A Look Back // Honoring Polly Lada-Mocarski – Book Arts Exhibition 1990

In 1990, the Creative Arts Workshop in New Haven paired up with the New England and New York Chapters of the Guild of Book Workers to build an exhibit to honor Polly Lada-Mocarski and celebrate the 10th Anniversary of the bindery at CAW.

Gisela Noack, Chairman of the Exhibition, noted the exhibit was a tribute to Polly, who was a “bookbinder and conservator, a teacher and mentor, a fundraiser, sponsor and inventor, but most of all a friend.”

Book Arts Exhibition 1990 — Polychrome — Polytechnique went on display from April 22 – June 3. During the opening reception attendees were entertained by Susan Joy Share and Geoffrey Morrow as they performed excerpts of their performance “Unfolded World” (click on the link above and scroll down to find images of this work).

Below are some of my favorites from the exhibit catalog, which was provided by Gisela Noack. Check out the entire catalog here: Book Arts Exhibition — Polychrome — Polytechnique.

Karl Eberth | La Reliure Originale Francaise
David P. Bourbeau | Todten Tantz
Hedi Kyle | Guest Book
Valerie Wyckoff | Lotus
Mindell Dubansky | A Child’s Guide to Knowledge

 

 

 

Workshop – Laser Cutting Boot Camp for Artist Books and Printmakers

The following workshop is not sponsored by the New England Chapter, but may interest our members.

Laser Cutting Boot Camp for Printmakers
June 12 – 15, 2020

Laser Cutting Boot Camp for Artist Books
June 26 – 29, 2020
North Adams, MA

Learn how to:
– operate a laser cutter
– make laser-ready files
– test innovative laser cutting & engraving applications
– produce a material sample book
– combine traditional techniques with new technology
– take advantage of tips & tricks
– identify laser safe materials
– recognize problems and solve them
– incorporate best practices and optimize work-flow efficiency
– make the most of connecting with faculty and brainstorming curriculum development
– laser cutting techniques for artists

For more information and to register visit: https://www.freefall-laser.com/workshops

Exhibit at Boston College // Devoted Catholic & Determined Writer: Louise Imogen Guiney in Boston

Member Barbara Adams Hebard, Conservator at Boston College, has curated the following exhibit that may interest others in our chapter.

Devoted Catholic & Determined Writer: Louise Imogen Guiney in Boston
February 10 – May 29, 2020
John J. Burns Library, Boston College

Louise Imogen Guiney (1861 – 1920), one of only two women represented in Bapst Library’s stained glass portraits of American authors, may have faded from the canon, yet she continues to offer a unique window into the multifaceted literary establishment of late 19th-century Boston. Guiney’s family and friends connected her to Boston’s literary circles where her own drive to write—first poetry, and later, stories and biographical essays—earned her acclaim, if not the financial independence she sought.

Guiney’s choice of subjects was informed by her Catholic beliefs, her admiration for Jesuits, and her sojourns in Ireland and England. This retrospective exhibit focuses on her relationships with Catholic religious leaders, fellow writers, and publishers in Boston. Of special interest to book artists, there are notable book cover designs and printing examples in the exhibit.

Exhibit reception: March 25, 2020, 6:00pm

For visiting information click here.

*This exhibit is not being sponsored by the New England Chapter of the Guild of Book Workers.

Workshops with Juliayn Coleman at Lake Damariscotta

The following workshops at the Sunset Lodge in Maine may interest our members:

Hand Bookbinding with Juliayn Coleman
August 30 – September 5, 2020

Repairing Children’s Books with Juliayn Coleman
September 6 – 12, 2020

The venue for the workshop is on the shore of Lake Damariscotta, Jefferson, Maine (about 2 hours north of Portland). The lodge was once an old fish camp built in the early 1900s. After being renovated it has served as a space for creative writing and bookbinding.

These workshops are not sponsored by the New England Chapter of the Guild of Book Workers.

A Look Back // 1989 Members Exhibition at RISD

In 1989, the New England Chapter put together an exhibition of member work, which showcased the scope and skill of the members at the time. This regional show highlighted the exuberance of book work in the Northeast, with many of the exhibitor’s reputations spanning across the nation and even internationally.

With the year 2020, our Chapter celebrates its 40th year! We will be posting on past events throughout the year in a series called A Look Back. In our first post, I asked three exhibitors to speak about their work and their place in the bookbinding community at the time.

Check out the full catalog here: 1989 Members Exhibition Catalog

Barbara Blumenthal:
Chinese Decorated Papers was the first of the five limited editions which I bound for Henry Morris and his Bird & Bull Press. I’ve been thinking about Henry from time to time since his death in May 2019.

Chinese Decorated Papers: Chinoiserie for Three | Barbara Blumenthal

In the 1970s, Henry’s exclusive bookbinder was Gray Parrot. In 1987 Henry decided not to keep all of his binding eggs in one basket, so he hired me to bind 325 copies of the Schmoller book in quarter leather with his printed paper sides. I also designed and created a deluxe copy, bound in leather leather with a design that featured some of the metallic papers tipped into the book. Henry and I (and his wife Pearl) remained good friends even after he abandoned me, and other hand bookbinders, to have his Bird & Bull books bound by the larger Campbell-Logan Bindery. Henry inscribed the binder’s copy of one of his publications to me, “Massachusetts’ finest bookbinder;” hyperbole, of course, but evidence of Henry’s sense of humor and our mutual fondness and esteem.

excerpt from Chinese Decorated Papers | Barbara Blumenthal

Julia Ferrari:
I was an artist, engaged in a career (vocation) of typography within the book arts, co-running Golgonooza Letter Foundry & Press with partner, Dan Carr, in Ashuelot, New Hampshire. Besides creating our own books as artist (myself) and poet (Dan Carr) we had been designing, setting and printing – in metal monotype, full size books for limited edition publishers for 7 years.

Intersection | Dan Carr and Julia Ferrari

When we moved to New Hampshire from Boston we were in our 20’s and we wanted to work doing the craft we so loved. We decided to run a monotype print shop, so we could continue to expand and develop our skills with letterpress printing and typesetting equipment to the country. We were also part of the Four Zoas Press, a literary small press, that was started in Hardwick, Massachusetts, publishing unknown poets. In Boston I had begun writing poetry which led me to Dan Carr and his literary print shop on the Charlestown/Somerville border. I was a practicing artist, and so brought those skills to the press, teaching myself woodcut and lino-cuts (these got used in the chapbooks we were producing), bookbinding, and later in 1989 making abstract paste-papers as original art be used on book covers (very possibly one of, if not the first person to do that.)

Swallow Island | Julia Ferrari

All was opening up as the traditional craft was being discovered by my generation, partly because the printing machines were being discarded by the commercial industry. I continue to run the press, even though my partner has passed away, and feel a responsibility to energetically pass on the craft to the next generation by offering residencies and internships yearly.

Check out Julia’s website for more about Golgonooza Letter Foundry & Press.

Julie B. Stackpole:
Since I live down in mid-coast Maine and don’t have many opportunities to gather with fellow bookbinders and book collectors, I have always tried to enter as many exhibitions of bookbinding as possible, to keep my name and work familiar to the public.

In 1989, I was trying an idea to expand my client possibilities by appealing to interior decorators to commission a guest book that ties in with the design of their project that they would give to their client at the end, a symbol of the interior’s new life. My mother, Mary Ann Beinecke, had a textile design business that produced luxury throws, yarns, fabrics, and needlework rugs made for her in Portugal. To demonstrate the possibilities of my idea, I chose one of her room-sized rugs made with this butterfly design as the inspiration for a blank book that I could also enter in the NEGBW exhibit; then she could sell it along with the rug afterwards.

Butterflies | Julie B. Stackpole

I used a finishing technique that I am very fond of: linoleum-cut blind embossing over onlays of leather. The butterfly lino-cuts also were used in making the endpapers with gum arabic resist. All the colours reflect those of the rug.

endpapers for Butterflies | Julie B. Stackpole

My mother never sold the rug but kept it for her own personal use, and so I gifted her the guest book also. Thus, it came back to me after she died (age 87) and so I am able to see and photograph it in its 30 year old condition. I am pleased to note that the structure of the book and wrapper are in good shape, but the aqua blue Niger goatskin has browned on the spine and near the edges of the boards, despite the book being kept in its wrapper. This is why I almost always make clamshell boxes for my fine leather bindings, especially light blue or green ones! (But guest books are easier to sign if they have a padded wrapper to rest on.)

Thanks to Barbara, Julie and Julia for their contribution to our community and this blog series.

Upcoming Workshop on Traditional French Pochoir with Kitty Maryatt

In February, North Bennet Street School will be hosting the exhibit Drop Dead Gorgeous: Fine Bindings of La Prose du Transsibérien Re-creation. In conjunction with this exhibit, NEGBW is hosting a workshop with Kitty Maryatt on the technique of traditional French pochoir.
 
Kitty Maryatt of Two Hands Press has been researching the production of La Prose du Transsibérien since 2012. She studied pochoir with Atelier Coloris in Ploubazlenac, France. In 2018, she debuted a new edition of 150 copies, which faithfully incorporates techniques and methods used in the original.

What: Traditional French Pochoir Workshop
Where: North Bennet Street School, Boston, MA
When: February 29 – March 1
Register here

The word pochoir in French simply means stencil, which has been done by every culture since mankind blew iron oxide around their hands onto cave walls. As the French are known to do, they developed particularly sophisticated stencil techniques in the early twentieth century. This workshop will introduce the basics of printing multiples through such stencils. The steps involve the following: trace the imagery that you want to reproduce, develop a registration system, identify and separate the colors, cut aluminum plates by hand, mix gouache colors, prime the French pochoir brush and apply the liquid in a swirling fashion.

Demonstrations of tracing images and cutting the plates will be shown first. Participants will trace one color from the image and cut an aluminum plate. The instructor will bring a pre-designed image with plates already cut so that participants can immediately learn the brush techniques. The six colors will be applied as the group makes an edition of the image. Then we will look at the images brought in by participants and discover which images are appropriate to reproduce in this way, including printing a base image.

Next, participants will select or create an image to be reproduced and go through the steps to make an edition of that image. Since this is an introduction, the focus will be on problem-solving and experiencing the joy of vibrant and true color. Additional techniques used on La Prose du Transsibérien will be highlighted and demonstrated.

For more information click here: https://gbw.formstack.com/forms/negbw_introduction_to_traditional_french_pochoir

Announcement // 40th Anniversary Exhibition – Intent to Enter Open

The New England Chapter will be celebrating 40 years in 2020! To commemorate this milestone, we are inviting members to submit work to our upcoming 40th Anniversary Exhibition. We encourage submissions of all types of book work (this includes bindings, artist books, calligraphy, printmaking, paper making, etc.) to showcase the diversity of our membership. In order to submit work, please fill out an Intent to Enter form. The deadline to submit the form is February 14, 2020.

You must be a member of the Guild of Book Workers – New England Chapter to participate and you must carry your membership throughout the entire run of the exhibition.

For more information about the rules and regulations and deadlines, please click here. If you have any questions, please feel free to email me: newenglandgbw@gmail.com

I look forward to your participation!