tag:blogger.com,1999:blog-90585657974026952302024-03-19T03:42:05.294-07:00philip zimmermann + spaceheater editionswelcome! this blog is designed to be a way to make quick posts and updates to news and announcements about spaceheater editions and my books and activitiesPhilip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comBlogger104125tag:blogger.com,1999:blog-9058565797402695230.post-47926899325959078142022-04-02T17:24:00.000-07:002022-04-02T17:24:00.370-07:00Adaptation | Artist's Books for a Changing Environment on the Cal Berkeley Campus<p>The esteemed, prolific, talented, and charming artists' bookmaker, Julie Chen, has curated a terrific show at the Environmental Design Library at UC Berkeley. It is meant to be presented in conjunction with the eighth CODEX Symposium and Book Fair in Richmond, CA, across the Bay. The show runs from March 14th until May 15th on the Berkeley Campus. There is a reception on April 9th, the evening before CODEX opens, and it takes place from 3:00 to 6:00pm. All who attend will receive a handsome catalog designed by Julie.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh4Q3bZ4XkKkXba2z3LNzpWc-jUfu92xpi9Qwc2k3ZsZkWa9OQO2OH3cZi9jEqb3XWZBiDbilcKCuEwDqGhEXDFGh4cuxKUzkXs55zvs_tRsaio_nJ3bwgYju5x2uv_4RCmahdbdI4q7creLCAty7zZT-dUSHu2nN3xMJYKH0qjrltjJty8Y406S8Wbuw" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="1275" data-original-width="1275" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEh4Q3bZ4XkKkXba2z3LNzpWc-jUfu92xpi9Qwc2k3ZsZkWa9OQO2OH3cZi9jEqb3XWZBiDbilcKCuEwDqGhEXDFGh4cuxKUzkXs55zvs_tRsaio_nJ3bwgYju5x2uv_4RCmahdbdI4q7creLCAty7zZT-dUSHu2nN3xMJYKH0qjrltjJty8Y406S8Wbuw=w400-h400" width="400" /></a></div><br /><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>I was fortunate to be asked to include my book <i>Delirium</i>. Though I have not seen the whole show yet, I have seen photographs of many of the books and the installation, and it looks great. If you live in the Bay Area, or are in town for CODEX VIII, be sure to either attend the reception or make a short trip over to the see the show after one of the two Symposium sessions in Berkeley.</p>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-22496345248563689352022-03-30T18:51:00.000-07:002022-03-30T18:51:10.558-07:00CODEX 2022 Coming Soon<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEji_x88omLV7DwOd-3uORvZZ1Y5IuqPua62t4N4fm5qPwh4TcbpFwyVIolJ9a3VbhAjgz4navEv3f9ICkQa9GcuL9y-TvL_7eX-CuBzc9wQmGBtwG47JDU-nsytBr5Gn5zBGR_4IwBe0mdtCv8AxpX9KxrSwoTxSb3tQJs1fsyR-LWkUFC2jc3XtlGgKQ" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="623" data-original-width="1200" height="208" src="https://blogger.googleusercontent.com/img/a/AVvXsEji_x88omLV7DwOd-3uORvZZ1Y5IuqPua62t4N4fm5qPwh4TcbpFwyVIolJ9a3VbhAjgz4navEv3f9ICkQa9GcuL9y-TvL_7eX-CuBzc9wQmGBtwG47JDU-nsytBr5Gn5zBGR_4IwBe0mdtCv8AxpX9KxrSwoTxSb3tQJs1fsyR-LWkUFC2jc3XtlGgKQ=w400-h208" width="400" /></a></div><br /><p></p><p>Spaceheater Editions, my press imprint, will be sharing a table with <a href="https://clifton-meador.com/" target="_blank">Clifton Meador </a>of the Studio of Exhaustion at the 2022 CODEX Foundation Symposium and Book Fair. This is the first time it has taken place since 2019. CODEX used to always take place in uneven years, but having missed two years due to COVID-19, it will take place at the Craneway Pavilion in Richmond, CA. Richmond is part of the San Francisco Bay Area. The event takes place from April 10th through April 13th. CODEX is the premiere selling place for artists' and fine press books in the United States. More information is <a href="https://www.codexfoundation.org/codex-2022" target="_blank">here</a>.</p><p>I will be selling, among other volumes, the last five copies of my book <i>Delirium</i>, which won a <i><a href="https://www.aiga.org/media/press-releases/aiga-announces-the-50-books-50-covers-2020-winners" target="_blank">50 Books/50 Covers</a></i> award from the AIGA, as one of the best-designed books of 2020.</p><p>We should have an eye-catching table: Clif Meador has designed some amazing fabric to use as both table cloth for our table and as cover for our table when the book show closes each day. Here is a sneak preview of the fabric:</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEipmwVRBqknwjARqP-d4bjVE7XQqB1woavdTONoJdqJ-qvA3y-oO7Y6HwIoUKNB5YcpWExFeLrn8qVGO5bqg9BH-Wk3A1qFDEzTz9r1ibXbG_aFaz3yRHctq__MkHXHHqdYRD6PDaHakrWoTsTCZxoGYWZxQ1IJg3jVcHeGsmojwo8H8mj0hBhi6ym1GQ" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEipmwVRBqknwjARqP-d4bjVE7XQqB1woavdTONoJdqJ-qvA3y-oO7Y6HwIoUKNB5YcpWExFeLrn8qVGO5bqg9BH-Wk3A1qFDEzTz9r1ibXbG_aFaz3yRHctq__MkHXHHqdYRD6PDaHakrWoTsTCZxoGYWZxQ1IJg3jVcHeGsmojwo8H8mj0hBhi6ym1GQ=w400-h300" width="400" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>Clif will be showing a large number of brand new books, never seen before. I will be showing a number of books, old and new, but focusing mostly on sales of <i>Delirium</i>. I have even screen-printed a bunch of book bags for sales, based on the pattern that Clif devised for our table covering.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh8F4wCbRq4-3TGHmx7mMrlrPfDY6w31GrNfdwYtU0lmPDr8ez_UIq1m7BpnhyDIXQ9wgGPpbr9-_wJLgxFMPXQ28VVdvgo5y33o4fEvS9qGr9-YXMR-ItwCZbEeVhre-l9Faxv3WW2UpOCLM6993zac9YmOXTXp4lpA-JK1WzGbNgOjyBCuHj64OaD8g" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEh8F4wCbRq4-3TGHmx7mMrlrPfDY6w31GrNfdwYtU0lmPDr8ez_UIq1m7BpnhyDIXQ9wgGPpbr9-_wJLgxFMPXQ28VVdvgo5y33o4fEvS9qGr9-YXMR-ItwCZbEeVhre-l9Faxv3WW2UpOCLM6993zac9YmOXTXp4lpA-JK1WzGbNgOjyBCuHj64OaD8g=w480-h640" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiw0fNNKu0N48MvsmZp1bGUpaqK0ddJLGzV5Q3enovSJD5pX4H6yE0fZNfTzRFKvWfy4vYnub-QlGx7kf1N6cLEmVApJqdBozV-WTAYDXGy3mMKFE_iQpN4upcLPpo7aqIajXfWGZDaXFeTvWtAMbbn_F5cGHno__Pd80OgDVj97JwQNz-nC55824-xvA" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEiw0fNNKu0N48MvsmZp1bGUpaqK0ddJLGzV5Q3enovSJD5pX4H6yE0fZNfTzRFKvWfy4vYnub-QlGx7kf1N6cLEmVApJqdBozV-WTAYDXGy3mMKFE_iQpN4upcLPpo7aqIajXfWGZDaXFeTvWtAMbbn_F5cGHno__Pd80OgDVj97JwQNz-nC55824-xvA=w480-h640" width="480" /></a></div><p></p><p>We hope to see you there at Table 70A+B. It should be a lot of fun, and there is a CODEX VIII Foundation Symposium that always occurs on a couple of mornings in Berkeley before the book fair opens in Richmond.</p>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-43303462404068796202021-12-14T14:53:00.001-08:002021-12-14T14:55:21.911-08:00Presentation at San Francisco's Legion of Honor<p>On December 4th, 2021, I gave a presentation on my book <i>Delirium</i> at the 2021 Reva and David Logan Symposium on the Artists' Book. This year's theme was <i>Bridges: Social Engagement in Artists' Books</i>. I was asked by Steve Woodall, Collections Specialist at the Achenbach Foundation for Graphic Arts, part of the Legion of Honor, itself part of the Fine Arts Museums of San Francisco.</p><p>The entire symposium on December 4th and 5th are recorded and archived on the Museum's Fine Arts Museums of San Francisco. You can go <a href="https://www.youtube.com/watch?v=Av2VUc9HJ6Q" target="_blank">here on Youtube</a> to watch, and if you want to just see my presentation, it is at 1:08:37. </p><p>There were a number of really great other presenters, including Andre Bradley, Nigel Poor, Clifton Meador and Laura Barbata. The Day 2 presentations (Clif and Laura) <a href="https://www.youtube.com/watch?v=ngE7rVv6dMc" target="_blank">can be watched here</a>.</p>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-66373857299465521872021-08-22T16:19:00.002-07:002021-08-22T16:22:56.156-07:00Delirium part of 'Artists' Books Unshelved' video series.<div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; margin: 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><p><span style="font-family: inherit;">Catherine Alice Michaelis of <b>Artist’s Books Unshelved</b> has just uploaded a new episode to Bainbridge Island Museum of Art’s YouTube channel. This one displays my book, Delirium, and Kyoko Matsunaga’s The Skin Square, The Pupil Square; Dreams of Scientists, which were featured in the recent release, “The Stuff of Dreams.” </span></p></div><p style="text-align: left;"><span style="font-family: inherit;"><span style="background-color: white; color: #050505; white-space: pre-wrap;">You can find it <b><a href="https://www.youtube.com/watch?v=IW8nSkxPceo&list=PLHwzS6Uhxef6LYVrKCrZ9FYriOI8fixYU&index=6" target="_blank">here</a></b>. </span> </span></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn83MAcGDr9_MeKqey1v0zftshdZX1eNjXUDl7mJBJOpTvGFGsbv8IMKiYxrVCDwQriLJlz34MtUsl5Th7Yj94UecMVRobLijwRQUMqadjIvVmsKCuQHbE1okhIKa2gL4bjUBuebYHVxTR/s927/Screen+Shot+2021-08-22+at+4.20.32+PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="519" data-original-width="927" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn83MAcGDr9_MeKqey1v0zftshdZX1eNjXUDl7mJBJOpTvGFGsbv8IMKiYxrVCDwQriLJlz34MtUsl5Th7Yj94UecMVRobLijwRQUMqadjIvVmsKCuQHbE1okhIKa2gL4bjUBuebYHVxTR/w400-h224/Screen+Shot+2021-08-22+at+4.20.32+PM.png" width="400" /></a></div><br /><span style="font-family: inherit;"><br /></span><p></p>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-25485600661248626812021-08-22T16:13:00.001-07:002021-08-22T16:13:56.252-07:00Delirium selected as one the AIGA's 2020 '50 Books/50 Covers'<p><span style="font-family: inherit;">In June the<a href="https://www.aiga.org/" style="background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; color: #0035d2; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> AIGA</span></span></span></a><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #020202; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">, the professional association for design, announced the results of the 50 Books | 50 Covers of 2020 competition. My book, Delirium was one of those selected and one of the best-designed books of 2020. With 696 book and cover design entries from 36</span></span></span></span></span></span></span><span style="background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; color: #020202; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> countries, this year’s competition recognizes and showcases design excellence from a year marked by unparalleled change.</span></span></span></span></p><p style="-webkit-font-smoothing: antialiased; background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; color: #020202; line-height: 1.38; margin: 0px 0px 16px; outline: 0px; padding: 0px; vertical-align: baseline; word-break: break-word;"><span style="font-family: inherit;"><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Since its inception in 1923 as the Fifty Books of the Year competition, this annual event highlights AIGA’s continued commitment to uplifting powerful and compelling design in a familiar format we know and love. As book jackets became more prevalent, the competition evolved with the field to acknowledge excellence in cover design beginning in 1995 when the competition became known as </span></span></span><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: #1155cc; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-skip-ink: none; vertical-align: baseline;"><a href="https://www.aiga.org/professional-development/competitions-campaigns/50-books-50-covers" target="_blank">50 Books | 50 Covers</a></span></span></span></span></span></span></span></span></span><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">.</span></span></span><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> </span></span></span></span></p><p style="-webkit-font-smoothing: antialiased; background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; color: #020202; line-height: 1.38; margin: 0px 0px 16px; outline: 0px; padding: 0px; vertical-align: baseline; word-break: break-word;"><span style="font-family: inherit;"><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The 50 Books | 50 Covers winners can be viewed in the </span></span></span></span><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: #1155cc; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-skip-ink: none; vertical-align: baseline;"><a href="https://50books50covers.secure-platform.com/a/gallery?roundId=159" target="_blank">AIGA winner gallery</a></span></span></span></span></span></span></span></span><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">.</span></span></span></span></span></p><p style="-webkit-font-smoothing: antialiased; background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; color: #020202; line-height: 1.38; margin: 0px 0px 16px; outline: 0px; padding: 0px; vertical-align: baseline; word-break: break-word;"><span style="font-family: inherit;"><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The 2020 winning selections will be archived both in the </span></span></span><a href="https://designarchives.aiga.org/#/home" style="background: transparent; border: 0px; box-sizing: border-box; color: #0035d2; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank"><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: #1155cc; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-skip-ink: none; vertical-align: baseline;">AIGA Design Archives</span></span></span></span></span></span></span></span></a><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">—a permanent, accessible, and historic collection of notable graphic design—and the </span></span></span><a href="https://findingaids.library.columbia.edu/ead/nnc-rb/ldpd_15276992" style="background: transparent; border: 0px; box-sizing: border-box; color: #0035d2; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank"><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: #1155cc; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-skip-ink: none; vertical-align: baseline;">AIGA collection at the Rare Book and Manuscript Library</span></span></span></span></span></span></span></span></a><span style="background: transparent; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background: transparent; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: transparent; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> at Columbia University’s Butler Library in the city of New York.</span></span></span></span></p><p><span style="font-family: inherit;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #020202; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">AIGA thanks this year’s panel of esteemed jurors: </span></span></span><a href="https://50books50covers.secure-platform.com/a/page/judging" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" target="_blank"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-skip-ink: none; vertical-align: baseline;"><span style="color: black;">Gail Anderson (chair), Jennifer Morla, Paul Sahre, and Kelly Walters</span></span></span></span></span></span></span></span></span></a></span><a href="https://50books50covers.secure-platform.com/a/page/judging" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; text-decoration-skip-ink: none; vertical-align: baseline;"><span style="color: black;">.</span></span></span></span></span></span></span></span></span></a><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #020202; font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #500050; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> </span></span></span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: #020202; font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; box-sizing: border-box; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The jurors evaluated each work’s integrated design approach, including concept, innovation, and visual elements such as typography, illustration, and/or information design.</span></span></span><span style="font-family: inherit;"> </span></p><p>I would like to thank the AIGA and the jurors for selecting my book.</p>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-36655840253943051512021-02-25T08:13:00.001-08:002021-02-25T08:13:54.605-08:00Dueling Covid Books discussion on Sat., Feb. 27.<p>This coming Saturday! </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Bqci-TDd5u9ljAXxjaQ9xjhgEfUyFSCC5rifDdUmfDA61d8d5nKUz5UoZ4DvBCSVbrVhk0rwr8Xxa49KZN3lFO67Wq9mqbZwHcg3DVvwoDciRWLM83xOTzXnegL3qRqd5rqaBs81fDXq/s873/dueling-covid-books.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Bqci-TDd5u9ljAXxjaQ9xjhgEfUyFSCC5rifDdUmfDA61d8d5nKUz5UoZ4DvBCSVbrVhk0rwr8Xxa49KZN3lFO67Wq9mqbZwHcg3DVvwoDciRWLM83xOTzXnegL3qRqd5rqaBs81fDXq/s16000/dueling-covid-books.jpg" /></a></div> This event, hosted by Chantal Zakari and Mike Mandel, as part of the events at their virtual table at the Printed Matter Virtual Art Book Fair.<br class="Apple-interchange-newline" /><p></p><div dir="auto" style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Georgia; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;">Register for the zoom talk: <a href="mailto:chantal@thecorner.net">chantal@thecorner.net</a> V<span color="var(--primary-text)">isit their virtual table at the fair: </span></span><span color="var(--primary-text)" style="font-size: small; white-space: pre-wrap;"><span color="var(--primary-text)"><a class="esr5mh6w nhd2j8a9 kvgmc6g5 cxmmr5t8 rz4wbd8a qt6c0cv9 p7hjln8o r7d6kgcz rq0escxv f1sip0of e9989ue4 oygrvhab qu0x051f i1ao9s8h esuyzwwr py34i1dx gpro0wi8 a8nywdso lzcic4wl nc684nl6 jb3vyjys hcukyx3x oajrlxb2 g5ia77u1" href="http://mandel-zakari.pmvabf.org/?fbclid=IwAR28viZpGkOUyM4NUN4h-Iv4mt6h3oxNumi3pjajdz8s2NsIyEam0jrTmaY" rel="nofollow noopener" role="link" style="background-color: transparent; border: 0px none; box-sizing: border-box; color: var(--blue-link); cursor: pointer; display: inline; list-style: outside none none; margin: 0px; outline: currentcolor none medium; padding: 0px; text-align: inherit; text-decoration: none;" tabindex="0" target="_blank"> mandel-zakari.pmvabf.org</a> </span><span color="var(--primary-text)">(live beginning Feb 24.) </span></span></div>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-13122738696002843542021-02-19T14:44:00.008-08:002021-02-20T17:51:02.935-08:00DELIRIUM: An Artists' Book on the Pandemic<p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtY0j4dgid-tWse7oeCcu0ipY0TVqwQC-i0w-CVxsdsNcr814GBWEoqD7zxPVANnOCju9WaOnCKG9fCYMEC35onZN47sC8uEglpso0xZuhqOAJUfzP04yojCeOnWYi2CJga2Ru6ahwSG2M/s2048/delirium-cover-screen.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1572" height="603" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtY0j4dgid-tWse7oeCcu0ipY0TVqwQC-i0w-CVxsdsNcr814GBWEoqD7zxPVANnOCju9WaOnCKG9fCYMEC35onZN47sC8uEglpso0xZuhqOAJUfzP04yojCeOnWYi2CJga2Ru6ahwSG2M/w465-h603/delirium-cover-screen.JPG" width="465" /></a></div><br /><span class="s1" style="font-kerning: none;"><br /></span><p></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;">In 1866 Fyodor Dostoyevsky published “Crime and Punishment”. Towards the end of the book, his hero, Rodion Romanovich Raskolnikov, has a feverish dream. This strangely prophetic text, quoted and used as the narrative line in this book, is from Richard Pevear and Larissa Volokhonsky’s 1992 translation, published by Vintage Classics. Here is the brief text:</span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); background-color: white; font-family: Helvetica; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 16px;"><span class="s1" style="font-kerning: none;"></span><br /></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); background-color: white; font-family: Helvetica; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 6px;"><span class="s1" style="font-kerning: none;">“<i>He had dreamed that the whole world was doomed to fall victim to some terrible, as yet unknown and unseen pestilence spreading to Europe from the depths of Asia. Everyone was to perish, except for certain, very few, chosen ones. Some new trichinae had appeared, microscopic creatures that lodged themselves in men’s bodies. But these creatures were spirits, endowed with reason and will. Those who received them into themselves immediately became possessed and mad. But never, never had people considered themselves so intelligent and unshakeable in the truth as did these infected ones. Never had they thought their judgments, their scientific conclusions, their moral convictions and beliefs more unshakeable. Entire settlements, entire cities and nations would be infected and go mad. Everyone became anxious, and no one understood anyone else; each thought the truth was contained in himself alone, and suffered looking at others, beat his breast, wept, and wrung his hands. They did not know whom or how to judge, could not agree on what to regard as evil, what as good. They did not know whom to accuse, whom to vindicate</i>.”</span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px; min-height: 16px;"><span class="s1" style="font-kerning: none;"></span><br /></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">During the early days of the pandemic, the news media and print and online media, started producing illustrations of what a coronavirus looked like. This came from an understandable public thirst for information about how this deadly virus and how it worked. Many of the images produced were stunning: surprisingly lush and jewel-like. The colors used were often saturated and seductive. But of course, those beautiful colors and that beautiful subject matter, the virus itself, has already killed almost half a million people here in the US and millions around the world.</span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px; min-height: 16px;"><span class="s1" style="font-kerning: none;"></span><br /></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO-hAWDYqBK2_h4lW5bS_UXX_IyT33ush3OrG_wBI3VRfWNiJXMvU9R4ukcjP2V9DaqVXJt7L5vVrN7EpZDWdaWaGQbhTqirT9DfjwLAwQOEL4Emm3S43XLB0OF2c1IgqXWhUnBQ743in4/s2048/delirium_spread2.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1481" data-original-width="2048" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO-hAWDYqBK2_h4lW5bS_UXX_IyT33ush3OrG_wBI3VRfWNiJXMvU9R4ukcjP2V9DaqVXJt7L5vVrN7EpZDWdaWaGQbhTqirT9DfjwLAwQOEL4Emm3S43XLB0OF2c1IgqXWhUnBQ743in4/w400-h289/delirium_spread2.JPG" width="400" /></a></div><br /><span class="s1" style="font-kerning: none;"><br /></span><p></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">At the same time that I was collecting all of the images on the internet, (more than 120 edited down to 36,) columnists and essayists started publishing references to previous historic pandemics that humanity had survived. We looked to these stories of the past for solace and hope. Many had not heard about even the most recent global epidemic, that of the great influenza pandemic of 1918-1919 that had killed many of our grandparents or great-grandparents including the grandfather of the 45th president of the USA. We read these articles and books to create context for the current spread of COVID-19. There were many examples cited of the numerous plagues of medieval times like the bubonic plague also known as the Black Death, which killed half of Europe. But the historical record went back much further, with classical references to the Great Plague in Athens in 430 BCE and the Justinian Plague of 542 CE. Newer books like Albert Camus’ <i>The Plague</i>, and recent movies like <i>Contagion</i> and <i>Outbreak</i> scared us and were objects of fascination.<span class="Apple-converted-space"> </span></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px; min-height: 16px;"><span class="s1" style="font-kerning: none;"></span><br /></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">But the text cited above, one small paragraph from perhaps the most famous of Dostoyevsky’s novels, struck me as the most startling if for no other reason than its prescience. As I was looking for a text to use for the visual book I had started working on, this one seemed the most powerful and apropos.<span class="Apple-converted-space"> </span></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px; min-height: 16px;"><span class="s1" style="font-kerning: none;"></span><br /></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">The manipulated images I used were collected from the web during the first four months of the pandemic. As I mentioned above, they were originally made as small web illustrations to show the public what the coronavirus looked like. The original illustrations were then significantly manipulated and changed in color, and by being converted to large half-tone patterns. This was done by separating the four CMYK layers into discreet channels, converting each file into different dither or halftone patterns, and then reassembled them back into a new file with the four process colors.</span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;"><br /></span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;"></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">The narrative text is driven by Raskolnikov’s delirium, his fever dream. I wanted the large full-bleed images to be the theatrical visual accompaniment to that short text: hallucinogenic and furiously color saturated, and using the highly lurid language of a feverish nightmare.</span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px; min-height: 16px;"><span class="s1" style="font-kerning: none;"></span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1MB_r6e_S6zoKeqrcS7iWfA164fxeTm39MA2tipWdkf0aD0uNsT0xm6cdn44xU2dOEYHJImpnQsXTCstioTl9ERxsXi_Wv5lCHq-QLwexp-qTSxk_GxyKOqzAc-Y3BmOsIMlnlaoWljkT/s2048/delirium_spread4.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1395" data-original-width="2048" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1MB_r6e_S6zoKeqrcS7iWfA164fxeTm39MA2tipWdkf0aD0uNsT0xm6cdn44xU2dOEYHJImpnQsXTCstioTl9ERxsXi_Wv5lCHq-QLwexp-qTSxk_GxyKOqzAc-Y3BmOsIMlnlaoWljkT/w400-h272/delirium_spread4.JPG" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUwmzA_ArvWCYee76MA4k4KDASIVYUVbConFn-bxLX4e0LYx5_PoUkKdjoy9pZLMxKv57fkygAIJEIvh9uXb5LfU2Oa5MJzaw4u5gCoOzB0Ov2iSACm-gI2JUc9L5HJGuhI3dDhWr-iJQ7/s2048/delirium_spread3.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1445" data-original-width="2048" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUwmzA_ArvWCYee76MA4k4KDASIVYUVbConFn-bxLX4e0LYx5_PoUkKdjoy9pZLMxKv57fkygAIJEIvh9uXb5LfU2Oa5MJzaw4u5gCoOzB0Ov2iSACm-gI2JUc9L5HJGuhI3dDhWr-iJQ7/w400-h283/delirium_spread3.JPG" width="400" /></a></div><br /><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px; min-height: 16px;"><br /></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">I have long made use of manipulated CMYK images using various swapped separation colors and different halftone patterns. Indeed my 1979-1980 MFA Thesis work at Visual Studies Workshop was in two parts, a written text book that I edited called Options for Color Separation (VSW Press), and a large portfolio series of screen-printed portraits called Portrait Constructions, that used large half-tone and other patterns. Later I made several other artists' books that used enlarged and/or swapped multi-channel process color methods. This included <i>Civil Defense</i> (1982), <i>High Tension</i> (1993), <i>Long Story Short</i> 1997), <i>Paradise Lost</i> (2013), and <i>Ojalá</i> (2015).<span class="Apple-converted-space"> </span></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px; min-height: 16px;"><span class="s1" style="font-kerning: none;"></span><br /></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">My obsession with patterns and half-tone dots comes from way back. I learned traditional photographic printing darkroom and photo-mechanical work in grad school in the seventies doing my own artwork and then working for the Visual Studies Workshop Press. I served as Chip Benson’s assistant when he did a two-week offset darkroom workshop at VSW. I then trained as an optical color-separator in 1979-1980 with Harry Christen of Christen Lithographic Lab in Rochester. Then I worked as the darkroom camera operator at Open Studio, an artists’ press where we did work for Aperture, most of the galleries in New York and Boston, and Howard Greenberg Gallery in Woodstock, doing 300 line duotones and tritones. And I had my own business for eight years after that doing all sorts of pre-press and design work.</span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;"> </span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQKCCvlUBSryJMd7O29CioH62rSump7DKeZPybXW8YYJhi8MGrtaJleJOvZMFCqxXO5Icc33RhlX_dCLOqrlcCWfTzx7Cd_j0ORnFQMMbO1YKT9ltMgMsEL4AWBSldnYn1DL7a84cYNULA/s2048/delirium_spread5.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1490" data-original-width="2048" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQKCCvlUBSryJMd7O29CioH62rSump7DKeZPybXW8YYJhi8MGrtaJleJOvZMFCqxXO5Icc33RhlX_dCLOqrlcCWfTzx7Cd_j0ORnFQMMbO1YKT9ltMgMsEL4AWBSldnYn1DL7a84cYNULA/w400-h291/delirium_spread5.JPG" width="400" /></a></div><br /><span class="s1" style="font-kerning: none;"><br /></span><p></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">Delirium is printed in 2020 by archival pigmented inkjet onto Mohawk acid-free paper, 60 pages, in an edition of 30, handbound by the artist, and signed and numbered. The book comes in an archival, protective, phase box. The dimensions are 37cm x 28.5cm x 1.5cm (14.5" x 11.25" x 5/8").</span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;"> </span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">The font used for the text is Northwoods, by Cultivated Mind Foundry in Vancouver, BC, Canada. It was picked because of the way that it looks both like type used in a late 19th century schoolbook primer, yet still appears quite modern. Like many of their digital fonts, it was originally created with the careful strokes of a sign-painter’s paintbrush.</span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;"><br /></span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">The book is not inexpensive, but it uses over $225 dollars in just archival pigmented ink and archival papers and book cloth for each volume. In addition, each book requires approximately two days of labor to print, handbind and finish.</span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;"> </span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Verdana; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 4px;"><span class="s1" style="font-kerning: none;">ISBN: 978-1-63649-669-6 ; $650.<br />© 2020 Philip Zimmermann.</span></p>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-57838630991192756562021-02-17T14:45:00.002-08:002021-02-19T14:25:53.779-08:00Virtual Visit During the Pandemic<p> I neglected to post <a href="https://louiselevergneux.com/half-measure-studio/2020/9/28/arizona-and-its-treasures" target="_blank">a link</a> to a virtual visit that I did with Canadian book artist Louise Levergneux from this past Fall. Louise and her husband have been doing a grand tour of North America, visiting various other book artists and their studios. Originally they were to visit me in Tucson at the end of March, but the pandemic hit that month and everything closed down.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4R8a4SteD7fbkrYTOeIpDJAkIMKmMHVQV5gQldVXftuZqjb8ZZkanzu2A7iSx2kS6AAobYY92LRBEuXp-8a1IOG9h3Qj1GFuWodcOkLZui6u0sQaCCYz1vAsW67tICY9HrUtVbz7mwD_g/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4R8a4SteD7fbkrYTOeIpDJAkIMKmMHVQV5gQldVXftuZqjb8ZZkanzu2A7iSx2kS6AAobYY92LRBEuXp-8a1IOG9h3Qj1GFuWodcOkLZui6u0sQaCCYz1vAsW67tICY9HrUtVbz7mwD_g/w400-h400/11%252BIMG_1070.jpg" width="400" /></a></div><br /><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>They ended up stranded in Casa Grande, near Picacho Peak, for six months and were never able to physically make it down to Tucson. So Louise posted <a href="<https://louiselevergneux.com/half-measure-studio/2020/9/28/arizona-and-its-treasures>" target="_blank">this virtual visit on her blog</a> and generously showed some of my work and some pictures of my studio.</p><p>Thank you, Louise. I hope that you will be able to come through Southern Arizona again sometime and that we can get together in person then.</p>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-39169913586826783942020-09-30T18:12:00.005-07:002021-02-17T15:58:59.445-08:00Swamp Monsters Published Right Before the 2020 Presidential Election<p><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span></p><div class="separator" style="clear: both; text-align: center;"><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ95C97DitOSrL6WUmjPUTnTXFto4IColsdkqQMGXpRe-2EpD9enPFWjmYSj3xXcI3puiFR1VJ5EptEwU-BzeSYBPa3RGqBgOa3fczbZ_Beh0c0029KQrT08AnlbjPEe9LQsx-v0Ro1Ush/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="436" data-original-width="640" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ95C97DitOSrL6WUmjPUTnTXFto4IColsdkqQMGXpRe-2EpD9enPFWjmYSj3xXcI3puiFR1VJ5EptEwU-BzeSYBPa3RGqBgOa3fczbZ_Beh0c0029KQrT08AnlbjPEe9LQsx-v0Ro1Ush/w400-h272/swampmonsters_main+blogimage.jpg" width="400" /></a></span></div><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /><span style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">It's been a while since I've posted here. The year 2020 has been quite an earthquake for all of us living on this stressed-out planet. Aside from the terrible COVID-19 pandemic, we have been in the middle of the most unusual and stressful election cycle for president that this country has ever seen. This is thanks to the amoral, narcissistic, criminal conman who inhabits the White House.</span></span><p></p><p><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">In order to try to attempt to fight against his reëlection campaign and the morally bankrupt Republican Party, I decided to try to do something that would use their own 2020 Republican National Convention against these forces of evil and anti-democracy.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip8vjW4FzZsyZrqhq5CLQvVZSNO3edRnZkXTEh3dJWMoRCVrG_udhkNW87y381MaSxWLhfdg45SmGtVx8efql7475ZjlX9bOnBTsO6ql60h8TSqGuGjaxIJdiXB8yADgQNpIjopXV4b9Xq/s640/IMG_2329+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="640" height="373" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip8vjW4FzZsyZrqhq5CLQvVZSNO3edRnZkXTEh3dJWMoRCVrG_udhkNW87y381MaSxWLhfdg45SmGtVx8efql7475ZjlX9bOnBTsO6ql60h8TSqGuGjaxIJdiXB8yADgQNpIjopXV4b9Xq/w400-h373/IMG_2329+2.jpg" width="400" /></a></div><span style="color: #262626; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Here is the result: The Ice Plant (Los Angeles) and Spaceheater Editions (Tucson) announced the co-publication of </span><em style="border: 0px; color: #262626; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Swamp Monsters</em><span style="color: #262626; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> on September 21, 2020, just three and a half weeks after these photographs from the 2020 Republican National Convention were taken. </span><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZpa3AW0fdeR-rVb7OCpYDb341ojDKjP_bpx7Ky4-qC3hHUcW1J-idu9PBYadF0Vx8ZPStoPoYIu-kxOymjyygMjVPSEpBBLYGUAWDpPwmUNJQOhsgW60T3yZs-2AWwkUwQbI9X0J7JnZE/s1000/spaceheater_03.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZpa3AW0fdeR-rVb7OCpYDb341ojDKjP_bpx7Ky4-qC3hHUcW1J-idu9PBYadF0Vx8ZPStoPoYIu-kxOymjyygMjVPSEpBBLYGUAWDpPwmUNJQOhsgW60T3yZs-2AWwkUwQbI9X0J7JnZE/w300-h400/spaceheater_03.JPG" width="300" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8kYAtq6Hx4RtFa57EYh5DVGbGZ-vrIuo36MqzTYFgMyOgrqRZv_SFAZTywJ8DBYNTuUp1ui9XmZSRBS7LNKZK3GEoYf7VnMHArl7toOV3q91CAgdB084aGHq7aiLbC2HmrFi_lpzTxE-k/s1000/spaceheater_05.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="751" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8kYAtq6Hx4RtFa57EYh5DVGbGZ-vrIuo36MqzTYFgMyOgrqRZv_SFAZTywJ8DBYNTuUp1ui9XmZSRBS7LNKZK3GEoYf7VnMHArl7toOV3q91CAgdB084aGHq7aiLbC2HmrFi_lpzTxE-k/w300-h400/spaceheater_05.JPG" width="300" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNzwaWtk_WOJ4P5VVmdoeit3VxhK6dD2JyXc2u2ivJxBYcFPZqnlSdMvAiJiEez7FXlls9kwsnG8zJXaEQal0B7VkRbJKpHvs59ObJIZm4oYFfE7TLhLpE_S9ZtVOTIFVjVAbW4tEODL_C/s1000/spaceheater_02.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNzwaWtk_WOJ4P5VVmdoeit3VxhK6dD2JyXc2u2ivJxBYcFPZqnlSdMvAiJiEez7FXlls9kwsnG8zJXaEQal0B7VkRbJKpHvs59ObJIZm4oYFfE7TLhLpE_S9ZtVOTIFVjVAbW4tEODL_C/w300-h400/spaceheater_02.JPG" width="300" /></a></div><p><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Swamp Monsters</em> is a limited newsprint edition of 666 copies and commemorates that historically frightful 2020 Republican National Convention (</span><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">August 24-27, 2020) </span><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">with a series of photographs made by me (Philip Zimmermann) as the spectacle unfolded on the television screen. This rogue's gallery of hideous video portraits was printed in Paris, France by printnewspaper.com in full color in an unbound tabloid newspaper format. </span></p><p><span style="color: #262626; font-family: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Many thanks to Clif Meador of the Studio of Exhaustion for suggesting the title.</span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #262626; font-family: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Thanks also go to Mike Slack of The Ice Plant for editing the 120 images into this commemorative 56-page newspaper, massaging the color-separated images for newsprint, and for designing it. A crazy collaboration that felt necessary somehow.</span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;"><br style="color: #262626;" /><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">A portion of the proceeds will be donated to the Arizona Democratic Party and other Arizona Democratic Candidates in the fall 2020 election cycle. Let’s turn AZ blue!</span></span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;"><br /></span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;">If you would like to see a video of the book, plus all of the two-page spreads, go to the Spaceheater Editions web page <a href="http://spaceheat.com/books/swamp-monsters" target="_blank">here</a>. <br style="color: #262626;" /><br style="color: #262626;" /><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">To purchase, send $12.95 to the PayPal account which is pzim@spaceheat.com . The price includes postage. Please be sure to include a shipping address.</span></span></span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: #262626; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></span></span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: #262626; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">There are some alternative payment methods: </span></span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; caret-color: rgb(0, 0, 0); font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">• by Venmo (to Philip-Zimmermann-2 ) </span></span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; caret-color: rgb(0, 0, 0); font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">• or by regular paper check mailed to me (the old fashioned way, to 5467 E. Placita del Mesquite, Tucson, AZ 85712)</span><span style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> </span></span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">• or from <a href="https://www.printedmatter.org/catalog/56761/" style="border: 0px; color: #999999; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: bold; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank">Printed Matter</a> in NYC</span>. </span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">• or you can purchase copies from <a href="http://www.vampandtramp.com/html/home.html" style="border: 0px; color: #999999; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: bold; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank">Vamp & Tramp, Booksellers</a>. </span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></span></p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: #262626; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Problems? send an Inquiry email to <philipzimmermann @ gmail.com>.</span></p><p style="border: 0px; font-family: Verdana, Helvetica, Arial, sans-serif; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 4px; outline: 0px; padding: 0px; vertical-align: baseline;"><span face="-apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="border: 0px; color: #262626; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></span></p>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-85665948422715827942019-04-22T18:07:00.004-07:002019-04-26T18:59:46.924-07:00The LAABF 2019The week before last I attended the Los Angeles Art Book Fair for the first time. It has been operated by Printed Matter Inc. in NYC since 2013 but was not held last year due to the untimely death of the primary fair organizer, Shannon Michael Cane.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi65xOMaCCNEcrsmYSYSgCpzY7h9-1QMGZRd0XD5CoHfOH6lC-E4OBTI3AfCEkoBoXKloUFvx2r8TDdcIhDNyUxq0N-d4jTFy6e4kCUzyXmWda6_BUseHtkc2KQH8YzSrCjh5jYhmBnmsgm/s1600/splashimage_LAABF2019.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="820" data-original-width="656" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi65xOMaCCNEcrsmYSYSgCpzY7h9-1QMGZRd0XD5CoHfOH6lC-E4OBTI3AfCEkoBoXKloUFvx2r8TDdcIhDNyUxq0N-d4jTFy6e4kCUzyXmWda6_BUseHtkc2KQH8YzSrCjh5jYhmBnmsgm/s400/splashimage_LAABF2019.jpg" width="320" /></a></div>
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I had read that the fair had grown a great deal since it's beginnings and was starting to rival the New York MoMA-PS1 fair in terms of the number of vendors and attendance. Max Schumann, the Director of Printed Matter told me that this year's fair in LA had the greatest number of vendor table of any fair so far, over 390.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDF3Y7vm0cqk3jqvI6uldJKP29Of1mD-2tluCprAgCPaaIlOUrSmBGTXUwoh76qkadDzKk8eo4b22Fft69K_OwGLcAnf-o8O7kzFIi42ZU8X5T53_us2FyjNDv4q2ayxg12x5-0Ta0Z2s2/s1600/LAABF-entrance_1000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDF3Y7vm0cqk3jqvI6uldJKP29Of1mD-2tluCprAgCPaaIlOUrSmBGTXUwoh76qkadDzKk8eo4b22Fft69K_OwGLcAnf-o8O7kzFIi42ZU8X5T53_us2FyjNDv4q2ayxg12x5-0Ta0Z2s2/s400/LAABF-entrance_1000px.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7FiUFq0Dt7AYQNoWV3_PYbmjkqR3XzIpYq74CsHy5QPunCVKoAlWaUQBFakAojODIVfq-owxCNy_L091Jz-oXTTUFOR7FCYaGa3Oi08e6XeQss9DarhgpdeDt-GoiVkYuo_cou8scj4Ak/s1600/kruger-1000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="722" data-original-width="1000" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7FiUFq0Dt7AYQNoWV3_PYbmjkqR3XzIpYq74CsHy5QPunCVKoAlWaUQBFakAojODIVfq-owxCNy_L091Jz-oXTTUFOR7FCYaGa3Oi08e6XeQss9DarhgpdeDt-GoiVkYuo_cou8scj4Ak/s400/kruger-1000px.jpg" width="400" /></a></div>
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On the backside of the building was a very large mural by Barbara Kruger that had just been installed recently.<br />
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Here are some images from the book fair itself:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhacAVcdzwfqbS0RMGwD8kM9VIF_urjIFiaNvSnMRkNKq86wG_bN0Ogeq2gt99Aejm-gTTaFgfrspWRGsxiNbZkJLT1dxaP_JlMIN0fah6FzmwRKX2N3SWEudUaIKSJPwBRDrDAXvn76lNV/s1600/LAABF_bookfair-3_1000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhacAVcdzwfqbS0RMGwD8kM9VIF_urjIFiaNvSnMRkNKq86wG_bN0Ogeq2gt99Aejm-gTTaFgfrspWRGsxiNbZkJLT1dxaP_JlMIN0fah6FzmwRKX2N3SWEudUaIKSJPwBRDrDAXvn76lNV/s400/LAABF_bookfair-3_1000px.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7EKingfb8zVQZWi_qpJ_txW1GUBuBK0xVByQXZUgf_YLLQDCSF6rY7QTSieJG7ByMWvLsZEDsuhwFCeuJE85QWIbQM5l05RsUOPGm5_uWT9yYXaUWFogolvXJj_phKzrkGq9XkbPV4dJY/s1600/LAABF_bookfair-1_1000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7EKingfb8zVQZWi_qpJ_txW1GUBuBK0xVByQXZUgf_YLLQDCSF6rY7QTSieJG7ByMWvLsZEDsuhwFCeuJE85QWIbQM5l05RsUOPGm5_uWT9yYXaUWFogolvXJj_phKzrkGq9XkbPV4dJY/s400/LAABF_bookfair-1_1000px.jpg" width="400" /></a></div>
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It turned out to be a really fun four-day trip. It’s so nice to have a cheap hour-and-a-half direct flight rather than the usual hassle of traveling to NYC. The main expense was the hotel for three nights and the very good meals that we had, not-to-mention the large number of books that we got, but worth it. We stayed at a Japanese chain hotel in Little Tokyo called Miyako Hotel, and we were among the very few non-Japanese tourists staying there. The best thing was that the hotel was literally one short block away from the Geffen Contemporary at MoCA where the fair was held. It was so nice to be able to walk back in less than five minutes and dump book loot in our hotel room. </div>
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We had some truly amazing meals while there. LA is clearly a foodie town. Some of the restaurants we went to were: Sushi Enya (supposedly best sushi in Little Tokyo), a couple of really great Ramen places, Daikokuya and Mr Ramen, weird Japanese breakfast stuff at Café Dulce, and some really great lunch food at the food trucks outside the book fair including the best shrimp and fish tacos I have ever had. Finally, around the Hauser & Wirth complex in the Arts Warehouse district, we ate at an expensive but fantastic restaurant called Manuela, and a terrific German wurst and beer place called Wurstküche Restaurant.<br />
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It was nice seeing Skuta (below), who was at the LAABF making sure that the Artbook/Steidl bookshop area at the fair was running smoothly. When we were at the Hauser + Wirth complex we were impressed with the Artbook Bookshop there. It was only a short ten-minute walk from the Geffen Contemporary and Little Tokyo. He also told us to be sure to stop by an ice cream shop right next to Hauser + Wirth building. It is called Salt and Straw, and he claimed it was the best ice cream in the US. Of course we had to try it, and it was extremely delicious.<br />
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The book fair itself is in a much nicer locale than the NYABF and MoMA-PS1: really large rooms with super warehouse style high ceilings. Everything seemed so much less hot and claustrophobic, with none of the little warren-like rooms of PS1. It was so much easier to navigate and find ones’ way back to areas or specific tables. In short a much much nicer experience. However, most of the book vendors and publishers that I talked to said that they sold far better in NYC than LA. Some people made the mistake of getting a table in the equivalent of the PS1 ‘Zine area of the fair where tables were $160. They don’t call it the ‘Zine area in LA, but it was the same sort of vendors on the whole, though not quite as flea-market-y as at PS1. One of the things that I noticed there was that EVERY table in that section of the book fair was full of Rizo-printed crap. The Rizo phenomenon has clearly peaked. I would say that 80% of it was pretty bad. Of course, I shouldn't generalize, there are some phenomenal Rizo book pieces out there like those done by Tricia Tracy, Bridget Elmer, Emily Larned, Clif Meador and some others, but a great deal of it is pretty bad. [ Full disclosure, I am not a huge 'zine fan. ]</div>
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Another printing effect which has reached cliché level, I am afraid: metallic or white ink on black paper. I saw dozens of examples. I think that Clif Meador started something with the Tbilisi hotel piece that he did as an enclosure in the CAA Journal years ago. The Richard Mosse books probably help too. Anyway, there are lots and lots of them. Some were done on the HP Indigo 5000 which allows white ink, but most of the ones that I saw were metallic silver ink printed by offset.<br />
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Some of the many other people that we ran into were these: I talked for a long time to Paul Zelevansky, who is back living in NYC. I had never seen<span class="Apple-converted-space"> </span><i class="">24 Pictures About Pictures</i>. Also, Aaron Cohick had a table in that 'zine area. It was great seeing Kate Albers, our former colleague at the University of Arizona, who is now teaching at Whittier College in LA. Also Tricia Tracey and on the last day, right before we left, we ran into Inge Bruggeman, which was a very nice surprise since we thought we were going to miss her since she was going to be there only on Sunday, the last day of the fair.<br />
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The crowds were large but not sure if they were the same as last year. Supposedly in 2017, they had 35,000 people in LA, very similar to NY, but it seemed like far fewer. I think that that might be due to the much larger spaces that the book fair occupied. Many vendors were the same as in NYC. It was nice to be there Friday morning, before the general public, the hours set aside for buyers and collectors only, just like the NYABF.<br />
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The books we bought were a combination of design and photo/artists' books. We finally got a few smaller books from AnticHam since I always feel bad that I can’t afford their screen-printed books.<br />
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This is the full haul, minus a few books that we ended up ordering online since we couldn't carry them back on the airplane back to Tucson.<br />
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There are also a couple of books that I really like from Gato Negro in Mexico City. The Aperture book in the second photo,<i class=""><span class="Apple-converted-space"> </span>Feast for the Eyes</i>, about food in photography, sounds like a crappy book, but it’s actually really great. A wonderful read with all sorts of amazing food photos from the 19th century through today. It’s a great read.</div>
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Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-63899590525760252442019-02-13T09:39:00.002-08:002019-02-13T09:39:17.860-08:00 Insight on Artists' Books: A Panel Discussion in Special Collections at the University of Arizona Main LibraryOn Tuesday, February 26th, between 6 and 8 pm, there will be a panel discussion on artists' books. The official title is <a href="https://speccoll.library.arizona.edu/events/insight-artists-books" target="_blank"><i>Insights on </i></a><i><a href="https://www.blogger.com/null" target="_blank">Artists' Books: A Panel Discussion</a></i>. Roger Myers, of Special Collections, organized this event in conjunction with his excellent show<i>,</i> <a href="https://speccoll.library.arizona.edu/exhibits/artists-books" target="_blank"><i>Artists' Books: Photography + Imagination</i></a>, mounted to coincide with the College Book Art Association (CBAA) Biennial Meeting held here during the first week of January. It's a wonderful show, and if you are local, be sure to go by and see it in the Main Library building.<br />
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If you would like to attend the panel lecture, they are asking interested people to <a href="https://www.uafoundation.org/NetCommunity/events/InsightonArtistsbooks" target="_blank">RSVP</a>.<br />
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My co-panelists at the February 26 evening event are Professor <a href="https://karenzimmermannhere.com/" target="_blank">Karen Zimmermann</a>, my wife and <a href="https://art.arizona.edu/people/directory/kzim/" target="_blank">Assistant Director of the School of Art</a>, who will do a presentation on typography and it's use in artists' books. Our third panelist will be Charles Alexander, recently moved back to Tucson from Texas. <span>Charles Alexander is an American poet, publisher, and book artist.
He is the founder, director and editor-in-chief of <a href="https://chax.org/" target="_blank">Chax Press</a>, an
independent press which specializes in innovative poetry and the literary book
arts. </span>The panel will be moderated by Roger Myers, <span class="st">Associate Librarian and Archivist</span> in Special Collections. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87_KF6xl15pwMln-uuQPLtNL3-O68jDF1rfeMgmptGBZCv3vZn_F8QxibqSMpPkKpi0dDgTzKpzcrpFme45w9pu1l-ZRdHWalB0JuuxeZMVP88rwgqcCISk48zEHz7MIcwTq-n7xgt_PE/s1600/Screen+Shot+2019-02-13+at+9.59.15+AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="431" data-original-width="902" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87_KF6xl15pwMln-uuQPLtNL3-O68jDF1rfeMgmptGBZCv3vZn_F8QxibqSMpPkKpi0dDgTzKpzcrpFme45w9pu1l-ZRdHWalB0JuuxeZMVP88rwgqcCISk48zEHz7MIcwTq-n7xgt_PE/s400/Screen+Shot+2019-02-13+at+9.59.15+AM.png" width="400" /></a></div>
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I will be giving a short general history of the artists' book as creative medium, and then focusing on how traditional 'art books' and 'photo books' differ from <i>artists' bookworks</i> where the book itself is a creative medium and not just a holder of reproductions of text or images. I will mention some of the identifying characteristics of each using as reference the Graphic Continuum Chart that I developed in 2016.<br />
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If you are in the Tucson area, I hope you will attend.<br />
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<br />Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-87192355436319340932019-02-07T15:24:00.001-08:002019-02-07T15:24:39.080-08:00Two New Shows on Opposite CoastsI am in two new artists' book shows that opened a few days apart, one in New York City, the other in Berkeley, CA. The UC Berkeley show, entitled <a href="https://ced.berkeley.edu/events-media/events/the-book-as-place-visions-of-the-built-environment" target="_blank"><b><i>The Book as Place: Visions of the Built Environment</i></b></a>, was curated by Julie Chen. It opened in the Environmental Design Library, 210 Wurster Hall on the UC Berkeley Campus and runs until May 17th. The pictures that I have seen of the show make it look like a very exciting one and I'm sorry to miss it. If I had gone to the <a href="http://www.codexfoundation.org/codex-2019/2019-schedule-of-events" target="_blank">CODEX</a> Book Fair this year I would have had a chance.<br />
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Here are two photos of the installation, both photographs are courtesy of Julie Chen, Curator.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2eS-fdEP44ychtVkDjktUPs85lcKewtFego7Z-C4YiZNE-WS5WEkvzN0QgLAgPoJYee3oZctAPNgNrcCgC43EpwTFieQGyB_j5_ps_-i2WB7C6AbsZun4iaBna9uouzpzqdb74bQgPoC/s1600/Book+as+Place+2.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2eS-fdEP44ychtVkDjktUPs85lcKewtFego7Z-C4YiZNE-WS5WEkvzN0QgLAgPoJYee3oZctAPNgNrcCgC43EpwTFieQGyB_j5_ps_-i2WB7C6AbsZun4iaBna9uouzpzqdb74bQgPoC/s400/Book+as+Place+2.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6o9Knzekd21JzGlKHl7Y2twG2RbvaJe093hnHDOP5KO2vveWzj1z2zEOAuqK6TIfv7qUZsvjhDtxFs6bJbqn-lNW36WHpplGRqVAJCQqmFTGtQP3LTijnyHqrkVJzi4M6XUyP1Z6c7Cmh/s1600/Book+as+Place+I.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6o9Knzekd21JzGlKHl7Y2twG2RbvaJe093hnHDOP5KO2vveWzj1z2zEOAuqK6TIfv7qUZsvjhDtxFs6bJbqn-lNW36WHpplGRqVAJCQqmFTGtQP3LTijnyHqrkVJzi4M6XUyP1Z6c7Cmh/s400/Book+as+Place+I.JPG" width="400" /></a></div>
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This year I decided not to go to CODEX, the biannual artists' book show in Richmond, CA, organized by Peter Koch. I had been to every previous one except the first one. My main reason to go is for social reasons: it's a great way to visit with good friends like Julie Chen, who I stay with, Sandra Krupa who also stays with Julie, and Toni Nelson, Julie's good friend from Salt Lake City. And all of us, along with Clif Meador and Barb Tetenbaum, always go to have at least one meal at Chez Panisse, always a big treat. Seeing the dozens of other friends who have tables at CODEX, or are attending, is also fun. Those include John Demeritt, Jack Ginsberg, Robbin Silverberg, Harry Reese, Rebecca Chamlee, Leonard Seastone, Alisa Golden, Bill and Vicky Stewart, and many, many others, depending on if they have a table or are attending that particular year.<br />
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CODEX itself has very high quality work and is always curated by Peter Koch. Although I really preferred the original hall where it was held, on the Berkeley Campus, the new location, the Craneway Pavilion in Richmond, is an old World War II tank factory, and is pretty great It is situated right on the water and the views out the windows are spectacular. But it is much harder to get to from anywhere else in the Bay area and has serious sun and lighting problems.<br />
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Over the years I have come to realize that only about ten or twelve of the tables at the CODEX Book Fair are of any real interest to me. There is some beautiful letterpress work there, but in the end, the New York Art Book Fair (or the LA Book Fair) is of more interest to me. Although I am definitely interested in artists' books that are not photographic, that genre is one of my primary interests, and there are usually only a handful of vendor tables that feature any photographic artists' books at CODEX. And the <a href="http://www.codexfoundation.org/codex-2019/2019-symposium" target="_blank">CODEX Book Symposium</a> that is mounted concurrently (for an additional $300 fee) is almost never of interest to me. They are usually painfully boring. I am sure I will go to CODEX again though, most likely to the next one in 2021. It is so much fun to spend time with good friends that are part of the artists' book tribe.<br />
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The other show that I am in is called <a href="https://centerforbookarts.org/event/politics-of-place/" target="_blank"><b><i>Politics of Place</i></b></a>, curated by Alexander Campos and Monica Oppen, at the Center for Book Arts in New York City. It is open from January 18th to March 30th, 2019. A description of the show is on their website: "<span style="font-size: small;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="background-color: white;"><span style="-webkit-text-stroke-width: 0px; display: inline !important; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">From the mechanisms of colonialism, to intractable wars, dis</span><i style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">place</i><span style="-webkit-text-stroke-width: 0px; display: inline !important; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">ment has become a catalyst to a contemporary discourse surrounding belonging, homeland and nationhood.</span><b style="-webkit-text-stroke-width: 0px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: bold; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> </b><span style="-webkit-text-stroke-width: 0px; display: inline !important; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">The</span><b style="-webkit-text-stroke-width: 0px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: bold; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> </b><span style="-webkit-text-stroke-width: 0px; display: inline !important; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Politics of Place highlights artist books, mainly from Australia and North America, both new world territories that share parallel histories, to explore the longstanding issues centered in 'indigeneity', enslavement, conflict-caused immigration. These issues reflect the undercurrent of political motives and decisions often de-centering and ignoring the voices of those displaced."</span></span></span></span><br />
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Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-7372190567284674962019-02-06T18:46:00.000-08:002019-02-12T17:27:43.392-08:00CBAA Biannual Meeting at the University of Arizona, TucsonOn January 3, 4, and 5, 2019, the School of Art, College of Fine Art and the University of Arizona hosted the College Book Art Association Biennial Meeting here in Tucson. Karen and I were the official hosts, but we had a terrific planning committee and many wonderful volunteers. The theme was <i>The Photographic Artists' Book</i> as mentioned in a previous post. Andrea Howlett, a graphic design student at the University, designed the conference logo, books made to look like a stylized camera, as well as the printed program.<br />
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We started the planning in December of 2017 when we agreed to take over having the meeting site in Tucson. Karen reserved the Tucson University Marriott hotel accommodations and signed the contract, reserved the ENR2 Building on campus for the session and meeting location. The day before the meeting, January 3rd, was the day that the 20+-member Board would have an all-day retreat, and Karen was able to rent a meeting room at the Tucson Botanical Garden –with their catering company taking care of food.<br />
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We put together a great group of people, including local arts people involved in photography and the arts like Mary Virginia Swanson, (known to all as Swanee), folks from the Center for Creative Photography like Emily Weirich, Roger Myers from Special Collections at the Main Library, doctoral students like Molly Kalkstein, and a number of other grad and undergrads students, plus local arts people like Maria Lee, all of whom would be indispensable.<br />
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The first full meeting of the Planning Committee was in April and after a fair amount of discussion we decided to try to get the very well-known Spanish photographer and artists' book maker, Cristina de Middel to be our keynote speaker. She is constantly traveling around the world for Magnum, the photo agency, so we didn't know if we could afford her travel budget, let alone her speaking fee.<br />
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<span style="font-size: x-small;">[Photo credit: Bruno Morais] </span><br />
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Cristina was very kind and agreed and said that she would reserve the date and offered to do the keynote speech for a very generous amount, given her national and international reputation.<br />
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We started to ask various campus entities about having book shows that would be in addition to the very large one that I was planning for the Joseph Gross Gallery in the School of Art. The Poetry Center volunteered to curate a show for their beautiful building, called <i>Artists' Books: Focus on Photography</i>. Roger Myers in Special Collections put together a really interesting show that is still up until May, called <i>Artists' Books: Photography and Imagination</i>.<br />
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<span style="font-size: x-small;">[One of the cases in the Poetry Center.]</span><br />
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In early May, when the semester was over, we started to plan out the program, with activities, plus the session subject matter that would tie-in to the conference theme. We also started contacting possible panel leaders to see if they were willing to participate. If you are interested in how the program finally evolved, you can still see it by going <a href="https://www.collegebookart.org/2019-Tucson" target="_blank">here</a>.<br />
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I started working on the book show that I curated for the Gross Gallery,<i> 50 Years of The Photographic Artists' Book</i>, in early June. I spent about 4 or 5 months going through about 1000 books that I thought would work for the show. By early September I got final budget numbers and knew that I would have to limit the show to eight large vitrines. With fewer cases I knew that I could use another area of the gallery to place video monitors. This would allow me to show more books as well as show some of the books that were in the cases with the pages being turned. I used a 4x8 piece of plywood (the size of each of the cases) to plan out each of the cases. I took photographs of the books in each numbered case so that I could recreate them during installation. I reduced the number of books in the cases to about 310 or so, plus shot and edited another in 123 videos for the monitor displays. The show was installed (cases built <i>in situ</i>) and books and labels placed, plus vinyl signage put up, from Nov. 15 to Nov. 19. Here is the banner that was out on Speedway Avenue to advertise the book show:<br />
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The Fall was a blur: organizing the CBAA event itself, making sure the printed program had no typos; coördinating the way-finding signage and tour group flags. It's too tiresome to list all of the loose ends here. The university closes down from December 23rd until January 2nd, so we really had to make sure all of the computer technology, name tags and lanyards, etc were done or in place by December 23rd. We also had the tote bags screen-printed in early December so that we were able to have them ready to stuff with all of the program, swag stuff, etc that week before Christmas.<br />
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The tote bag sported an image from a Dieter Roth book. This book was in the show.<br />
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Here is the tote bag stuffing party on December 17th in the Book Art and Letterpress Lab. We also had to corner-round all of the printed programs.<br />
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One of the highlights for me was Cristina de Middel's keynote address. She spoke much longer than the 45-50 minutes we had anticipated and we were so happy that she did. She is such a charming and good story teller that she had everyone hanging on her every word. She got a huge round of applause when she finished, and I had several people tell me that she gave one of the best lectures they had ever heard. Sadly, later, I heard that there were a couple of very conservative, commercial photographers who were upset by Cristina's talk. I wish I had been able to talk with them, because I found that extremely hard to believe and wanted to know why. I know the name of one of them, but do not want to publicize them here, mainly not to embarrass him. <br />
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We were glad that the event went so well, and happy that we all survived it. One of the most fun things was that we had a whole house-full of old friends staying with us. Most of them stayed several days longer after the CBAA event, and we were able to go hiking and do some other sight-seeing things –as well as share some great meals together.<br />
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<br />Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-15258739121906306782019-02-03T17:48:00.000-08:002019-02-12T17:31:19.618-08:00Book Show: Fifty Years of Photographic Books, 1968–2018Last December (2017) Julie Chen asked Karen if we would step in and have us take over as hosts of the January 2019 College Book Art (CBAA) Biannual Meeting. Usually there is a two year window for planning etc. Karen accepted and although I was hesitant, I did come around.<br />
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Since the University of Arizona is famous for it's Center for Creative Photography, it's artists' book collection in our Special Collections Library, plus our nationally-known Poetry Center, we thought that the theme for the CBAA meeting should be the photographic artists' book, have shows in all of the above, plus I would curate a show at the School of Art's Joseph Gross Gallery.<br />
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I wanted to put together a show that would expose the CBAA members to the huge variety of artists' books that use photographs. Of course many of the members know the classics like Ed Ruscha, but there are so many more that are not on their radar. Clif Meador and I have had many talks about why this is, and we have conjectured that it is partially becasue many of the members are letterpress people and letterpress is not that great a medium for photographic images. On the other side of the coin, I wanted to show the photographic community here in Tucson that there is a huge world of photographic artists' books that go beyond Ed Ruscha or Paul Graham.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrpgNf7r4zlWxnq4kocm00X_O0Sw-j-RqKfSd5tf9XIcCOX56Dg5_qHHnkm-ZJQI_qYrr09Q2ZPU67kCKgRem9uaw7tz7lCby_pvKmHBkYnemhu-JeEQTB5fAkue8HdgNASoWocyKWxoon/s1600/postcard-front.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="910" data-original-width="1347" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrpgNf7r4zlWxnq4kocm00X_O0Sw-j-RqKfSd5tf9XIcCOX56Dg5_qHHnkm-ZJQI_qYrr09Q2ZPU67kCKgRem9uaw7tz7lCby_pvKmHBkYnemhu-JeEQTB5fAkue8HdgNASoWocyKWxoon/s400/postcard-front.png" width="400" /></a></div>
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This (above) is the mailing postcard.<br />
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The show that I curated ended up being a huge effort, primarily because I had thought that we had book vitrines to show bookwork in. It turned out that the University Museum of Art used to have cases, but due to their deteriorated condition and lack of storage space, they had been thrown out. The main library had book cases, of course, but they were in use. They might have been able to lend me one, but that would not have sufficed. I had hoped to mount a very large, inclusive, show that could act as an overview of photographic artists' books from the late sixties on, and one case would not have been nearly enough. I wanted to concentrate on books that were truly 'artists' books' and not just photobooks and traditional monographs, assemblies of single images.<br />
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I realized that I would probably have to build simple secure cases for the books in the show. I could not afford to have the books just open on sheets of unsecured plywood since many of the books were very valuable and there was a high risk of having books taken from the gallery. The gallery has one student monitor but that person sits at a desk far above the gallery itself and cannot be a guard for small objects below in the gallery space. A number of books like Francesca Woodman's only artist's book, Ed Ruscha's <i>Twentysix Gasoline Stations</i> and others from artists like John Baldessari, Marcel Broodthaers, and Keith Smith, were far too valuable and irreplaceable to risk theft. I came up with a construction plan for ten cases for about $4,000 and that would be just for the materials.<br />
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But that would also mean that we would have to do the construction ourselves, plus raise that money since it was not in the CBAA budget. In the end I was able to raise enough money for eight cases, instead of the ten. The Director of the School of Art, Colin Blakely, and the Dean of the College of Fine Art, Andy Schulz, gave us $1500 and the CBAA Board agreed to give us a little over $1600 to allow us to purchase the materials. I was able to get an incredible price on the cast acrylic plexi by ordering directly from a manufacturer in New Jersey and having them trucked here.<br />
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I was most fortunate to have a Creative Writing grad student, Will Stanier, help me move the lumber and 1/4" plexi to the gallery, and two other fantastic people, Lisa Watanabe and Brett Starr, actually help with the assembly of the vitrine cases and the support legs. I never would have made the deadlines for installation without Brett and I am especially grateful to him.<br />
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Because the plexi tops were fixed on the case tops, there was no way that visitors could handle the books. Because of both wear-and-tear, as well as security, this was necessary. Of course this is a terrible way to experience books, to see only one two-page spread of each book, and not be able to turn pages and see the books as the time-based art that they are. So early on, I had decided that I would also have to have videos, as many as possible, so that visitors could at least see the way the book pages turned and how the images and text were sequenced.<br />
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I talked to Brooke Grucella, the always-helpful director of the Joseph Gross Gallery, and she said that the gallery had some monitors that did not need a video or DVD player. All one had to do was put the looped videos on a flash memory stick and they could be inserted in the back of these LCD monitors and that would be all that was needed.<br />
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The hundreds of case labels for the books was another huge hurdle to overcome, and I was very lucky to have the help of both Maria Lee and Brett Starr in a marathon label-typing party we had one Saturday. <br />
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I ended up making 123 videos of books with the pages being turned from start to finish. About half were books from the show that I especially felt should be experienced by seeing a person turning the pages, and the other half were books that for some reason (lack of space, too large etc.) were not in the vitrines. I had over three hundred books in the vitrine cases and I had wanted to make videos of all of them, but it was just too much. I do think that this worked out overall though.<br />
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Here are some installation shots of the show:<br />
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I think that the show was a success. It was a little odd admitting that all of the books were from my own collection, but I have a very large one, and I think I had a really good representative selection that showed the different strains of photographic books in those fifty years. Although I did have a few books that preceded the 1968 date, the first book I bought that was in the show, <i>Andy Warhol's Index Book</i> (196), I actually did buy when I was in high school in 1968. Thanks to Harry Reese for making some suggestions, years ago, about titles that should go into a show that covered this time period. That was very helpful.<br />
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If you are interested in the checklist from the show, both books that are in the cases and on the monitors, please write me at <pzim spaceheat.com="">, and I will gladly send you the pdf. This past week I finally re-shelved the last book from the show. Phew!</pzim><br />
<br />Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-69289629339730768042019-01-29T16:43:00.001-08:002019-01-29T16:43:23.332-08:00Rising Together – A CBAA Traveling ShowCamden Richards, a Board member of the College Book Art Association (CBAA), put together a large traveling show comprised of 'zines, artists' books and prints that involve Social Consciousness. The traveling show will be out on the road from September 2018 until August 2021. My book Landscape of the Late Anthropocene was curated into the show.<br />
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The logo for the show, below, gives a good indication of the generally left-leaning slant of most of the works.<br />
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The first venue (Fall 2018) was at the University of Utah in Salt Lake City. Somebody on that campus must have sent in a tip to Breitbart News since a few days after it opened, an article was published there on the show.<br />
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If you would like to read the article it is <a href="https://www.breitbart.com/politics/2018/12/06/university-library-social-justice-display-features-anti-trump-exhibit/" target="_blank">here</a>.<br />
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The Center for Book Arts in New York City is the second venue, in the Spring of 2019. This is followed by the University of Iowa, next Fall, and then Art Center College in Pasadena, then the University of Puget Sound, and finally Mills College and San Francisco Center for the Book in Spring of 2021.<br />
<br />Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-75024439305013764612019-01-29T16:15:00.001-08:002019-01-29T16:17:01.686-08:00Hamilton Wood Type Wayzgoose 2018We have been very busy this past Fall with preparation for the College Book Art Association (CBAA) Biannual Meeting that Karen and I hosted here at the University of Arizona in Tucson. Becasue of that I have been very bad about updating this blog with news and other items, so I am starting an effort to get up to date.<br />
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<span style="font-family: inherit;">At the beginning of November, Karen and I went to the tenth annual Hamilton Wood Type Museum Wayzgoose, November 2, 3 and 4 in Two Rivers, Wisconsin. If you are not familiar with the term <i>wayzgoose</i>, it is an old word referr<span style="font-size: small;">ing to <span style="-webkit-text-stroke-width: 0px; background-color: white; display: inline !important; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">an entertainment given by a master printer to his workmen each year on or about St Bartholomew's Day (24 August). It marked the traditional end of summer and the start of the season of working by candlelight.</span> These days it is any large celebratory gathering of letterpress printers.</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;">I am not particularly interested in letterpress printing and don't use letterpresses, but I am interested in the technology and history of printing. Hamilton was the largest manufacturer of wood type and wood type cases and furniture. The museum is a pretty amazing place. This is a pantograph that is used to make wood type:</span></span><br />
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And an example of the wood type produced by the pantograph from type high wood that is manufactured at the Hamilton Wood Type Museum. There were a number of worshops and lectures there over those three days.<br />
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Here Karen is pulling a print with a new digitally designed wood typeface that was made for the occasion by Mark Simonson. The enfant-terrible from Switzerland, Dafi Kühne, gave workshops and demonstrations that were very entertaining.<br />
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We stayed at a very pleasant inn across from the Hamilton museum warehouse called the Lighthouse Inn and we had a wonderful view out our hotel window of beautiful Lake Michigan, with a small beach and waves.<br />
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An alarming aspect of our visit to upstate Wisconsin was seeing so many pro-Trump signs and billboards.<br />
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Wisconsin has a large number of under-employed whites who are the core supporters of Trump. There are many industries that have suffered a great deal in the past 30 years and this part of Wisconsin has many large abandoned industrial buildings.<br />
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On the way back to the Milwaukee airport to catch our flight back home, we stopped at the Kohler Museum. It's a great little museum on the grounds of the bathroom fixture factory grounds, and one of the big attractions are the restrooms. Artists were hired to make special tiles for each of the restrooms and people are encouraged to go into their opposite sex bathrooms to see the wall tiles and fixtures.<br />
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Although I enjoyed the trip and the visit to the Hamilton Wooden Type Museum, I don't think that I would go again. Once was perfect.Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-87268343568730200682018-10-05T20:55:00.003-07:002018-10-05T20:55:59.246-07:00Brief visit to 2018 NYABF at MoMA-PS1Keeping up a tradition of about 14 or 15 years, (with one miss many years ago,) at the end of September, I again went to the annual Printed Matter event, T<b>he New York Art Book Fair</b>, at MoMA-PS1. This year, I only went to the preview night on Thursday evening, and then spent all day Friday there, which included the "Institutional Hours" on Friday morning when it isn't open to the general public.<br />
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Unlike most years, I spent the remainder of the weekend with my kids in Brooklyn, and having a great time eating at local restaurants, and visiting the San Gennaro festival in Little Italy. I hadn't been to that in many years. We had lunch at a great Cambodian restaurant right in the middle of Littel Italy.<br />
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We also took the newish NYC Ferries all around Brooklyn, Manhattan, and even headed out to the Rockaways and the boardwalk. The ferries are the best deal in NYC, only $2.75 for wonderful views of NYC from the water. It isn't the Circle Line, but for the money, it can't be beaten. It was also interesting seeing all of the Hasidic Jews about, walking around with their families on the High Holidays on Shabbat on the Greenpoint waterfront with their huge round beaver hats, and the whole family beautifully but extremely conservatively dressed.<br />
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Although I didn't really have as much time as I would have liked at the NYABF, I did have a good time talking to friends like Paul Soullelis, Johanna Drucker, Hedi Kyle, Chantal Zakari and Mike Mandel, all of whom have new books out. It was also great to see Bill Burke, who I hadn't seen in many years, perhaps even since I worked on the film stripping and platemaking on his book <b><i>I want to take picture </i></b>in the 1980s, at Nexus Press.<br />
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I did see some interesting new books: Lisa at Siglio Press is coming out with a new book on Dick Higgins called <b><i>Intermedia, Fluxus and Something Else Press</i></b>, selected writings edited by Steve Clay and Ken Friedman.<br />
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I told her some of the stories about living next door to Dick and Allison for 15 years as their neighbor in Barrytown, NY. (Among other things, I was Dick's go-to Apple Mac Computer tech trouble-shooter person, but not because I especially wanted to.)<br />
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Some other books that I liked were Kodaji Press' In Search of Frankenstein – Mary Shelley's Nightmare by Chloe Dewe Mathews. (Last year was the bicentennial of Mary Sheely's writing of <i>Frankenstein</i>, which she did in a cabin at the foot of a Swiss glacier.) The book is luscious and features a facsimile of Sheely's original manuscript, interspersed with views of the glaciers which she would have looked out at when she was writing it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4KUPQVa-MwuPC8DF3n9Rgwv5KUmZcT7eEH83JBxIGlhbUklztAGn5tT-cdByWj9m6StMSXN75NHCDf0q9BUM42WPbaJK4cbikKx3Kt2CdzhERMFHIG9Q8bHn5xoSzlNGZN9QjXXfYfDr6/s1600/CDM_ISOF_book_001a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1331" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4KUPQVa-MwuPC8DF3n9Rgwv5KUmZcT7eEH83JBxIGlhbUklztAGn5tT-cdByWj9m6StMSXN75NHCDf0q9BUM42WPbaJK4cbikKx3Kt2CdzhERMFHIG9Q8bHn5xoSzlNGZN9QjXXfYfDr6/s400/CDM_ISOF_book_001a.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPT2kD8z_TX3AALUT6MA1oPmV8RgM1q39oi0bt-nC92FUGofgR3zqksaMj2LqdmLB6u0rF7rLiyQP68SiaIwDHAE4lcDVZB9CgHkZkO6SbNd5tQ7E8iyjnW6teicMvueEw5Vzcdd-gYzfi/s1600/18126_2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1079" data-original-width="1379" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPT2kD8z_TX3AALUT6MA1oPmV8RgM1q39oi0bt-nC92FUGofgR3zqksaMj2LqdmLB6u0rF7rLiyQP68SiaIwDHAE4lcDVZB9CgHkZkO6SbNd5tQ7E8iyjnW6teicMvueEw5Vzcdd-gYzfi/s400/18126_2.jpg" width="400" /></a></div>
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I often buy books from Kodaji, one of the more interesting European presses, and have become friends with the proprietor, Winfried Heininger.<br />
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People know Dashwood Books as a place to purchase rare and out-of-print photo books, but also hard-to-find Japanese photobooks, a whole genre to its own. Their place on Bond St. in Manhattan is a photo-book lovers paradise. In the last 10 years, they have moved into also publishing photobooks, though their list is not long. This year they published a great book called Khichdi -Kitchari, by Nick Sethi.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkAxjwmWlz0rCjDHbeS2FXFNHi71Andijw0j4J48G4XRYO7wo8ii47csmMxP1PL3goEYcl4ci8fNtvkhLHirro9n-XHBAVJVbITump9tN6UnnKYBZICgK7aozXF0GEUFfhS0yVOH-t_Ye7/s1600/17841.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkAxjwmWlz0rCjDHbeS2FXFNHi71Andijw0j4J48G4XRYO7wo8ii47csmMxP1PL3goEYcl4ci8fNtvkhLHirro9n-XHBAVJVbITump9tN6UnnKYBZICgK7aozXF0GEUFfhS0yVOH-t_Ye7/s400/17841.jpg" width="300" /></a></div>
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The book is interesting because although it has (currently) hip details like an exposed Smythe-sewn spine, the page edges are sprayed with red paint, and the book has a slightly funky hand-made Indian look to it, which was where it was produced.<br />
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This year I had the fewest books ever to haul back to Tucson. This is probably a good thing since my upcoming official status as "retired" means no more regular paycheck, and I will need to be much more careful with my book expenditures.<br />
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Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-90011025718147444672018-09-02T17:39:00.001-07:002018-09-02T17:47:57.618-07:00New Title: TROPHY by Philip Zimmermann<div style="-webkit-text-stroke-width: 0px; border: 0px none; color: black; font-stretch: inherit; font-style: normal; font-variant-caps: normal; font-variant-east-asian: inherit; font-variant-ligatures: normal; font-variant-numeric: inherit; font-weight: 400; letter-spacing: normal; line-height: inherit; margin: 0px 0px 4px; outline: currentcolor none 0px; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;">
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: small;">I am happy to announce the publication of TROPHY. </span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: small;"><span style="border: 0px none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: currentcolor none 0px; padding: 0px; vertical-align: baseline;">This book is dedicated to my teacher, mentor, and friend, Keith Smith, and was created to honor the occasion of his 80th birthday on May 20, 2018. </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: small;"><span style="border: 0px none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: currentcolor none 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: small;">A slightly different version of the book came out in time for his birthday, but the book was slightly revised later, and the final signed and numbered edition was published a couple of months later, in early August 2018.</span></span></span></span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: small;"> <span style="border: 0px none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: currentcolor none 0px; padding: 0px; vertical-align: baseline;">TROPHY is a reaction to the current social and political state of the United States of America and the criminal and immoral administration that currently wields power in our country. Although superficially the subject matter is the cruelty of the Trump sons, their activities are an indicator of the worldview of the morally bankrupt family and administration of Donald J. Trump. The photographs of the animal dioramas and fur details were taken at the International Wildlife Museum in Tucson, AZ. The big-game trophy photographs of Donald J. Trump Jr. and Erik Trump were obtained from the internet, presumably Trump family travel and safari photographs, and have no photographer attribution.</span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: small;">This edition was printed in an edition of fifty and they are signed and numbered. The inside text block and cover were printed by HP Indigo digital printing on archival Mohawk Superfine. The Ex Libris book plate in the front, and the accordion 'arsenal' section at the rear of the book, were printed by archival inkjet pigment on acid-free French Paper Co. paper. The book dimensions are 7" x 7" x 5/8" (17.75cm x 17.75cm x 1.5cm). The book has 68 pages, and is hardcover bound, and is priced at $125. The full book, spread by spread, and a video of the page turning, <a href="http://spaceheat.com/books/trophy" target="_blank">can be viewed at my website</a>.</span></span></div>
Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-92051921512452636102018-08-13T15:59:00.004-07:002018-08-13T15:59:27.612-07:00Included on website INSIGHTS, for the de Young and SF Legion of HonorA small 3D animation of my book <i>Nature Abhors</i> was included on a new interactive website about artists books and Sonia Delauney's Blaise Cendrar's La Prose. It's a beautiful didactic website. You can see it here. My books is towards the end if you scroll down through the very long web page. If you would like to see it, click <a href="https://insights.famsf.org/la-prose/#&chapter=chapter0&page=chapter0p1" target="_blank">here</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvFEDvxL4TzOGRwnzpusO4mJfhCmYOG0uNWTYnuOuxkbuy1tYycUcJa0jCqdTXEsC6U0otYVw0bwWbycK3KPizDPr1au3U5lZf7UYB5HsiELMLYI_Tv0iprikCzvzhKmcqouj2OInO9cB/s1600/la-prose-cendrars%252Bdelauney-website.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1069" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvFEDvxL4TzOGRwnzpusO4mJfhCmYOG0uNWTYnuOuxkbuy1tYycUcJa0jCqdTXEsC6U0otYVw0bwWbycK3KPizDPr1au3U5lZf7UYB5HsiELMLYI_Tv0iprikCzvzhKmcqouj2OInO9cB/s400/la-prose-cendrars%252Bdelauney-website.png" width="400" /></a></div>
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The website for <i>La Prose du Transsibérien et de la petite Jehanne de France</i>, the full title of the book,was part of a symposium mounted by Steve Woodall and the Reva and David Logan Collection of Illustrated Books in July of 2018. This iconic and beautiful scroll-book is dissected and explained. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ0nyLrkIdSWQ5dtCAGLO0rLanej9F4wE7wNkQIdpVHXGNG_o9es1bLFJ49SgNoTCLPUvNCYPRJjakf20r-_UDGzrMuuc9ch-Eq6id2HAc2R7ibk1bB1X3oin5OJPw9Md7im99pO18LiBf/s1600/Screen+Shot+2018-08-13+at+3.49.45+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="1301" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ0nyLrkIdSWQ5dtCAGLO0rLanej9F4wE7wNkQIdpVHXGNG_o9es1bLFJ49SgNoTCLPUvNCYPRJjakf20r-_UDGzrMuuc9ch-Eq6id2HAc2R7ibk1bB1X3oin5OJPw9Md7im99pO18LiBf/s400/Screen+Shot+2018-08-13+at+3.49.45+PM.png" width="400" /></a></div>
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Here is a screen-shot of my book, which is a relatively minor part of the web page, but I am proud to be associated in any way with the Delauney book.<br />
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The de Young and the Legion of Honor are part of the <a href="https://www.famsf.org/" target="_blank">Fine Arts Museums of San Francisco</a>, located in Golden Gate Park.Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-2811893649470852752018-08-13T15:33:00.003-07:002018-08-13T15:33:59.833-07:00Perilous Journeys show at BMoCA During July, I was part of a six-artist show about the life of those attempting the dangeraous journey across US Southern border. The show was called Perilous Journeys and took place from July 10th and July 29th at the Boulder Museum of Contemporary Art in Colorado. The show was a multi-media event with books (me), photographs and other 2D art, installations and video projections.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_nIGXRdU1xmg7udNLBm3_lqrW-T5kWeS1KcCEDaoLj8SgcDDhF8U22eRKw9mcky5RWOfcfC0is9jFarzzKTUOngni9t4ZzE7IiLzxO4E6wiVmuFZIVpjfsx9aceCkef2Zn5ESQHiIWgi_/s1600/perilous-journeys-750px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="385" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_nIGXRdU1xmg7udNLBm3_lqrW-T5kWeS1KcCEDaoLj8SgcDDhF8U22eRKw9mcky5RWOfcfC0is9jFarzzKTUOngni9t4ZzE7IiLzxO4E6wiVmuFZIVpjfsx9aceCkef2Zn5ESQHiIWgi_/s400/perilous-journeys-750px.jpg" width="400" /></a><br />
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A link to the show is <a href="https://bmoca.org/exhibitions/2018/spring/perilous-journeys" target="_blank">here</a>. Thanks to my good friend Melanie Walker for suggesting my name to the curator of the show. <br />
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<br />Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-14675560007264999542018-05-11T15:53:00.003-07:002018-05-11T19:58:02.429-07:00Photobook vs photo-bookwork.Matt Johnston, a PhD candidate at UCA Farnham, in the UK, posted an interesting <a href="https://www.collegebookart.org/bookarttheory/6125240" target="_blank">short essay</a> on the CBAA Bookartheory blog. He teaches at Coventry University. It's titled <i><b>The Photobook, Lineage and Intent</b></i>. In it he mentions that he has been working on "taxonomies, histories and spectrums of the photobook".<span style="font-size: small;"><span style="font-family: inherit;"> He mentions <span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Jörg Colberg’s <a href="https://cphmag.com/photobook-taxonomy/" target="_blank"><i>Taxonomy of the Photobook</i></a> (2018), Doug Spowart’s <a href="https://wotwedid.com/2018/04/13/a-photo-spectrum-photobook-to-artists-book/" target="_blank"><i>A Spectrum: Photobook to Artists’ Book</i></a> (2018) </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">and my <a href="https://www.collegebookart.org/bookarttheory/4109494" target="_blank"><i>Photo-bookwork Graphic-Continuum Chart</i></a> (2016) below.</span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Although my <i>Photo-bookwork Graphic-Continuum Chart</i> was first published for Tate Shaw's VSW Biennial Photobook Symposium in Rochester in June 2016, it is a subject that <a href="http://www.cliftonmeador.com/" target="_blank">Clif Meador</a> and I had been talking about for more than 20 years. As members of CBAA (College Book Art Association), an organization that is heavily comprised of letterpress and printmaking practitioners, we both came out of a photography and photo-offset background. We were constantly astounded by the fact that many traditional artists' and artists' book publishers knew almost nothing about artists' books that used photography and vice versa. (We used the term</span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><i> </i></span></span></span></span></span></span>that Alex Sweetman coined in the 1980s, <i>photo-bookworks</i>, for photobooks that were <u>authored</u> by the individual photographer and that used the book form as a creative medium, rather than merely a vessel for containing multiple single photographic images.) </span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">My <i>Photo-bookwork Graphic-Continuum Chart</i> was aimed at photographers who make photobooks, and was specifically addressed to the presenters and audience of the 2016 VSW Photobook Symposium in Rochester NY, directed by Tate Shaw. (I was a presenter.) I thought that breaking down all of the types (typologies) of photobooks, from the most boring monograph or catalog on one end of the spectrum, to photo-bookworks (artists' books) that really took advantage of the book as vessel and medium, on the other end. The photographers, hopefully, could see all of the ways the photobook could be conceived and understood. To illustrate this, I gave specific examples from my large library of photobook and photo-bookworks. My Powerpoint presentations have been less about identifying characteristics (as was discussed and shown ad nauseum in the continuum chart) and more concerned with broader <u>types</u> in the history of the photobook.</span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Over the years, Clif and I made a concerted effort to try to bridge the two worlds of photo-bookworks and traditional artists' books by an endless series of Powerpoint presentations to both the CBAA crowd and to the Society for Photographic Education (SPE) folks, using every chance that we could. We always felt that even with our missionary zeal, we were just knocking our heads against a wall. </span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">The last time I gave my taxonomy lecture to a broader photographic audience was in Chicago at the 2013 SPE National Conference, where I presented it to the SPE Educational Forum on teaching photobooks. It was intended as an aid to university professors on how to present and teach the subject. As is well-known, photobooks have become increasingly popular with photo students. That same trip to Chicago, I presented a slightly different version of the taxonomy lecture </span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">to Professor Judy Natal's MFA Photography class at Columbia College Chicago</span></span></span></span></span></span>, this talk aimed not at teachers but to MFA students. It had many more historical references. </span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span></span></span></span></span></span> <span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">I have also given a newer version of this same lecture at <a href="http://mvswanson.com/" target="_blank">Mary Virginia Swanson</a>'s Master Class for professional photographers every January here in Tucson. Later this month, I will be giving a longer version of this presentation for the photo department of FAMU (The Film and TV School of the Academy of Performing Arts) in Prague, Czech Republic.</span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">I was amused to read some of the articles that Mr. Johnston </span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">referenced. The reason for my amusement is that in both Doug Spowart's and Jörg Colbergs' recent articles, they laid out a taxonomy for photobooks a bit similar to the one that I have been showing in those aforementioned Powerpoint lectures since about 2000 or before. The categories are very similar, though there are some differences in wording and subcategories, of which I have many more. </span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span></span></span></span></span></span></span></span></span></span></span></span> <span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Doug Spowart uses a rather odd color spectrum metaphor for the categories that derives from a quote from Clive Phillpot about refracted "white light". He also has some classifications which seem a little odd, perhaps they are a bit different due to their Australian context. "Emergent Photostream" seems unusual, and the difference between "Innovative Artists' Book" and "Artists' Book Codex" is a little unclear. Johnston tries to distill the categories into a much smaller and broader number of critical "histories" that cover broader areas of interest like <i>The Photographic Album</i>, and <i>The Photo Essay</i>. </span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span></span></span></span></span></span></span></span></span></span></span></span> <span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">I feel that the closest taxonomy to mine is Jörg Colberg's, though his approach to the subject is purely from a photographers view, and I include all artists that use photography. I suppose the reason for the similarities in Colberg's, Spowarts' and Johnston's taxonomic categories is because the categories come from a commonsense analysis of the history and content of photobooks. </span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span></span></span></span></span></span></span></span></span></span></span></span> <span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">My subcategories are a bit more granular, for instance, one example is the use of photography in literature, like that of the work of André Breton (</span><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><i>Nadja</i></span><span style="background-color: white; color: #231f20; display: inline; float: none; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">) and W.G Sewald (<i class="">Austerlitz</i>). As Johnston comments, one of the most important qualifiers is that of <i>intent</i> in the making of the bookwork, and the underlying conceptual<i> </i>content. For instance, for me, an interesting subcategory of the Photo-Artists' Book/Photobookwork classification, is that of the <i>Conceptual</i> photobook, examples being John Baldessari, Ed Ruscha, Dieter Roth, Sol Lewitt and many others. Jörg Colberg's taxonomy is much more addressed to photographers <i>only</i> and does not include artists, as I mentioned, who use photography, which I think is an important part of the discussion.</span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">What started my discussions with </span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #231f20; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Clif Meador </span></span></span></span></span></span></span></span></span></span></span></span>on the taxonomy of photobooks was the frustration we had with the ease that many photographers threw the term <i>artists' books</i> around, plus the fact that most photographers were shockingly ignorant of the field of visual books and the history of the book itself. A number of book artists, including Clif, Tate Shaw, Scott McCarney and Joan Lyons sat in the audience at the first VSW Photobook Symposium in 2010 in Rochester and just smiled at the naïveté and ignorance of a number of the photographers who were presenting their work at that symposium. They clearly knew nothing about the history of the visual book, and were basically re-inventing the wheel. Of course this naïveté works both ways. A very highly-regarded curator at a well-known Special Collections, who prides herself on her vast knowledge of artists' books, confessed to me that she had never heard of Michael Snow or his <i>Cover to Cover</i>, one of the great monuments in the artists' book canon. In fact, with the exception of Ed Ruscha's work, every photo-based artist book that I mentioned was unknown to her.</span></span></span></span></span></span></span></span></span></span></span></span>Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-74795974653771367342018-04-28T18:05:00.003-07:002018-05-06T19:41:17.233-07:00'Women in a Golden Age of Artists' Books' at the New York Public LibraryThe New York Public Library is well known for it's many speaker series, and they cover many topics and include speakers from the worlds of politics, culture, the visual arts, music and literature. I have been to many of them over the years including some memorable ones like Ed Ruscha and Matthew Barney. On May 22nd at 6:30, Tony White, Associate Chief Librarian at the Metropolitan Museum of Art, has put together an interesting panel for the NYPL. It is called "<i>Women in a Golden Age of Artists' Books</i>". The link is <a href="https://www.nypl.org/events/programs/2018/05/22/women-golden-age-artists-books" target="_blank">here</a>.The subtitle of the program is: <i>Three Women who were pivotal in the development of offset-printed artists' books discuss the past present, and future of the unique visual form and transformative medium</i>.<br />
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The three women who were selected to talk with Tony, are Cynthia Marsh, Rebecca Michaels and Patty Smith. All three women have impeccable credentials as important role models for empowering women artists to be able to run offset lithographic presses. Offset presses are among the hardest printing tools to learn how to run. They are exceptionally complicated, take years to learn how to run really well, and they are intimidating to just about anyone. There are very few women who have historically run offset presses, and Cindy, Rebecca and Patty were all exceptionally good at it. They influenced others to use the medium for their printmaking and book production. I say "were" because I don't think any of them use offset anymore, due to various changes in their professional lives, and lack of access to offset presses. Patty might be an exception. This is a common problem for all of us who have used offset presses in the past.<br />
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In many ways the selection of these three admirable women makes sense, since they all have been offset press operators, and really good ones. Cindy ran a small offset press at the Women's Building in Los Angeles, Rebecca learned how to run a Chief offset duplicator at Chicago Books in the late 1970s (and later the Heidelberg KORS at Tyler), and Patty learned how to run the Solna 125 at the Center for Editions at SUNY Purchase in the 1980s. This alone sets them apart. But in other ways it is a little odd in that Cindy is known more as a designer and printmaker who usually uses letterpress, and in fact, though I love her work and collect it, I don't think I have ever seen an offset artists' book that she has made. I have seen and collect Cindy's offset work but it tends, as far as I know, to be more like broadsides and prints, not books. Rebecca, who I have known since the 1970's is primarily a photographer and designer. However she made a number of brilliant little offset artists' books during her time at Chicago Books in the late 70s and early 80s, including <i>The Courtship Patterns of Chairs</i>, <i>Side Effects</i>, and <i>The Book of Hair</i>. While working at Chicago Books, she also printed a number of important artists' books by Robert Heinecken (<i>He/She</i>) and Ellen Lanyon's <i>Transformations II</i>. Patty is primarily a printmaker, not an artists' book maker, though she has made five or six artists' books over the years. Her influence probably comes more as one of the primary drivers behind the book art graduate program at the University of the Arts in Philadelphia. That program, one of the few that still offers an MFA in Book Art, has always had an offset component, thanks to Patty, who helped set up the Borofsky Center, with the help of Chuck Gershwin and others. The Heidelberg KORS there was run by another great female offset press operator, Laurie Spencer, trained by Chuck Gershwin. Laurie had been a student of Patty's at SUNY Purchase in the 80s.<br />
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To me, there is a huge hole in this NYPL program, due to the fact that Joan Lyons is not in the lineup. I understand that having more than three speaker panelists could be problematic. And maybe Joan was asked to participate and could not come. However, Joan is the most influential of any of these women, by far, in my opinion. Joan started the important Visual Studies Workshop Press in 1972 and made dozens of her own offset artists' books, as well as publishing over 250 other artists books, many of which she did most of the production on. She edited and published <i>Artists' Books: A Critical Anthology and Sourcebook</i>. This extremely influential book (probably the most influential after Johanna Drucker's <i>A Century of Artists Books</i>) is still required reading by anyone interested in artists' books. But aside from her books on artists' books, Joan was a fantastic offset printer, working on an AB Dick offset duplicator, a large Rutherford offset proof press as well as VSW's own Heidelberg KORD. As the editor/publisher at VSW Press, she solicited work from dozens of photographers and artists, and invited them to Rochester to learn how to use offset as a creative medium and helped them do the production of their own work.<br />
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Below are a few examples of Joan's own early work, books that she did all the production on, from making lith film, film stripping, platemaking, and running the offset presses.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLFQxqkYgpHFgNKfakaJ6p1w3kXNc922BsvJ5ySuRIpGOYFF0ckdBESzge0sjJ_dIIFmmXZ4LwAaocoG4J4e8zdzHkiLo9OCbAH5GCr7HYrIvwfgcbysiAjgB1DdxQ-On-5K1EaeKDS2k/s1600/lyons-joan_wonderwoman%252Babbyquilt_1200px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="876" data-original-width="1200" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLFQxqkYgpHFgNKfakaJ6p1w3kXNc922BsvJ5ySuRIpGOYFF0ckdBESzge0sjJ_dIIFmmXZ4LwAaocoG4J4e8zdzHkiLo9OCbAH5GCr7HYrIvwfgcbysiAjgB1DdxQ-On-5K1EaeKDS2k/s400/lyons-joan_wonderwoman%252Babbyquilt_1200px.jpg" width="400" /></a></div>
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Above left: Cover of <i>Wonder Woman</i> (1974), and on right <i>Abby Rogers to her Granddaughter</i> (1976). Below a two-page spread from <i>Abby Rogers</i>.<br />
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Many of her books are also experimental in nature, teasing and exploring many of the inherent characteristics of offset lithography. Many of her early books like <i>Wonder Woman</i>, <i>Abby Rogers to her Granddaughter</i>, <i>My Mother's Book</i> and <i>The Gynecologist</i>, still seem fresh today. But the books that really stand out for me are the experimental ones, where she playfully turned the offset process<br />
on it's head. Examples include an untitled book where she kept rotating a square sheet of paper through the press, each time changing the colors, but leaving the same plate on. In <i>Wonder Woman</i>, she used a technique where she turned off the ink and then let the paper keep running through the press until the ink ran out. She used this same technique to even greater effect with a book called <i>Sunspots</i>, and another book with the image of the moon.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwHUsRudZ6GwUyUFiKJGCFF0IeabAvAb7MKY82UVBV5D4OpNiYqaoij6C9YEnbcFhhuT6rmMvQObm8GrKUSVwhyphenhyphenjr-mvtLLrDP6fu8fHmLcpy1t76lzk5GSI2PO6_jCPl6rs1s8YWfO-YJ/s1600/lyons-joan_sunspots%252Buntitled.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="638" data-original-width="1200" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwHUsRudZ6GwUyUFiKJGCFF0IeabAvAb7MKY82UVBV5D4OpNiYqaoij6C9YEnbcFhhuT6rmMvQObm8GrKUSVwhyphenhyphenjr-mvtLLrDP6fu8fHmLcpy1t76lzk5GSI2PO6_jCPl6rs1s8YWfO-YJ/s400/lyons-joan_sunspots%252Buntitled.jpg" width="400" /></a></div>
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Like many of us book makers today, Joan now uses mostly pigment inkjet and digital print-on-demand. Most of us have lost primary access to offset litho presses. In the late 1990s, I acquired VSW's Rutherford offset proof press and their Heidelberg KORD for the Center for Editions at SUNY Purchase. (I took over Patty's full-time position at the Purchase College Center for Editions when she moved back to Philadelphia in 1987.)<br />
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Even if Joan is not there at the NYPL to participate in the discussion, I wish I could be there on May 22nd to hear this panel. I am very sorry that I will miss it, these three artists are all good friends, and I would love to hear them. I would especially like to hear what they think about the future of offset printing in the world of artists' books. That week I will be in Prague, giving a lecture on Photographic Artists' Books at FAMU, the art and technology university there, thanks to an invitation from François Deschamps, who is doing a Fulbright in the capitol of the Czech Republic.<br />
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A couple of other women offset artists' book makers who have been influential include Sally Alatalo, taught at the School of the Art Institute in Chicago (SAIC), and whose <a href="http://www.sararanchouse.com/" target="_blank">Sara Ranchouse Publishing</a> has produced many terrific artists' books. At CalArts in Valencia CA, <a href="http://www.arts.ucsb.edu/faculty/beckman/" target="_blank">Laurel Beckman</a> ran their offset litho press, and created a number of exceptional artists' books. She is now at UCSB.<br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #1d2129; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Joan Lyons, like her husband, Nathan Lyons, has not gotten her due. Both of them were hugely influential in the 70s and early 80s, and they both cast a long shadow in their respective areas. They are not </span><span style="background-color: white; color: #1d2129; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1d2129; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">generally </span>known by the current (and recent) crops of MFA students. In Nathan's case, that has changed a little with the recent shows of Nathan's work at Bruce Silverman Gallery and other locations. There is a show of Nathan's last work, all color, opening soon at the George Eastman House, co-curated by </span></span></span><span style="font-family: Georgia; font-size: 14px;">Lisa Holsteader and Jamie Allen, with input from </span><span style="background-color: white; color: #1d2129; font-family: inherit;">Joan. </span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="background-color: white; color: #1d2129; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">We need to bring more focus and attention to Joan's huge influence on the world of offset artists' books, and, in fact, non-offset artists' books. One of the sad ironies is that the rank-and-file of the artists' books world don't know much about Joan's work either, since her artwork tends to fall into the large crack in between the photobook world and the fine press artists' book world. </span></span></span><br />
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<br />Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-34354003925484703292018-04-28T15:16:00.000-07:002018-04-28T15:16:46.529-07:00Kalkstein Lecture on Keith Smith's Book 91 (AKA The String Book).A couple of weeks ago, Molly Kalkstein presented her prize-winning paper on Keith Smith's <i>Book 91</i>, also commonly known as the <i>String Book</i>. Molly is a PhD candidate in the Art History Graduate Program, specializing in the history of photography. The paper is titled <span style="font-size: small;"><span style="font-family: inherit;"><i><span style="-webkit-text-stroke-width: 0px; background-color: white; box-sizing: inherit; color: #333333; font-variant-caps: normal; font-variant-ligatures: normal; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">“Today is Their Creator: Keith Smith’s No-Picture Books as Photographic Works”</span></i></span></span>. She wrote the paper as part of a class on photobooks, taught by Professor Kate Albers. I had originally shown Molly the Keith Smith book (which I published in 1982) in my <i>Visual Narrative and the Artists' Book</i> class, which Molly had also taken.<br />
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Molly had been intrigued by the fact that Keith called <i>Book 91</i>, one of his best photography books, despite that there were no photographs in the book, indeed no printing at all. One of the things that Keith was commenting on was that the word photography translates from the Greek as "drawing with light". <i>Book 91</i> uses string, punched pages, and the use of cast shadow, and even sound, in carefully sequenced pages.<br />
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Keith gave precise instructions on how to view the book, under raking light. The images above were taken by me in 1983, of Keith "performing" the book.<br />
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The book is highlighted in Keith Smith's retrospective show at the Philadelphia Museum of Art, a show that is still up until July 2018. A beautiful video of the book was made by the PMA for the show. It was done in the manner of a Japanese No play, with two figures dressed all in black. Their physical forms disappear into the black background, but they have white gloves on to turn the pages, and the white gloves are the only things that show up, other than the book and the pages.<br />
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Molly Kalkstein's presentation was really interesting, and had interesting historical comparisons between Keith's non-image photobooks and the work of Moholy-Nagy, Duchamps, and Man Ray. The next week, (last Saturday) Molly traveled to Rochester, where she gave the same paper at the annual Photo History Conference at RIT. Her capsule description of the talk is as follows:<br />
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<i>Since 1967, Keith A. Smith (b. 1938) has made over three hundred artist’s books, combining a diverse range of media and inventive approaches to book structure and content. As a student, Smith worked closely with photographers Arthur Siegel and Aaron Siskind, and was later recruited by Nathan Lyons to teach at the Visual Studies Workshop in Rochester.</i></div>
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<i>Despite these formative connections, Smith’s engagement with the medium of photography has been ambivalent, a tension that is nowhere more evident than in his so-called “no-picture books.” These thirty-six inkless books, characterized by the use of torn or punched paper and strung pages, include no photographs, no images of any other kind, and no text, and yet Smith has regularly referred to them as<span> </span><span style="box-sizing: inherit;">photographic<span> </span></span>books. To date, however, there has been no scholarship examining their status as such.</i></div>
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<i>This paper proposes that the no-picture books draw on fascinating historical debates about the technical and conceptual basis of photography itself, from the lineage of cameraless photography to László Moholy-Nagy’s curricula at the New Bauhaus and Institute of Design. I also examine Smith’s engagement not only with specifically photographic principles, but with an even broader array of sensory and durational concerns. Like Robert Rauschenberg’s notorious<span> </span><span style="box-sizing: inherit;">White Paintings</span>, from which this paper takes its title, I argue that the pages of the no- picture books are not truly empty, but are rather embedded with latent images that appear only when the book is opened, and that vary according to the reader and the day.</i></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Molly will be giving this presentation again for the January College Book Art Association (CBAA) Meeting here in Tucson, AZ. The theme for the meeting is <b>The Photographic Artists' Book</b>, and this presentation should be a provocative addition to the program.</span></span></div>
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Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-66324114117073689562018-03-24T20:58:00.002-07:002018-03-24T21:01:31.646-07:00Opening of Keith Smith's Retrospective at the Philadephia Museum of ArtI went to Philadelphia for a second time this year (!) to attend Keith Smith's retrospective show at the Philadelphia Museum of Art. This was a great event, giving Keith some of the attention he so deserves.<br />
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This is the huge banner outside the PMA with Keith's head!<br />
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The opening, on February 15th, was spectacular. The show was installed in a very innovative way, mimicking the look and feel of Keith and Scott's home on Cayuga St in Rochester.<br />
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Here I am with Keith, and below that, my son Martin, who came down from NYC to attend the opening reception.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySICXqzFQPi9AMxVfxt77PQ2rPvJft4jrW3HiYP3PZXy3Z9z9HKJimzN9COcct1ClaoOCoSYhIcs6mWVguIaPaLLQQ99_wNtgjbGhH6K_5UWaHG_T4I3PaBKFfZH2y1tJYAqgSWzJknqX/s1600/_DSC1203_2000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1191" data-original-width="1600" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySICXqzFQPi9AMxVfxt77PQ2rPvJft4jrW3HiYP3PZXy3Z9z9HKJimzN9COcct1ClaoOCoSYhIcs6mWVguIaPaLLQQ99_wNtgjbGhH6K_5UWaHG_T4I3PaBKFfZH2y1tJYAqgSWzJknqX/s400/_DSC1203_2000px.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhehnOoE6Act5lxX2ixB6LtwqE5lckPisS1Jx9ohiXEMxd9jEqxixfdcZ2-nlk14J3oj2L6Kj4p8_ZQplVLolJSPGHQCqumbGOCgqK0n0Q_s-UzptLzvAPQftAj4YfdDfCNVs4RiHBAYlaE/s1600/_DSC1204_2000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="1600" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhehnOoE6Act5lxX2ixB6LtwqE5lckPisS1Jx9ohiXEMxd9jEqxixfdcZ2-nlk14J3oj2L6Kj4p8_ZQplVLolJSPGHQCqumbGOCgqK0n0Q_s-UzptLzvAPQftAj4YfdDfCNVs4RiHBAYlaE/s400/_DSC1204_2000px.jpg" width="400" /></a></div>
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There were a number of luminaries there, including Keith's old friends June Leaf and Robert Frank.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6fDLEnEaKvXyZ77lYw22WakzeG15WYMjQeMoRtdgpB_nGWKWhn_f0V_BuRKnXuwlFQW6jw3XIUa057r-uPBZxR0Ej517hTKBuI9Uub50lD4_0gtoSqaZJqo9hYxy7pwaxN3EroCAQrP06/s1600/_DSC1205_2000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1012" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6fDLEnEaKvXyZ77lYw22WakzeG15WYMjQeMoRtdgpB_nGWKWhn_f0V_BuRKnXuwlFQW6jw3XIUa057r-uPBZxR0Ej517hTKBuI9Uub50lD4_0gtoSqaZJqo9hYxy7pwaxN3EroCAQrP06/s400/_DSC1205_2000px.jpg" width="252" /></a></div>
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Also there was book art rock-star, Hedi Kyle, who came down from her retirement home in the Catskills in Pine Hill, NY, to attend the opening.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWxvHN_7UYDW-69T-orA2WBY0PqY8U0x_tXaTBXac1cygqCpVUpKs4aAS1BnsmTvoMfKCV4y9vgkowShm3BgyDGvCzU2fwN0QieI4j2_xl0SCsCgXE42Ee1d_v622B0dGzWKZPfuRaJcH5/s1600/_DSC1245_2000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1238" data-original-width="1600" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWxvHN_7UYDW-69T-orA2WBY0PqY8U0x_tXaTBXac1cygqCpVUpKs4aAS1BnsmTvoMfKCV4y9vgkowShm3BgyDGvCzU2fwN0QieI4j2_xl0SCsCgXE42Ee1d_v622B0dGzWKZPfuRaJcH5/s400/_DSC1245_2000px.jpg" width="400" /></a></div>
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Here are some more images from the show itself. The first is one of Keith in front of his fabulous photo-sikscreened quilt from 1965.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3mDXpX1CT1OQUqG_z09FnG8grffglIg0xXs4ahXNFqi7GbZQ2F96Mppmyc48A_xByBgArar45WSk0A2v2SFavIYpnY5vcRq1y5jj_TsACWBtaLmnInizYNAptOLeS4XzgPRcQHJskXpQC/s1600/k-with-quilt-card-2000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1250" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3mDXpX1CT1OQUqG_z09FnG8grffglIg0xXs4ahXNFqi7GbZQ2F96Mppmyc48A_xByBgArar45WSk0A2v2SFavIYpnY5vcRq1y5jj_TsACWBtaLmnInizYNAptOLeS4XzgPRcQHJskXpQC/s400/k-with-quilt-card-2000px.jpg" width="312" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfrEHmestPYrEud23M4E4ZFAivI_pObuckkMTmxnfeKT30sFtfrMunatEySKwfYJoLHgi7yRiuqrwNcdRe-XC_EAoAQcRlDlv1QWBgHsbl4Nuo3a9GH6nxbdhBrEv_Y9SUUn91rnXwS629/s1600/_DSC1238_2000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="693" data-original-width="1600" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfrEHmestPYrEud23M4E4ZFAivI_pObuckkMTmxnfeKT30sFtfrMunatEySKwfYJoLHgi7yRiuqrwNcdRe-XC_EAoAQcRlDlv1QWBgHsbl4Nuo3a9GH6nxbdhBrEv_Y9SUUn91rnXwS629/s400/_DSC1238_2000px.jpg" width="400" /></a></div>
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I love this artists' book.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinzaQnu5Iv75vEe5du201ByToY4tzUvMIV_3yYRoutPuzcovs_rkLfmrcTDXVrlVOc_HVh-Mxr9JC0DzfnNRe36t0kbNNjIlVkNyFzUQsnPTHNMPqqHIZBAbr-uQMazE7fEFKcCr2BeN6I/s1600/_DSC1228_2000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinzaQnu5Iv75vEe5du201ByToY4tzUvMIV_3yYRoutPuzcovs_rkLfmrcTDXVrlVOc_HVh-Mxr9JC0DzfnNRe36t0kbNNjIlVkNyFzUQsnPTHNMPqqHIZBAbr-uQMazE7fEFKcCr2BeN6I/s400/_DSC1228_2000px.jpg" width="400" /></a></div>
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There was also a copy of Keith's <i><b>String Book</b></i> (below) which I published in 1982.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd0nu274mOxd3IQSxHWn48go9MI1QemyaKA5YFHrF1oIMH6ULzAYUWshKnWooLHZ5YWih_CLkYY5Dh5JUb7cz2R8ZOnwaA3hrCQiEVTZOvOAQIsz97Po8BzPRXVdl9DjRp1LHLNrCYHHAU/s1600/_DSC1215_2000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1143" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd0nu274mOxd3IQSxHWn48go9MI1QemyaKA5YFHrF1oIMH6ULzAYUWshKnWooLHZ5YWih_CLkYY5Dh5JUb7cz2R8ZOnwaA3hrCQiEVTZOvOAQIsz97Po8BzPRXVdl9DjRp1LHLNrCYHHAU/s640/_DSC1215_2000px.jpg" width="456" /></a></div>
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Above the book was a looped video that showed each page being turned, Japanese Noh Theater style, but the people who were turning the pages dressed all in black with white gloves, so that they disappeared into the background.<br />
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Here is a photo of Keith with the curator of the show, Amanda Bock, with matching eye-ware clothes.<br />
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At the hotel, Keith and Scott joined me for breakfast. Sadly I missed his lecture and interview with Amanda on Saturday since I had to head back to Tucson to get ready for an eight o'clock class on Monday morning.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJVOhb_TOJ9CXD80PdmpmeGqy3kPoC0r8xYJ2OD-nSurIMxSFGvjHnOOGZgiQmxDa1IlDHapdf0k71aHHgp0Z2uXrPXtRyMj8f4jYG-y5ID9j_PHMj8X9vU-Op6N2ks4FmBQMwJa8UnZWD/s1600/_DSC1265_2000px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1119" data-original-width="1600" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJVOhb_TOJ9CXD80PdmpmeGqy3kPoC0r8xYJ2OD-nSurIMxSFGvjHnOOGZgiQmxDa1IlDHapdf0k71aHHgp0Z2uXrPXtRyMj8f4jYG-y5ID9j_PHMj8X9vU-Op6N2ks4FmBQMwJa8UnZWD/s400/_DSC1265_2000px.jpg" width="400" /></a></div>
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<br />Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.comtag:blogger.com,1999:blog-9058565797402695230.post-34745009264712787162018-03-23T17:29:00.000-07:002018-03-23T17:29:45.236-07:00Show at Center for Book Arts in ManhattanI have two books in a large show at The Center for Book Arts, in midtown Manhattan. The show, curated by Gary van Wyk, was about climate change and was entitled <b><i>Our Anthropocene: Eco Crises</i></b>. The show opened on January 19th and runs for one more week, until March 31, 2018. There was also a roundtable Discussion with some of the artists (I could not make it from Tucson) on March 2nd. A link to the show is <a href="http://centerforbookarts.org/event/our-anthropocene-eco-crises/" target="_blank"><u>here</u></a>.<br />
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The two books of mine that were picked for the show were <i>Paradise Lost: An Allegory</i>, and <i>Landscapes of the Late Anthropocene</i>.<br />
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<i>Paradise Lost: An Allegory</i>, from 2013; accordion book.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuG8OjZVGNjUkiWCaBKYecJcNN4WBiXpc_k-T6X7KOLya-k12xYIJj9Jwy-srsAvPLpd-t12IZ4YYD0bFC-G_viIsa6KOMG2ypvWuZ6yX3YFLfYYU6bj6vF4IYvjRUKfSkrOT6DfjJQXz/s1600/1_zimmermann_lola_cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1116" data-original-width="1600" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuG8OjZVGNjUkiWCaBKYecJcNN4WBiXpc_k-T6X7KOLya-k12xYIJj9Jwy-srsAvPLpd-t12IZ4YYD0bFC-G_viIsa6KOMG2ypvWuZ6yX3YFLfYYU6bj6vF4IYvjRUKfSkrOT6DfjJQXz/s400/1_zimmermann_lola_cover.jpg" width="400" /></a></div>
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Two images of <i>Landscapes of the Late Anthropocene</i>, 2017.<br />
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You can see a video of the show that includes images of both of my books, <a href="https://www.youtube.com/watch?v=eldW502w-OQ" target="_blank"><u>here</u></a>.Philip Zimmermannhttp://www.blogger.com/profile/07856464131917033004noreply@blogger.com