Books On Book Collection – Andrew Hayes

Offset (2013)

Offset (2013)
Andrew Hayes
Steel, book pages, and brass
13” x 9” x 5”
Unique. Acquired February 2014.

Photos: Books On Books Collection

Plane Study

Plane Study (2017)
Andrew Hayes
Formed and fabricated steel
11” x 11” x 2.5″

Photos: Books On Books Collection

Further Reading

in medias res … Andrew Hayes”, Books On Books, 6 May 2015.

David, Rachel. Meta-Formations: Experiments and Rituals (New Orlean, LA: Red Metal, 2019).

Townsend, Eileen. “‘Tributaries: Andrew Hayes’ at the Metal Museum”, Memphis Flyer, 23 January 2014. Accessed 2 September 2019.

Young, Meghan. “Book page sculptures, Trendhunter, 9 August 2013. Accessed 2 September 2019.

Books On Books Collection – Marlene MacCallum

“examination of everyday spaces … a celebration of interior life with special attention to the collection of objects and the adornment of surface”  —Marlene MacCallum

Theme and Permutation (2012)

Theme and Permutation (2012)
Marlene MacCallum
Hand sewn pamphlet, images custom-printed in offset lithography on Mohawk Superfine, text printed in inkjet, covers inkjet printed on translucent Glama.
H235 × W216 mm
Edition of 100, of which this is #54. Acquired 5 October 2018.

Photos: Books On Books Collection.

Theme and Permutation is one of a series of artist’s books inspired by the experience of living in Corner Brook’s Townsite area on the west coast of the island of Newfoundland. Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled labourers. Over a period of 10 years, I have photographed in several homes, all the same type-4 model as the one I live in. These homes vary in condition from close to original in design and décor to highly renovated. This project gave me the rare opportunity to record the evolution of interior aspects of these homes. It has been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Having grown up in a suburban housing development, my earliest memories of home is that of living in a space that is reminiscent of my neighbors’. Each artist’s book explores a distinct facet of image memory, multiplicity, sequence and offers the viewer a visual equivalence of the uncanny.
Theme and Permutation is a response to the permutations and variations of the type-4 Townsite House. Digital tools were used to translate the original film source of eight different window images from five houses. The sixteen offset lithographic plates were custom printed in twenty-nine separate press runs. Each image is the result of a different combination of plates. The structure is a sewn pamphlet with translucent covers. The viewer enters the body of the book with a tritone image of a single Townsite window. As one moves into the piece, new window images appear and layer over each other. The images become darker and more heavily layered towards the mid-point. The center spread has an inkjet layer of two text blocks printed over the offset litho images. The text speaks of the history of the homes, the architectural permutations and economic shifts within the Townsite area. The ensuing pages continue to provide new combinations of window layers, gradually lightening in tonality and allowing the individual windows to become more distinct. A third text block provides a personal narrative. The piece concludes with a tritone image of one of the Townsite windows in original condition.

From artist’s website. Accessed 1 September 2019.

Chicago Octet (2014)

Chicago Octet (2014)
Marlene MacCallum
Hand bound artist’s book with folded paper structure, letterpress and inkjet printing,
H166 × W78 mm closed, H443 x W293 mm open
Unique. Acquired 5 October 2018.

Photos: Books On Books Collection

Chicago Octet is a work of visual poetry by eight masters of book art. If they were performing music (and you can almost hear the music of Michigan Avenue), MacCallum would be their performing conductor.

The piece I created, Chicago Octet, had several collaborative components. The letterpress printing consisted of a word selected by each participant printed on one of Scott [McCarney]’s folded structures. The images were a digital layering of every cityscape photograph that I made and then inkjet printed on top of the letterpress. The final folded structure was designed by Mary Clare Butler. The case was designed and built by Scott McCarney, the front cover embossment was by David Morrish and Clifton Meador.

From artist’s website. Accessed 31 August 2017.

Further Reading

Books On Books. “Architecture”. Books On Books, 12 November 2018.

Books On Books. “The Colophon and the Leftover “i”. Books On Books, 23 April 2019.

MacCallum, M. “Creating the Visual Book through the Divergent Technologies of Photogravure and Digital Processes”. Presentation at fourth annual Grenfell Campus Research Showcase, Memorial University, Corner Brook, NL. 29 March 2011.

MacCallum, M. and David Morrish, D. “The Discrete Potential of Four-Colour Photogravure in Contemporary Art Production”, Rapport, Volume 2, Norske Grafikeres, 2010.

Robertson, L. and Tuttle, G. Marlene MacCallum: the architectural uncanny (Corner Brook, NL: Sir Wilfred Grenfell College Art Gallery, 2007).

Books On Books Collection – Cathryn Miller

Westron Wynde (2016)

Westron Wynde (2016)
Cathryn Miller
Double-sided accordion with swing panel structure, 4 double-page openings, based on Hedi Kyle’s panel or panorama fold. In wrapper with slip and slot closure. Initialed and numbered by the artist. Edition of 6, of which this is #3.

Cathryn Miller, colophon: “Part of an ongoing series of works based on exploration of colour-graphemic synesthesia. This book presents the poem ‘Westron Wynde‘ in a purely visual form. Letters become colours, and are used as graphic elements. The book manifests the essence, if not the sense, of the poem.”

Westron wynde when wyll thou blow,
The smalle rayne down can rayne – 
Cryst, yf my love wer in my armys
And I yn my bed agayne!

L is for Lettering

L is for Lettering (2011)
Cathryn Miller
Hand bound codex of 56 unnumbered pages. Laser printed on acid free recycled paper, hemp paper covers. The book was hand drawn, then scanned and resized in Photoshop. Text is Caflisch Script Pro. Hand annotated in red pencil. Edition of 26, of which this is #3.
H160 x W158 mm

An alphabet book based on the artist’s personal struggle to become a practicing artist. Cathryn Miller: “The trials and tribulations of the art education process as recalled from a satisfactory distance after the author learns that everything is useful after all.”

Books On Books Collection – Karen Wirth

Paper Architecture

Paper Architecture (2017)
Karen Wirth
H230 x W130mm, 24 pages
Acquired from Journal of Artists’ Books 42 (Fall 2017)

Photographic images by Karen Wirth from Ayvalik, Amsterdam, Florence, Istanbul, New York City, Rome, San Diego and Venice. The photos are collaged, and the work is based on an architectural installation that included a large-scale book.

Books On Books Collection – Peter Koch

Watermark (2006)

Brodsky dedicated Watermark to his friend the American painter, Robert Morgan who has lived in Venice for more than 30 years and the book is illustrated with 14 photo-gravures made from his original photographs.

While Koch was artist-in-residence for the Fall of 2006 at the Scuola Internazionale di Grafica Venezia imported a printing press from the Tipoteca Italiana Fondazione printing museum.
The paper is Twinrocker “Da Vinci” handmade, with the Koch firm’s watermark designed by Christopher Stinehour and Susan Filter. The edition is limited to fifty copies. Copies numbered 1 to 30 are bound Venetian-red hand made papers and housed in a clamshell box. This copy was acquired 31 July 2019. 

Donald Farnsworth digitally reconfigured Morgan’s photographs and printed them at his Magnolia Editions in Oakland, California from photogravure plates made by Unai San Martin.

The printed sheets were shipped to Venice, Italy, and the text was set in Monotype Dante types cast in lead at the Olivieri Typefoundry in Milano. Once the printing at the Scuola Grafica was completed, the sheets were shipped to Koch’s studio in Berkeley where the book was bound in richly pigmented papers made by hand at Cave Papers in Minneapolis, MN.

Books On Books Collection – Diane Stemper

Universal Sample

Universal Sample
Edition of 4, all copies signed by Diane Stemper. The book consists of etchings and letterpress on Rives BFK paper, and monotype print (accordion / concertina spine) on Arches Cover. Universal Sample is part of a larger series of artist books and prints inspired by Charles Darwin, science and evolution, and specifically by historic specimens found in the Huntarian Museum at the Royal College of Surgeons in London. Universal Sample presents a progression from early life forms to a final molecular disintegration. The first image shows an undefined form, teeming with nascent life. The second image features a frog dispersing a multitude of eggs. The images then move to ‘chance order’ – a slight nod to religion and the Christian notion of the Trinity – and to ‘moment decay’ depicting asplayed life form, hinting at its inevitable death. The final images, ‘vestigial,’ depict decomposition and a return to a vague molecular presence. All of the forms are placed within a universal space that is beyond the earthly space that we inhabit. Universal Sample was printed at the Dayton Printmakers Cooperative and bound at Plat 21 Studio.

Compendium of Fact Series

Cell, Original Cell 
One-of-a-kind signed by Diane Stemper. An accordion book made with found text from On the Origin of Species by Charles Darwin, and from discarded classroom science texts. Compendium of Fact: Cell, Original Cell is the first in a series of what is now (2019) approximately 100 Cell books created for Compendium of Fact. In 2009, it was part of an installation of 25 Cell books celebrating Charles Darwin’s two hundredth birthday. Cell, Original Cell comments on the notion of heredity, evolution and the structure of living things and how they came to be.
Cell #40
One-of-a-kind signed by Diane Stemper. Repurposed text and pages from a paperback version of On the Origin of Species by Charles Darwin. Reshaped pages hand colored with watercolor, horse hair and housed in a petri dish. Perfect binding onto linen tapes. Signed and numbered on back. Cell #40 is part of larger series of artist books built into petri dishes entitled Compendium of Fact inspired by Charles Darwin’s 200th birthday and the cultural conversation surrounding evolution.
Bee Ripe Collecting / Cell #7
One-of-a-kind signed by Diane Stemper. Discarded science text, intaglio print, portion of a dried natural wasp nest housed in a petri dish. Bee Ripe Collecting / Cell #7 is part of a grouping of seven petri dish books and is part of the larger series Compendium of Fact. Bee Ripe Collecting was inspired by an old, large Linden tree located on Stemper’s property. Each June hundreds of bees visit the tree as it flowers. Stemper made Bee Ripe Collecting to honor the hard-working bee and the tree that brings bees together each summer. The wasp nest alludes to a bee’s hive and was used in the work for its hexagonal form.

Further Reading

Bookmarking Book Art – in medias res – Diane Stemper, 9 September 2017

Dillon, Pamela. “3-person exhibit takes scientific angle”, Dayton Daily News, 6 October 2012. Accessed 28 August 2019.

Saatchi Art

Staff, “Custom Enclosures: Diane Stemper Artist Books”, Special Collections, Miami University Libraries (Oxford, Ohio), 22 January 2015. Accessed 28 August 2019.

Young, J.M.K. “Diane Stemper – Out of Scale: Artist’s Books and Collections Exhibit, March 25 – May 25, 2013”, Collins Unbound, 27 March 2013. Accessed 28 August 2019.

Bookmarking Book Art – Jukhee Kwon

The 20th century poet Ezra Pound espoused the view that the best way to understand and critique literature was by juxtaposition of works from different periods. Here is an attempt at that approach applied to the art of Jukhee Kwon and John Latham, but the critic might have better selected Kwon’s Libro Libero (2013) to make the point about “releasing … energy and celebrating freedom”. Kwon’s own thoughts about Libro Libero lead in a different direction though.

Libro Libero (2013)
Jukhee Kwon
Photo: Jonathan Greet

The work of Libro Libero was done with a Christian nun’s book. I am not so religious a person, but I understand that religion is about life. How we come and how we live and how we die. And every belief has a strong link with something invisible and oneself visible … (we live in the body) … you can say the connection between the soul and body. 

So I made the bookwork to be producer and receiver. Pages are coming out (producer) and the scrolled papers are below them (receiver). 
The shredded paper is falling and settling on the scrolled paper boat (it looks like a boat or if you will a bowl). The falling paper is fragile but in the boat or bowl it becomes solid and safe. 

Email to author, 26 September 2018, edited for brevity.

At the October Gallery in London in January 2019, I had the chance to see a similar bookwork. The difference drives home the use of the book as material — like clay or stone for sculpture, oils or watercolour for painting. But it is freighted, manifold material.

Dipping into Darkness (2013)
Jukhee Kwon
Photos: Books On Books

It brings paper, cloth or leather, and ink; it brings content. As in Libro Libero, Kwon turns another book into an active composite — the covers opened to spill out pages, cut and braided into ribbons, the last of which have been dipped into ink. Or, per the title, is it the covers opening, the pages unravelling and braiding, the ink of the words draining into a pool of darkness into which the ribbons are dipping? Rather than the lighter spiritual association suggested by the former’s title, shape and action, Dipping into Darkness implies a blacker interpretation. Or perhaps that is too Western a perspective. Is the breviary at the pinnacle of the work the result of the brush-like shape’s dipping into the ink of contemplation?

If the chance to view and contemplate Kwon’s art arises, take it.

Further Reading

Culture 24

October Gallery

Bookmarking Book Art – Ladislav Hanka

 Chance and necessity are the twin foundations of Darwinian evolution – the ultimate creativity.  What artist doesn’t aspire to working with divine and cosmic forces – with the bedrock of evolution or creation?  Things happen as they must – as the dance of the DNA dictates and as pure raw survival cements into place.  You set up your experiment and the immutable laws of causality are set into motion.

You see before you my two interests combined:  The etchings are made in the usual way, but then I insert them into the hive for bees to add the next layer.  Sometimes they chew up my artwork and pitch it out of the hive alongside their excrement and dead.  At other times they join forces with me to co-create.   If I cover my work with a thin translucent layer of melted bee’s wax, it smells familiar and they tend to accept it.   If I attach some burr comb, they seem to like that even better and often initiate work right there – adding to it or recycling it and moving it around.   Let them go long enough and they’ll cover it all with capped honeycomb or perhaps they’ll chew it all up.  Take it out at just the right moment and the results can be an unpredictable collaboration of sublime beauty.

For more Darwin-inspired art, see

Books On Books Collection – Roberta Lavadour

Origins (2018)

Printed and bound in an edition of 7 copies, of which this is No. 4 and signed. Carbon paper pressure prints from collograph plates, pochoir and silkscreen on Kozo. Bound in four-hole Japanese stab binding covered in black/white Duo cloth with doublures of Arches Cover Black. Encased in Arches Cover Black, two pieces glued perpendicularly, one trimmed to form a slot and tab closing. Encasement H197 x W153 mm. Book H193 x W152 mm closed and H193 x 1007 mm open.

Further Reading

Artist’s website. Accessed 16 August 2019.

“Book Artist Roberta Lavadour”, Oregon Art Beat, PBS, video aired 19 January 2017.

“Roberta Lavadour”, Book Artists and Poets, University of Alabama, podcast aired 30 June 2009.

“Roberta Lavadour”, WorldCat Identity. Accessed 16 August 2019.

Robert Lavadour, “Original Binding Structures and Decorations”, Guild of Book Workers, 11 October 2018. Video on demand, 2 hours and 22 minutes.

Roberta Lavadour, “The Twined Binding”, The Bonefolder, Vol. 4, No. 2, Spring 2008, p.27.

Bookmarking Book Art – Sam Winston at the British Library, 9 August – 27 September 2019

British Library describes its exhibition of Winston’s original artwork for A Child of Books.

The view on the British Library’s second-floor gallery.

Further Reading

“‘Darkness Visible’, Sam Winston’s performative installation”, Books On Books, 30 December 2017.

Maryann Yin, “Book Trailer Unveiled for ‘A Child of Books’”, GalleyCat, Adweek, 26 May 2016.

“Sam Winston”, Books On Books, 22 June 2013.

Léopold Lambert, “Dictionary Story by Sam Winston”The Funambulist, 9 February 2011.

Roberta Lavadour

Artist's books and design bindings by Roberta Lavadour published under the Mission Creek Press and Desultory Press imprints


Curated by Robert Bolick


News from the Rare Books Department of Special Collections at the J. Willard Marriott Library, The University of Utah

Susan Happersett

Mathematical Meditations

The History of the Book

A bibliography of printing, publishing, and the book arts

Curated by Robert Bolick

Guy Begbie begbiebook

Workshops & Interdisciplinary Works Archive

%d bloggers like this: