge, Rothwell Center

9:00-9:30 Opening Remarks Littlefield Concert Hall

9:30-11:00 Keynote Address; Q & A Littlefield Concert Hall

11:00-11:30 Coffee Break Student Union, Rothwell Center

11:30- 1:00 PANEL SESSION A (See pages 16–18)

Lokey Graduate School of Business (GSB)

FridayContinuede

PM 1:00-1:30 LUNCH (box lunch) Tea Shop, Rothwell Center

1:30-3:00 Vendors Fair Student Union Lounge, Rothwell Center

Round Table A: Curators and Collectors

(See page 19) Heller Room, F.W. Olin Library

Round Table B: Teaching Beyond Craft

(See page 19) Student Union, Rothwell Center

Round Table C: Graduate Student Discussion

(See page 20) GSB 109

Demonstrations 1 (See pages 18–19) CPM, Book Art Studio

Student Portfolio Review Session 2 GSB 110 and 124

3:00-4:30 PANEL SESSION B (See pages 20–22) Lokey Graduate School of Business (GSB)

3:00-4:00 Demonstrations 2 (See pages 22–23) CPM Book Art Studios

4:30-5:00 Afternoon Snack Student Union, Rothwell Center

5:00-6:30 Annual Meeting + Awards Ceremony Littlefield Concert Hall

6:30-8:00 Reception Student Union, Rothwell Center

7:30-8:30 Buses Back To Hotel Leaves from curb in front of F.W. Olin Library

8:00 pm Dinner On Your Own

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CBAA2012SCHEDULE AT A GLANCE

Saturday:HiltonGardenInnn AM 7:30–9:30 Morning Coffee Dock of the Bay Foyer

8:00–9:30 Registration and Auction Intake Hilton Lobby

8:00–9:00 COMMITTEE MEETINGS I Dock of the Bay

—Meetings and Programs Committee

Dock of the Bay Platinum

—Steering Committee Dock of the Bay Copper

—Communications Committee Dock of the Bay Sliver

—Development Committee Dock of the Bay Gold

9:30–11:00 PANEL SESSION C (See pages 23-25) Dock of the Bay, Placer Room

11:15–12:45pm PANEL SESSION D (See pages 25-27)

Dock of the Bay

PM 12:45–1:15 LUNCH (box lunch) Dock of the Bay Foyer

1:15–3:30 Members Showcase Top Of The Bay

1:30–6:30 Silent Auction Placer Room

2:00–3:30 Student Portfolio Review Session 3 Board Room and Dock of the Bay

3:30–4:00 Afternoon Snack Dock of the Bay Foyer

4:00–5:30 PANEL SESSION E (See pages 27-29) Dock of the Bay

PM 5:30–6:30 COMMITTEE MEETINGS II

Dock of the Bay

—Awards Committee Dock of the Bay Platinum

—Membership Committee Dock of the Bay Copper

—Publications Committee Dock of the Bay Silver

—Editorial Board Dock of the Bay Gold

5:30–11:00 No Host Bar Top of the Bay Foyer

7:00–10:00 Banquet & Live Auction Top of the Bay

10:00–midnight After Party Top of the Bay

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PANELSESSIONS FRIDAY, JANUARY 6, 2012

All panel sessions on Friday, Jan 6th will take place in the

Lokey Graduate School of Business (GSB), Mills College.

11:30–1:00pm SESSIONAA

GSB 117 | MILLS COLLEGE A1 TIME AND SEQUENCE IN ARTISTS’ BOOKSModerator: Judy Harvey SahakSally Preston Swan Librarian for Denison Library, Scripps College

Sequence and Rhythm in Artists’ BooksSusan ViguersDirector MFA Book Arts/Printmaking, The University of the Arts, Philadelphia

A defining quality of artists’ books is that they are time-based and sequential. This paper explores those characteristics through the lens of narratology.

Duration, Sequence, and Structure Aaron CohickNewLights Press and Printer of the Press, Colorado College

Kyle SchlesingerCuneiform Press and Assistant Professor of Communication Design & English, University of Houston—Victoria

Taking our cue from Henri Bergson’s theory of duration articulated in Matter and Memory, this collaborative presentation will explore sequence and structure in several artists’ books.

Capturing Memory: Artists’ Books and TimeSandra KroupaSpecial Collections, University of Washington Libraries, Seattle

This paper examines how time is portrayed in selected and markedly different artists’ books: textually, visually, and structurally with each having a distinct way of representing time.

GSB 125 | MILLS COLLEGE A2 RE-SEQUENCING EXPECTATIONS: COMBINING NEW AND OLD BOOKTECHNOLOGIES IN PEDAGOGY AND PRACTICEModerator: Scott K. MurphyAssistant Professor of Art College of St. Benedict and St. John’s University, St. Joseph and Collegeville, Minnesota

The Digital-Analog Divide: A Sequence of Complementary or Competitive Components? Scott K. Murphy Assistant Professor of Art College of St. Benedict and St. John’s University, St. Joseph and Collegeville, Minnesota

Where do artists’ books fit in the twenty-first century when the book is being revolutionized by digital technology, on-demand printing, and virtual dissemination?

The Book as an Entry into Teaching Design: Using Sequence, Narrative, and Time to Teach 2D/4D DesignElaine RutherfordAssociate Professor of Art, College of St. Benedict and St. John’s University, St. Joseph and Collegeville, Minnesota

Considering the book as a concept occurring in physical or virtual space creates opportunities for dialogue surrounding questions of narrative, scale, body, proximity, and presence.

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Ganging Up: Mixing Digital Designs, Historical Precedents, Polymer Plates, and Collaborative Methods to Teach Students How to Make the Most of Their Experiences, Prints, and BooksRachel MelisAssistant Professor of Art College of St. Benedict and St. John’s University, St. Joseph and Collegeville, Minnesota

This printed-book project causes students to sample a quantity of combinations—digital/analog technologies, historical/contemporary aesthetics, artistic/community collaborations—and teaches them to ask quality questions.

GSB 118 | MILLS COLLEGE A3 ELECTRONIC INNOVATIONS IN THE ARTIST’S BOOKModerator: Brad FreemanColumbia College Chicago; Editor, JAB – The Journal of Artists’ Books

The Shell: Incorporating Sound-Art Practices within Book ArtIsobel AndersonThe Sonic Arts Research Centre, Queen’s University, Belfast

This paper argues that the combination of sonic-arts practices with book art creates an engaging means of expressing and sharing language and text.

What is a Digital Artist’s Book Anyway?Alexander MoutonAssistant Professor of Digital Art and Design, Seattle University

Where do the innovative possibilities lie within the promise of a digital artist’s book? What might a digital book look like and how might it behave?

In a Shifting LandscapeMegan BernerArtist, University of Nevada, Reno

In a Shifting Landscape, a collaborative work, explores connections between geographic locations through the intersection of sound and image in book and video form.

GSB 101 | MILLS COLLEGE A4 LIGHTNING ROUND: BOOK ART STUDENT PRESENTATIONSModerator: Kat HowardMills College, Oakland

This year’s student panel is organized as a series of “Lightning Talks.” Each speaker will take five minutes to present her or his work and its relationship to this year’s conference topic, “Time, Sequence, and Technology.” The result will be a lively and engaging session that will showcase new developments, approaches, and ideas in our field.

Artist Books: Sculptures Based on PerformanceMonique BelitzUniversity of New Mexico

Composing in the Stick: Typeface as Muse of PoetryClaire SammonsColumbia College Chicago

Consume/ExpelNatalie BaldeonWashington University, St. Louis

Deconstructing the Book Over TimeKyle HollandMemphis College of Art

Pulp DictionAmy LeePard and Suzanne SawyerUniversity of Alabama, Tuscaloosa

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Strategies of Visual Narrative Jennifer Baker Washington University, St. Louis

The Book as Physical and Mental Microcosm Mirabelle Jones Mills College, Oakland

GSB 109 | MILLS COLLEGE A5LETTERPRESS AND TECHNOLOGICAL CHANGE Moderator: Michele Burgess San Diego State University and co-director, Brighton Press

Historicizing the Idea of Letterpress Printing Daniel Mellis Artist, Chicago

This paper historicizes the idea of letterpress printing and creates a framework for analyzing the æsthetic constraints and consequences of technologies from the iron handpress to the photopolymer plate.

Evolving Approaches to the Use of Print Technology in Artists’ Books Paula Jull Professor of Design/Book Arts, Idaho State University

This CBAA survey examines letterpress and digital technologies used in the production of artists’ books. How have these technologies been combined or utilized together? What could be their future?

From Visceral to Virtual: Ken Campbell’s Wall Betty Bright Independent Scholar and Curator, Deephaven, Minnesota

Can characteristics from letterpress survive in digital media? What are the lineaments (and limits) of style? Is there craft in computer designed works?

1:00-1:30pm LUNCH. (Box Lunch) Tea Shop, Rothwell Center

DEMONSTRATIONS LUNCH SESSION 1:30–2:30pm All Lunch Session Demonstrations will take place at the CPM Book Art Studios

CPM 106 | MILLS COLLEGE Secret Belgian Binding Demonstration Emily Martin Adjunct Assistant Professor, University of Iowa

A demonstration of the Secret Belgian Binding, invented by Anne Goy, a particularly useful binding in artists’ books classes. This binding functions well with a standard codex and also as a container for pop-up books and other books with inclusions. The Secret Belgian binding is a versatile hard cover binding with visible stitching that resembles a Japanese stab binding but can open flat. The binding can be made using a variety of materials, traditional bookbinding materials, reclaimed book covers, wood, metal, Plexiglas, some found materials etc. Furthermore the binding can be used to enclose uneven and/or bulky text blocks such as pop-up books or text blocks with enclosures such as fold-out maps.

CPM 118 | MILLS COLLEGE Auto-Press Printing Daniel Mellis Artist, Chicago

Unlike traditional pressure printing — where a low-relief paper collage placed behind the paper to be printed on creates an image through variation in pressure — auto-pressure printing creates an image via a relief surface in the paper itself, created through blind impressions of wood type or other surfaces. Furthermore, this technique allows for complex interactions between different printing surfaces by using blind impressions to remove ink from a second surface before taking a final impression.

FRIDAY CONTINUED

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CPM 121 | MILLS COLLEGE Experimental Typographic IlluminationCynthia ThompsonProfessor and Chair of Fine Arts, Memphis College of Art

The landscape of design and book arts is ever expanding: technology and formation, language and voice, and audience and arena. This topical union of physical expression [letterpress printing] and linear theory [design and typography] forms the basis of this demonstration. Based on the historical lineage of architectural decorative elements, an aesthetic will be conveyed in which ornament is constructed as an experimental element purely through the use of typographic matrices. These contemporary ornaments are a foundation of the investigative typography for which Memphis College of Art’s Department of Design is recognized for. In this demonstration a brief tutorial on an ornament’s creation will be provided from a letterform[s] utilizing digital platforms through projection. This ornament is then produced as a polymer plate and surprinted utilizing the Vandercook letterpress on giclée prints. The printed impression will be then be transformed into an iridescent layer— through an interesting process using powdered pigments and rubber erasure compound. These methodologies result in a visually progressive interpretation of the illuminated manuscript from the Medieval and Renaissance periods.

ROUNDTABLEDISCUSSIONSHeller Room, F.W. Olin Library Curators and Collectors Round Table

Moderator: Ruth RogersWellesley College

Participants: Robert RubenPrivate Collector, Physician

Jae Jennifer RossmanSpecial Collections, Yale University

Lynda ClaassenSpecial Collections, UC San Diego

This roundtable will encourage an open dialogue between the panelists and the audience on issues of making, curating, and purchasing of artists’ books. Attendees will e-mail their questions ahead of time to the moderator, and a broad selection will be presented to the panelists for discussion.

Student Union, Rothwell Center Teaching Through Craft/Teaching Beyond CraftModerator: Nance O’BanionProfessor and Chair of Printmaking, California College of the Arts, Oakland and San Francisco, CA

Participants: Bonnie O’ConnellProfessor, Book Arts, Department of Art and Art History, University of Nebraska, Omaha

Inge BruggemanLecturer, Graduate Program in Book and Paper Arts, Interdisciplinary Arts Department, Columbia College Chicago and Adjunct Core Faculty, Oregon College of Art and Craft

Gary YoungLecturer in Creative Writing, Director, Cowell Press, University of California, Santa Cruz

Craft continues to be a contested practice as academic art programs de-emphasize materially based work. This discussion will focus on what we can learn through craft practice in a book art curriculum, how we can extend book art teaching beyond craft principles, and ways to consider it in a larger context while honoring its tradition. Questions about risk vs. certainty in workmanship, the role of the craft community, content vs. skill, blurring boundaries between disciplines, the anti-craft debate, and more will be looked at in our open, round table discussion.

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GSB 109 | MILLS COLLEGE Graduate Student Round Table Discussion (This discussion is open to graduate students only.)

Moderator: Kate Robinson MFA candidate, Creative Writing and Book Art, Mills College

Participants: Natalie Jackson, Corcoran College of Art and Design Kalmia Strong, University of Iowa April Llewellyn, Columbia College Chicago Erin Morris, University of Alabama Sarah Hulsey, University of the Arts, Philadelphia

This discussion talk will center around the question “why book art now?” In our increasingly digital age it seems a bit anachronistic that book art would be experiencing the sort of growth and heightened visibility that it is currently experiencing. What is it about this historical moment that might make this so, and how might book artists be uniquely equipped to address rapidly shifting means of communication, information exchange, and art making?

PANELSESSIONS FRIDAY AFTERNOON

3:00-4:30pm SESSIONB.

GSB 117 | MILLS COLLEGE B1 SEEMING AND BEING: PHOTOGRAPHY AND THE BOOK AS MEDIUM Moderator: Clifton Meador Professor, Interdisciplinary Arts Department, Columbia College Chicago

Strategic Linkage Tate Shaw Executive Director of Visual Studies Workshop, Rochester, New York

This presentation will give an overview of artists’ strategies that conceptually bind photograph-to-photograph and photograph-to-text for photo-based artists’ books.

Printing Technologies Used in the Production of Artists’ Books and How They Have Affected the Use of Photographic Imagery

Philip Zimmermann Professor of Visual Communications at the School of Art, University of Arizona, Tucson.

This presentation argues that the printing technologies used in the production of artists’ books has affected the visual content and aesthetics of a great deal of the accepted canon, often at the expense of the use of the photographic image.

Canon Loading Clifton Meador Professor, Interdisciplinary Arts Department, Columbia College Chicago.

This presentation will present outstanding examples of photographic books, examine the works for book-specific artistic strategies, and suggest reasons to consider these works within the discourse of artists’ books.

GSB 101 | MILLS COLLEGE B2WHAT DOES SUSTAINABILITY MEAN TO PRINTERS? Moderator: Cynthia Thompson Professor and Chair, Division of Fine Arts, Memphis College of Art

Presenter: John Risseeuw Professor, Arizona State University School of Art and Director, Pyracantha Press

Theories of sustainability seek to provide a basis for equilibrium in human activity on the planet. Making art and printed matter with graphic processes is subject to the same principles as manufacturing automobiles or building condominiums, in terms of sustainability, yet many printers do not fully understand the theories

FRIDAY CONTINUED

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or their own places in a sustainable system. This session will begin with a presentation by John Risseeuw and will be followed by a moderated discussion with other practitioners regarding green and sustainable practice.

Discussants: Lara DurbackStudio manager at Mills College Book Art Program; instructor of courses in alignment with sustainable practice at Naropa University and the San Francisco Center for the Book

Susan MooreCollective member at Inkworks Press in Berkeley (an Alameda County Certified Green Business).

Mary Tasillo Book Bombs: The Soap Box Independent Publishing Center.

GSB 109 | MILLS COLLEGE B3 SHAPING READINGS: BOOK STRUCTURE AND COGNITIONModerator: Julia LeonardLecturer, University of Iowa Center for the Book

Book Art as NeuroscienceMatthew L. AronAdjunct Faculty, Interactive Arts and Media, Columbia College, Chicago and Academic Initiatives Consultant, IT Services, University of Chicago

This presentation will consider what artists’ books tell us about reading and cognition — and how that compares to recent literature from neuroscience, linguistics, and psychology.

Time in Hypertext, Metatext, and Plain Ol’ TextMelissa LucasPh.D. Student in Scandinavian Studies, University of Washington

This presentation demonstrates how various kinds of time emerge from The Prime Directive, a multifaceted work of electronic literature by Swedish author Johannes Heldén.

Grasping a Book: An Iserian Interpretation of Print Design and Production ValuesAmanda LastoriaPh.D. Student in Publishing, Simon Fraser University, Vancouver

This paper reinterprets Wolfgang Iser’s reader-response theory to consider how the printed book’s design and production values impact the reader’s response to the text.

GSB 125 | MILLS COLLEGE B4GOING DIGITAL: CHANGING TECHNOLOGIES AND CREATIVE PRACTICEModerator: Charles HobsonFaculty Member, San Francisco Art Institute

Intersections of Technologies and the Resulting TangentsMarlene MacCallumProfessor, Visual Arts Program, Grenfell Campus, Memorial University of Newfoundland

This artist talk will discuss the image, concept, and technological impact of introducing contemporary digital tools into the photogravure process in making my recent books.

Wanderlust: Handmade and Digital JourneyKatya RekaAssistant Professor of Graphic Design, New Mexico State University

Wanderlust explores the two most important journeys a person can embark on—loving and growing. It is an imaginary dialogue between Pablo Neruda and Masanobu Fukuoka in the form of handmade and digital scroll books.

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Analog to Digital: A Collaborative Project Transformed Edwin Jager Associate Professor of Art, Chair, Department of Art, University of Wisconsin—Oshkosh

John O. Smith Professor of Art and Design, University of Wisconsin—Stevens Point

This presentation considers the effect of technological evolution on collaboration and the creation of the artist’s book Threshold.

GSB 118 | MILLS COLLEGE B5TEACHING AND LEARNING STRATEGIES IN THE BOOK ART CLASSROOM Moderator: Lynn Sures Professor and Interim Chair, Department of Fine Arts, Corcoran College of Art + Design

Metaprocess Books: New Layers of Learning Shawn Simmons Associate Professor, Milwaukee Institute of Art & Design

The metaprocess book is a pedagogical tool used to enhance student learning and concept development in design and art projects. This presentation will discuss examples and methods.

The Critique in Book Art Classes: A Meeting of Theory, Practice, and Process Ruth Bardenstein Adjunct Lecturer, Eastern Michigan University

I will examine critique philosophies, methods and questions from the book art perspective and provide proposals for incorporating critiques into the book art process.

Discovery in the Fog: Design Process and Interpersonal Dynamic in a Collaborative Book Art Class

Patrick Dooley Professor of Design, University of Kansas

Linda Samson-Talleur Lecturer, University of Kansas

Team teachers of an advanced letterpress/digital design class discuss taking on a complex creative process fraught with steep learning curves and the dynamics of human interaction.

DEMONSTRATIONS FRIDAY AFTERNOON SESSION 3:00-4:00pm All Afternoon Session Demonstrations will take place at the CPM Book Art Studios

CPM 106| MILLS COLLEGE Cyanotype Printing for the Book Arts Classroom Jeff Nilan Ohio Wesleyan University

I will demonstrate the cyanotype printing method, an early photographic process, as an easy and highly adaptable technique for generating images/text on paper or cloth, as well as for dying materials (cloth, thread, paper, etc) for book arts. Cyanotype printing and bookmaking have a unique historical connection. Regarded as the first book illustrated with photographic images, Photographs of British Algae: Cyanotype Impressions, by Anna Atkins (also regarded as the first woman photographer) was published in 1843. Indeed, the entire book, cover to cover, images and text, is comprised of cyanotype prints.

CPM 122 (Seminar Room)| MILLS COLLEGE Linked Baseball Stitch Binding Mare Blocker Visiting Assistant Professor, Whitman College

Have you wondered how to join pages that don’t have a hinge allowance? Are some of your pages metal, some paper, some wood? Suture stitching provides an alternative to binding pages with a folded edge element. Flat sheets can be joined together using the baseball stitch, a stitch named after the flexible lacing used in baseball production. This stitch can be used to join pages to form accordion or multiple signature books with an exposed decorative spine, as well as come-and-go-bindings. Participants will make a small model using materials found on site.

FRIDAY CONTINUED

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CPM 118| MILLS COLLEGE Pressure Printing Using An Etching PressMonika MelerAssistant Professor of Art, University of the Pacific

This demonstration will focus on Pressure Printing, which uses uneven pressure to produce beautiful, spontaneous, and multi-layered prints. This process, using matrices carved out of mat board produces soft, diffused images that are very different from the graphic marks that printmaking is often known for. Participants will discover a range of possibilities while learning how to approach printmaking from a fresh, new perspective to compose layered, r ich prints.

Prints created using this technique require no chemical processes, which means that the heavy chemistry often associated with printmaking is eliminated. All matrices are mat board, so they can be recycled once the prints are finished.

CPM 121| MILLS COLLEGE The Amazing Dremel DemoJill TimmWorkshop Instructor and Professional Book Artist, Mystical Places Press

The versatile Dremel rotary tool is the magic tool every artist should have and know how to use. You can drill, cut, carve, engrave, shape, polish, and grind non-traditional book making materials such as glass, plastic, metals, wood, clay, tiles, and more. Make books out of just about anything! This demo will show you new possibilities with a sampling of materials and effects.

PANELSESSIONS SATURDAY, JANUARY 7, 2012All panel sessions on Saturday, January 7th will take place at the Hilton Garden Inn(San Francisco/Oakland Bay Bridge), in Emeryville, CA

9:30–11:00 am SESSIONC.

HILTON GARDEN INN C1.CONCEPTUALIZING THE BOOK AND BOOK ARTDock of the Bay, Platinum Moderator: Jeffrey Groves

Professor of Literature, Harvey Mudd College

Dissolving the Fixed Sequence of Books: The Influence of Stéphane Mallarmé on Twentieth and Twenty-First Century BooksAnna Sigrídur ArnarProfessor of Art History, Minnesota State University—Moorhead

This paper examines modern adaptations of Stéphane Mallarmé’s ideas regarding books with flexible structures that invite readers to manipulate and customize their sequence.

Contextualizing New Media and the BookShandra LamauteMSc candidate, University of Edinburgh

I will analyze Ideas of Beauty: Conversations as a book form created from digital media and discuss how it challenges ideologies surrounding the traditional book.

A Typology for the Structures of Book Arts ProgramsKatherine McCanless RuffinBook Arts Program Director, Wellesley College

As the field of book art education develops, a typology for classifying the structures of book art programs can improve both practice and theory.

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DOCK OF THE BAY, COPPER C2BOOK ART ONLINE: NEW METHODS OF ACCESS AND DISTRIBUTION Moderator: Laurie Whitehill Chong Special Collections Librarian, Curator of Artists’ Books, Fleet Library at Rhode Island School of Design

Publishing and Distribution Networks for Online Artists’ Publications Tony White Director of the Fine Arts Library, Indiana University

This presentation will focus on the transformative nature of recent online technologies and distribution strategies to increasingly make artists’ publishing available to a worldwide market.

Artists’ Books and Their Metadata: the Digital Artists’ Book Archive of the Women’s Studio Workshop

Sylvia Turchyn Head Western European Cataloging Section, Indiana University Libraries—Bloomington

This presentation will feature the development of the archive, its evolution to the present, plus a digital tour of the archive, its search capabilities, and plans for future enhancements.

Digital Resources and Artists’ Books Johanna Drucker Breslauer Professor of Bibliographical Studies, UCLA

What are the lessons learned from ArtistsBooksOnline that might be useful for thinking about how digital resources can be developed ahead?

DOCK OF THE BAY, SILVER C3PEDAGOGY AND DIGITAL TECHNOLOGY IN THE BOOK ART CLASSROOM Moderator: Felicia Rice Moving Parts Press and Manager, Digital Arts and New Media MFA Program, UC Santa Cruz

Yin and Yang: A New Balance Marilyn Jones Assistant Professor of Graphic Design, Lehigh University

In an increasingly complex world, how do art and design educators balance increasing digital curriculum needs without sacrificing exploration of traditional methods?

Rotoscope Flipbooks: Using Technology to Introduce a Hands-on Experience Sue O’Donnell Assistant Professor of Digital Art, Bloomsburg University of Pennsylvania An exercise intended to introduce the link between traditional and digital animation techniques has inspired

students to explore experimental book structures and time-based sequencing.

Object/Source: The Artist’s Book and Free/Libre/Open Source Software (FLOSS) Bridget Elmer MFA in the Book Arts, MLIS, The University of Alabama

This presentation addresses the conceptual, methodological, and pedagogical roles of software in our field, discusses alternative software choices, and advocates for thoughtful digital practice.

DOCK OF THE BAY, GOLD C4CROSS PURPOSES: MERGING BOOK ART WITH OTHER GENRES AND MEDIA Moderator: Michael Kasper Collection Development Coordinator, Amherst College Library, and book artist

The Exhibition Catalog as Book Art: Considering Documenta; the Paolo Soleri Retrospective by Donald Wall (Washington: Corcoran Gallery of Art, 1970).

Molly E. Dotson Bookplate Collection Project Archivist, Robert B. Haas Family Arts Library, Yale University

Through an analysis of time, sequence, and other design elements, this paper evaluates an exhibition catalog as book art.

SATURDAY CONTINUED

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Collecting Views/Views on Collections: The Personal Postcard Archive as Book GeneratorBonnie O’ConnellProfessor, Director of Fine Arts Press, University of Nebraska—Omaha

This presentation explores the postcard metaphor in literature and art and how the development and systematization of a personal postcard collection might inform the conceptualization of an artist’s book.

E-Books: The Good, the Bad, and the UglyKaren ZimmermannAssociate Professor of Visual Communications, University of Arizona

One cannot ignore the e-book’s impact on publishing—nor its failures and history tied to obsolete technologies. This presentation will explore its history, limitations, and opportunities.

PLACER ROOM C5THE SELF-RIGHTEOUS, SELF-INDULGENT, AND POLITICALLY CORRECT—CAN PAPER, INK, AND THE PERSONAL NARRATIVE BUILD COMMUNITIES?Moderator: Cynthia MarshProfessor of Visual Communication/Printmaking, Austin Peay State University, Clarksville, Tennessee

The Personal is Political: The Woman’s Building (1970) / Goldsmith Press & Rare Type Collection (2011)Cynthia MarshProfessor of Visual Communication/Printmaking, Austin Peay State University, Clarksville, Tennessee

Writing, printing, and posting personal narratives has served as a foundation for print communities from the Woman’s Building in LA to the Goldsmith Press in rural Tennessee.

Visual Studies Workshop Press: Rethinking Art PublishingTate ShawExecutive Director of Visual Studies Workshop, Rochester, New York

In the early 1970s, Visual Studies Workshop Press developed amid the emergent phenomenon of artists’ books and in the context of a vital artists’ community.

Women’s Studio Workshop: A Thirty-Five Year Commitment to Build and Support a Creative CommunityAnn KalmbachCo-Founder and Executive Director of Women’s Studio Workshop, Rosendale, New York

Women’s Studio Workshop demonstrates a sustained commitment to the production of artists’ books (over two-hundred titles), posters, and events that reflect and affect society.

11:15-12:45 pm SESSIOND.

HILTON GARDEN INN D1HERDING CATS: INSTRUCTIONAL STRATEGIES IN TWENTY-FIRST DOCK OF THE BAY, PLATINUM CENTURY BOOK CLASSROOMS

Moderator: Marnie Powers-TorreyManaging Director, Book Arts Program, University of Utah

From the GeneralistMarnie Powers-TorreyManaging Director, Book Arts Program, University of Utah

Interdisciplinary and digital trends within academia support a book arts curriculum that investigates multiple fields and media, facilitated by a collaborative teaching approach.

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From the Binder Emily Tipps Binding Instructor and Studio Coordinator, Book Arts Program, University of Utah

Collaborative binding instruction offers diverse perspectives and methodologies, supports teaching to students at differing levels, and encourages dialogue regarding the traditional book’s position amid contemporary technologies.

From the Designer David Wolske Creative Director, Book Arts Program, University of Utah

Teaching typography, design, and letterpress to increasingly larger classes of tech-savvy students requires creative integration of digital and analog tools and a choreographed team pedagogy.

From the Graduate Student Becky Williams Thomas MFA Candidate in Creative Writing/Book Arts, University of Utah.

The textured proficiency of graduate students from multiple disciplines expands the borders of conversation, creating a learning milieu where all options are open.

DOCK OF THE BAY, COPPER D2OLD BOOKS IN NEW SKINS Moderator: Mare Blocker The MKimberly Press, and Whitman College

Time and Sequence in Tristram Shandy: Book Art and Literary Criticism Cynthia N. Malone Professor of English, College of Saint Benedict and Saint John’s University, St. Joseph and Collegeville,

Minnesota

Laurence Sterne’s Tristram Shandy bristles with questions of time and sequence. This edition embodies the reader’s cognitive efforts to navigate Sterne’s brilliant and exasperating novel.

A Close Read: My Ántonia Barbara Tetenbaum Professor and Department Head, Book Arts, Oregon College of Art and Craft, Portland

To illuminate connections between author, text, reader, and artist, I will discuss books and installations I created in response to Willa Cather’s novel, My Ántonia.

The Skywheel Project: Technology of Transcendence in Artists’ Books Kimberly Garrison United Catalysts and Orange Coast College

Steve Radosevich United Catalysts

The focus of the Skywheel Project is a sacred book that will orbit our planet as a space satellite. The artists will discuss this global project in the context of talismanic book traditions.

DOCK OF THE BAY, SILVER  D3PAPER AS CONTENT Moderator: Monika Meler Assistant Professor of Art, University of the Pacific

Paper as Substrate Kerri Cushman Associate Professor of Art, Longwood University

This presentation focuses on paper as sculpture. Using my own work as a starting point, the presentation will examine paper as a three-dimensional medium.

SATURDAY CONTINUED

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Paper as ConfidantMegan St. ClairBFA Candidate, Wichita State University

This presentation will address how the history, geography, and conceptual attributes of kozo paper contribute to the content of my work.

Materiality in Nancy Spero’s Works on PaperAndrea FerberPh.D. Candidate, University of Illinois, Urbana-Champaign

This presentation stems from a dissertation on Nancy Spero, focusing on how her choice to work on paper contributed to her focus on feminism and violence.

DOCK OF THE BAY, GOLD D4MERGING TECHNOLOGIES: FROM TRADITIONAL TO DIGITALModerator: Barbara MaloutasCoordinator of The Lab Works and Associate Chair, Communication Arts, Otis College of Art and Design

Papermaking: Contemporary Attempts to Reinvent an Ancient PracticeMary McManusMFA Candidate, University of Alabama

Kyle HollandBFA Candidate, Memphis College of Art

In an effort to begin a dialogue among students, educators, and book artists, we will share our experiences and discoveries as papermaking students.

Modern and Historical Photographic Artists’ Books: From Glass Plates to Ink Jet Prints Laura RussellArtist and Owner of 23 Sandy Gallery, Portland, Oregon

Photographic artists’ books have a distinguished history: Atkins’ 1800s cyanotype albums to Ruscha’s iconic books to modern-day Giclée. We will explore the intersection of two dynamic mediums.

Traditional Bindings, Digital TechniquesSally TostiAssociate Professor of Fine Arts, Keystone College, La Plume, Pennsylvania

Digital technology incorporated with traditional binding methods allows book artists to explore new combinations of techniques and facilitates the use of photographs, scans, and montage.

12:45–1:15pm LUNCH.(Box Lunch)

1:15–3:00pm MEMBERSHOWCASEE TOP OF THE BAY

4:00–5:30pm SESSIONE.

DOCK OF THE BAY, PLATINUM E1PARACHUTES, ORANGES, AND CODE: NAVIGATING THE COLLABORATIVE PROCESSModerator: Denise Bookwalter Assistant Professor of Art, Florida State University

From Virtual to Physical: Trials and Tribulations of the Physical Expression of Code-Based ImageryDenise Bookwalter Assistant Professor of Art, Florida State UniversityMarius Watz and Small Craft Advisory Press collaborated to create an artist’s book with code-based imagery pulled from the screen and printed on the page.

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Cropwork Orange: A Collaborative Book Arts Project About Memory and the Florida Orange

Bea Nettles Professor Emerita, University of Illinois, Champaign-Urbana

Robert Fichter taught Nettles, who taught Denise Bookwalter. Interconnectedness is represented by the book’s exchangeable pages of humorous and cautionary tales about the Florida orange.

Lake & Cloud: Reading and Transformation Katie Baldwin Victor Hammer Fellow, Wells College

Working from a distance through e-mail and together at Vermont Studio Center, this organic and poetic collaboration results in an artist’s book that uses reading to transform space.

DOCK OF THE BAY, COPPER E2CODEX DECODED: EXPLORING MICRO-AND INVISIBLE ELEMENTS IN ARTISTIC BOOK WORKS

Moderator: Kalmia Strong Graduate Student, Center for the Book, School of Library and Information Science, University of Iowa

Conceptual Erasure Amelia Bird Graduate Student, Center for the Book, University of Iowa

Bookwork that utilizes selective erasure of a pre-existing text or image aims to deconstruct with a purpose. Often self-conscious and essayistic, this subset of erasure is a uniquely conceptual project. This presentation will explore this emerging form—its qualities, questions, and implications

Punctuation in Artists’ Books Karen Carcia Graduate Student, Center for the Book, University of Iowa

Artists’ books that focus on the smallest and typically unvocalized element of a text—punctuation marks—allow for exploration of the largest ideas: time, space, and meaning-making.

Microwriting Lee Marchalonis MLS, Graduate Certificate in Book Arts and Technologies, University of Iowa, 2011

This exploration will focus on the nature and purpose of miniature handwriting, an idiosyncratic technique employed in the creation of unique documents, mechanisms (books), and images.

DOCK OF THE BAY, SILVER E3ENGAGING READERS, BUILDING AN AUDIENCE Moderator: Kathleen Walkup Professor and Chair, Book Art Program, Mills College

Visualizing the Book Kristen Merola Assistant Director, Visual Studies Workshop, Rochester, New York

Preacher’s Biscuit Books shares singular books with larger audiences by using moving image media, expanding the way their books are seen, understood, and conceptualized.

PRESS: Letterpress as a Public Art Project Melanie Mowinski Assistant Professor of Visual Art, Massachusetts College of Liberal Arts

How do time and sequence factor into the planning of a public art project designed to introduce letterpress printing and book arts to a greater audience?

SATURDAY CONTINUED

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Read All About It! Artist Newspapers and Their AudienceAmy BallmerReference Librarian, Graduate Center, City University of New York

This presentation examines newspapers created and distributed in an exhibition/ performance context. The focus is on reader reception and how it is shaped by environment.

DOCK OF THE BAY, GOLD E4EXPLORING TYPOGRAPHY: HISTORICAL INSIGHTS, CONTEMPORARY PRACTICESModerator: Jae RossmanAssistant Director for Special Collections, Yale University Arts Library

Book Art and Teaching the History of TypographyCraig JobsonAssociate Professor of Art and Design, Columbia College Chicago

An in-class produced (written, designed, cased in) 72-page, 11" x17", perfect-bound book is the means of teaching the history of typography.

Channeling IliazdKitty MaryattAssistant Professor of Art and Director of the Scripps College Press, Scripps College, Claremont, California

The Russian writer/publisher Ilia Zdanevitch, or Iliazd, produced remarkable artists’ books in France between 1940 and 1974. We will examine Iliazd’s distinctive typographic layouts

Vista Sans Wood Type Project / Experimental LetterpressTricia Treacy Faculty of Graphic Design and Printmaking, Penn Design

Ashley John PigfordAssistant Professor of Visual Communications, University of Delaware

This project experiments with the creation of letterpress wood type using a CNC(computer numerical control) router, printing techniques, and collaborative printmaking processes.

KEYNOTE SPEAKERSKEYNOTE ADDRESS: Buzz Spector Buzz Spector has been making artists’ books since the seventies and is a major figure and theoretician in the contemporary fine art and book art fields. Spector’s work makes frequent use of the book, both as subject and object, and is concerned with relationships between public history, individual memory, and perception. Cur-rently Dean of of the College and Graduate School of Art at Washington University in St. Louis, he continues to have an active creative practice. A dynamic and entertaining speaker, Buzz will talk about the artist’s library as the studio of the future.

BANQUET SPEAKER: Brewster Kahle Brewster Kahle is a computer engineer, internet entrepreneur, activist, and digital librarian. Kahle is the founder of the Internet Archive and the Open Content Alliance, a group of organizations committed to making a permanent, publicly accessible archive of digitized texts. Kahle is a Fellow of the American Academy of Arts and Sciences, a member of the National Academy of Engineering, and serves on the boards of the Electronic Frontier Foundation, Public Knowledge, the European Archive, the Television Archive, and the Internet Archive. He is a member of the advisory board of the National Digital Information Infrastructure and Preservation Program of the Library of Congress, and is a member of the National Science Foundation Advisory Committee for Cyberin-frastructure. In 2010 he was given an honorary doctorate in computer science from Simmons College, where he studied library science in the 1980s.

Kahle and his wife, Mary Austin, created the Kahle/Austin Foundation, a trust that supports the Internet Archive and other non-profit organizations. The Foundation is a good-hearted donator of the Free Software Foundation for the GNU project.

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Student Portfolio Review

Times and locations are listed in the schedule.

Student portfolio reviews are available for student members of CBAA who signed up in advance for one-

on-one 20-minute port folio review sessions with faculty members who teach studio classes at various

institutions. Students were asked to list which aspects of their work they are most interested in getting

feedback on in order to pair them up with faculty members who can best address their needs.

5:30–7:30 pm BiblioTech, CBAA Members Exhibition Opening Reception

San Francisco Public Library, 6th Floor, Skylight Gallery

100 Larkin Street

San Francisco, California 94102

Exhibition dates: January 5—March 11, 2012

BiblioTech is a juried exhibition featuring the broad range of technology in artists’ books, including

handbound books, letterpress printed books and broadsides, digitally printed books, video, and

works that combine old and new technologies in innovative ways. This show includes work of both

members and student members of CBAA and was juried by Ruth Rogers and Emily McVarish.

7:30 pm–9 pm Post Reception hosted by Electric Works

ElectricWorks is pleased to host a special event at their gallery, photography studio and print shop.

Judith and Richard Lang will serve a chilled glass of Slivovitz plum brandy or cup of hot cider in a

post-reception after the reception at the San Francisco Public Library. Electric Works is an easy

two-block walk south from the library. Conference attendees who attend this event will be able

to take advantage of a 20% discount on their next print project at Electric Works, available until

February 1, 2012.

130 8th Street, San Francisco, California 94103 (415) 626-5496

Friday,January6,20127:45 am—5:30 pm Vendor’s Fair

Mills College, Student Union Lounge, Rothwell Center

The Vendors Fair showcases the book art-related wares of a few invited vendors. These vendors are: Colophon

Book Arts Supply, McClain’s Printmaking Supplies, Hiromi Paper, M & H Type and Boxcar Press. The Vendors fair

will be open all day, on Friday only.

9:00—11:00 am Opening event

Mills College, Littlefield Concert Hall

Opening remarks and welcome.

Presentation by the keynote speaker, Buzz Spector.

1:00—6:00 pm BOOK ART EXHIBITIONS AT MILLS COLLEGEA Liberal Art: Twentieth Century Works From College Presses

Heller Rare Book Room, F.W. Olin Library

Selected from Special Collections, F. W. Olin Library, Mills College

DESCRIPTION OF EVENTSThursday,January5,2012

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Interior Landscape

Heller Rare Book Room, F.W. Olin Library, Mills College

Lyall F. Harris, MFA in Creative Writing and Book Art Thesis Exhibition

Visible Language: Broadsides from the Contemporary Writers Series

Heller Rare Book Room, F.W. Olin Library, Mills College

Selected broadsides from our acclaimed writers series, printed by Mills graduate students, staff and

teaching assistants

True to Type: Letterpress at Mills

CPM 121, In the Book Art Pocket Gallery,Mills College

A small selection of books and ephemera printed by current and former graduate and undergraduate

students in the Book Art Program

PANEL SESSIONS

Session A: 11:30—1:00 pm Mills College Graduate School of Business (GSB)

Session B: 3:00—4:30 pm Each panel consists of 3—4 individual paper presentations by CBAA members and student members followed

by a moderated Q & A session. 4—5 panels will run concurrently during each panel session.

Student Portfolio Review

Times and locations are listed in the schedule. See description listed above.

Demonstrations

Session 1: 1:30—2:30 pm CPM Book Art Studios, Mills College

Session 2: 3:00—4:00 pm Practical demonstrations are being offered by CBAA members using tools and equipment in the

Mills book art studios. Both printing and binding demonstrations will be given.

1:30—3:00 pm Round Table Discussions

Mills College, Various locations

The round table discussions will start with a moderated discussion among a small group of invited discussants

on a chosen topic. The discussion will then be open to audience participation. Two of the round tables, “Curators

and Collectors”, and “Teaching through Craft/ Teaching Beyond Craft” are open to all conference participants.

The third roundtable is open to graduate student members only, in order to foster dialogue between graduate

students studying at various institutions around the country.

5:00—6:30 pm Annual Meeting/Awards Ceremony

Littlefield Concert Hall, Mills College

This meeting is open to all members of CBAA and will include an address by Richard Zauft, the CBAA president,

information on various organizational issues and events, and audience Q & A. Awards will also be announced at

this meeting, so come out to show your support!

6:30-8:00 pm Reception

Student Union, Rothwell Center, Mills College

Join us for food and wine, and a chance to unwind and talk about the day's events.

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Saturday,January7,2012 Committee Meetings

Hilton Garden Inn, Dock of the Bay

Session 1: 8—9 am CBAA Committees will meet to discuss new and old business. Interested members are invited to join

Session II: 5:30—6:30 pm committee meetings.

Session I: Meetings and Programs, Steering Committee, Communications, Development

Session II: Awards, Membership and Nominations, Publications, and Editorial Board for the Journal.

Panel Sessions

Hilton Garden Inn, Dock of the Bay and Placer Room

Session C: 9:30—11:00 am Each panel consists of 3—4 individual paper presentations by CBAA members and student members

Session D: 11:15—12:45 pm followed by a moderated Q & A session. 4—5 panels will run concurrently during each panel session.

Session E: 4:00—5:30 pm

Student Portfolio Review

Times and locations are listed in the schedule. See description listed above.

1:15—3:30 pm Members Showcase

Hilton Garden Inn, Top of the Bay

Members Showcase is an informal opportunity for members to show their work and engage in

discussion with other members. Members who signed up ahead of time will be given a table

space. This is not a sales event, rather an event with the spirit of sharing. We request that

participants show only their own work, and not engage in sales activities during the session.

1:30—6:45 pm Silent Auction

Hilton Garden Inn, Placer Room

Donated items such as artists’ books, prints, and supplies, will be available for silent auction bids all

afternoon. Winners of the silent auction can pick up and pay for their items at the end of the

banquet. All proceeds from the silent auction go towards supporting student participation in CBAA

conferences and meetings.

7—10 pm Banquet & Live Auction

Hilton Garden Inn, Top of the Bay

The banquet program will begin with a presentation by local technocrat, Brewster Kahle, founder of the

Intenet Archive, and end with a spirited live auction presided over by book auctioneer, George

Fox. Items in the live auction include fine press books, and a weeklong rental of a gorgeous house

in Maine. All proceeds from the live auction go towards supporting student participation in CBAA

conferences and meetings.

10:00—midnight After Party

Top of the Bay, Hilton Garden Inn

This event is free and open to all conference attendees. grab a drink, dance, and continue

conversations with old and new friends. The no host bar will be open until 11:00.

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Nominating & Membership Committee

Bob Blesse, Chair

Matthew L. Aron

Sarah Hulsey

Awards Committee

Marnie Powers-Torrey, Chair

Cynthia Thompson

Karen Zimmermann

Mare Blocker

Janine Wong

The Meetings and Programs Committee

Philip Zimmermann, Chair

Julie Chen

Macy Chadwick

Sarah Hulsey

Kitty Maryatt

Mary Phelan

Jae Rossman

Barb Tetenbaum

Bonnie O’Connell

Kathleen Walkup

Tony White

Steering Committee

Julia Leonard, Chair

Kathleen Walkup

Marnie Powers-Torrey

Cynthia Marsh

Cynthia Thompson

John Risseeuw

Kristen Merola

Bonnie O’Connell

Publications Committee

Bonnie O’Connell, Chair

Julia Leonard

Kathleen Walkup

Michelle Strizever

Sara Sauers

Cynthia Marsh

Kathy Ruffin

Richard Ring

Laurie Whitehill Chong

Editorial Board

Elisabeth Long , Editor

Betty Bright

Betsy Davids

Susan Viguers

Development Committee

Ethan Hendersen, Chair

Charles Hobson

Harry Reese

Tony White

Steve Woodall

Ruth Rogers

Communications Committee

Kerry McAleer-Keeler, Chair

Sandra Anible

Bob Blesse

Denise Bookwalter

Anne Garrison

Jeff Groves

John-Mark Ikeda

Julie Leonard

Kitty Maryatt

Steve Miller

Jeff Nilan

Lisa Beth Robinson

Sara Sauers

Shawn Simmons

CBAACOMMITTEES

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