Book For[u]Ms Artist Series and 3 Women Fine-Press Printers Series
Caren Heft – 3 Women Fine-Press Printers
Proprietor of Arcadian Press and Root River Papermill and Associate Curator, Wustum Art Museum, Racine, Wisconsin.
Book For[u]Ms on September 18, 1995 and 3 Women on June 13, 1995
Tracy Honn- 3 Women Fine-Press Printers
Tracy Honn received her graduate degree from UW-Madison, where she was a student of Walter Hamady. With a background in bookbinding and book and paper conservation, Tracy started her own imprint, Ragpicker Press, in 1985. Beginning in 1986, she worked as a graduate assistant and then as a staff member for the University’s Silver Buckle Press until 1994, when she assumed directorship of the Press’s printing and publishing program.
June 13, 1995
Mary Louise Laird – 3 Women Fine-Press Printers
Mary Laird founded Quelquefois Press at Mt. Horeb, Wisconsin, in 1969. She was also partner with Walter Hamady in The Perishable Press, Mt. Horeb, from 1969 to 1984. Together they hand set, printed, and published over 90 editions. She moved to Berkeley, California in 1988. Mary maintains strong ties to Wisconsin, and continues to print letterpress books and broadsides under the Quelquefois imprint. She teaches at San Francisco State University, Kala Institute, and Vale Convalescent Home.
June 13, 1995
Proprietor of Jubilee Press, Milwaukee, Wisconsin and 1995 Summer Visiting Artist, Minnesota Center for the Book Arts.
October 2, 1995
Marta Gomez and Ivan Soll
Collaborators and Proprietors of Tiramisu Press, Madison, Wisconsin. Marta Gomez is a book restorer, conservator, and binder. Ivan Soll teaches Philosophy at the University of Wisconsin-Madison.
October 12, 1995
Proprietor of the Midnight Paper Sales Press, Stockholm, Wisconsin and former Artist-in-Residence at the Minnesota Center for the Book Arts.
October 23, 1995
Proprietor of Pentagram Press, Minneapolis, Minnesota (formerly of Milwaukee and Markesan, Wisconsin).
October 30, 1995
Proprietor of Book Restoration and Conservation Co., Kenosha, Wisconsin and Adjunct Professor at the UWM School of Library and Information Studies.
November 6, 1995
Proprietor of Iguana Press and Chair of the Art Department, University of Wisconsin-Madison.
November 8, 1995
Jo Anna Poehlmann
Milwaukee book artist, painter, and graphic artist, Jo Anna Poehlmann is a Lecturer in the UWM Art Department. She has worked as a professional artist for over forty years, and her artist’s books have become have become the culmination of her graphic production and the focus of the work she has produced since the late 1980s. Often unique or produced in small editions of ten to twenty-five, her books are literate and thoughtful, functioning like diaries or visual scrapbooks.
October 16, 1996
Proprietor of the Melia Press and the 1993-1995 Artist-in-Residence at the Minnesota Center for Book Arts (MCBA), Minneapolis, Minnesota. Robert Johnson’s own fine press efforts have been informed by his association with the many book artists and fine printers who have worked at MCBA, including Gaylord Shanilec and Kinji Akagawa. Johnson’s work focuses on limited, letterpress editions incorporating his own lino-cut illustrations, and presenting the work of poets “born before TV,” including Robert Bly, John Wills, and William Stafford.
November 6, 1996
Bonnie O’Connell – 3 Women Fine Press Printer
Director of Abattoir Editions and the Nebraska Book Arts Center, and proprietor of Penumbra Press, Omaha, Nebraska. Bonnie O’Connell is an Associate Professor in the Department of Art and Art History, University of Nebraska-Omaha, where she also directs the fine press projects of Abattoir Editions, established by Harry Duncan. She founded Penumbra Press in 1971. Over the past 25 years she has had the rare fortune to study or work with three important American fine printers–Walter Hamady, Kim Merker, and Harry Duncan–and has emerged as a leading fine press printer.
September 30, 1996
Marta Gomez – 3 Women Fine Press Printer
Co-proprietor of Tiramisu Press, Madison, Wisconsin. Marta Gomez collaborates with writer and philosopher Ivan Soll to create books which integrate historical, philosophical, visual, and typographic issues. Trained as a professional book binder, she also invents new and complex bindings.
September 30, 1996
Betsy Ruppa – 3 Women Fine Press Printer
Partner in the Charles Bevan Press, St. Louis, Missouri. A graduate of UWM’s fine arts program, Betsy Ruppa helped found the Inkling Studio in Portland, Oregon, and worked as a professional binder before receiving her M.F.A. degree from Washington University. She began printing for the Charles Bevan Press in 1993, and served as master printer for the Press’s fourth production, Cry Mustardville, in 1994.
September 30, 1996
Peter and Donna Thomas
Hand letterpress printers, printmakers, papermakers, book designers, book binders, and miniature-book artists, this well-established book making couple have been making limited edition publications for over twenty years under their own names and under their former imprint, Good Book Press. Their simple, intimate, and elegant work is based on well-developed artistic and theoretical foundations. Both have been strongly influenced by their close relationship with the poet and printer William Everson. Their 1995 presentation of Everson’s The Tarantella Rose is featured in the exhibition, Shape-Shifting: Transformations in the Art of the Book, on view in the Golda Meir Library’s Fourth Floor Exhibition Gallery through October 20. Peter and Donna Thomas will also be offering a public weekend workshop on making miniature books at Woodland Pattern Book Center, Milwaukee, September 27-28.
September 26, 1997
Margaret Sunday is a printmaker, book artist, assistant professor of art at the University of Northern Colorado, and curator of the exhibition, Shape-Shifting: Transformations in the Art of the Book. She trained at UW-Madison with the artist and master printer Walter Hamady, and at the University of Iowa with Kim Merker. She is proprietor of Caddis Case Press, and has received critical recognition for her own book, Words of the Teacher, and for her wood engravings in the recent publication of Joel Oppenheimer’s New Hampshire Journal from Walter Hamady’s Perishable Press. She also received acclaim for the wood engravings in the Iowa Center for the Book’s magnificent presentation of Amy Clampitt’s Manhattan.
October 13, 1997
Martha Carothers is a letterpress printer, book artist, papermaker, teacher, scholar, book arts theorist, and chair of the Department of Art at the University of Delaware. Through her imprint The Post Press, with facilities and equipment resurrected from a local newspaper publishing house, Ms. Carothers produces witty, ironic, and sculptural conceptual pieces in small editions. Her book Good War, Bad Peace, also on view in the Shape Shifting exhibition, was derived from the local newspaper’s 1960s photoengraved plates of local military townspeople. Martha Carothers lectures and exhibits widely, and she will discuss her own work, the book format as a venue for self-expression, and the process of teaching others the art and craft of the book in an academic setting.
October 20, 1997
Leslie Bellevance is a photographer, book artist, and professor at the University of Wisconsin-Milwaukee. She will discuss her recently completed book, Analemmic, a project conducted in collaboration with Nexus Press, Atlanta. Through a continuous landscape electronically constructed from found photographic backdrops and documented gardens, Bellevance offers the viewer a journey through imagery as a narrative timepiece. This unique book structure incorporates a visual narrator who accompanies the reader along an ocular timeline punctuated by bookmarks printed with lists of life’s regrets. This allows for the displacement of the written words providing infinite variations of interpretation. Analemmic was produced through an experimental use of electronic imaging and offset lithography.
November 3, 1997
John Risseeuw is a papermaker and fine-press printer who teaches at Arizona State University. He came to ASU in 1980 to establish book-arts classes within the printmaking area and to direct a book-arts press for publication and creative research purposes. The Pyracantha Press was founded in 1982. He teaches courses in Fine Printing & Bookmaking, Papermaking, Artist’s Books, and Photo Processes for Printmaking; chairs the Printmaking Area; and directs the Pyracantha Press. His own private press, the Cabbagehead Press, was founded in 1972. Risseeuw’s prints, books, and collaborative works have been exhibited internationally in recent years in Macedonia, Africa (Madagascar, Mauritius, Zimbabwe, Botswana, Senegal), South America (Brazil and Colombia), England, Ireland, and Canada, as well as nationally. His collaborative artist’s book, SPIRIT LAND, created with Margaret Prentice in 1996, has been shown in over 26 exhibitions, and is scheduled to travel to more sites. His work may be found in many collections, including the Sackner Archive of Concrete and Visual Poetry in Miami Beach, the Library of Congress, the Bodleian Library in Oxford, England, the British Library in London, Fudan University in Shanghai, American Medical Association, IBM, the Newberry Library in Chicago, the Getty Center for the History of Art and the Humanities in Santa Monica, numerous university collections, and the National Baseball Hall of Fame.
October 19, 1998
Amanda Degener is a papermaker, book artist and educator. She recently served as Interim Director of the Columbia College Chicago Center for Book & Paper Arts. She has taught at the Minneapolis College of Art and Design and the Minnesota Center for Book Arts, where she also served as Artistic Director. With Bridget O’Malley she is co-proprietor of Cave Paper, a mill for handmade production paper. In their production for Cave Paper, Degener and O’Malley work mainly with flax fibers and distinctive walnut dyes. Their line of hand-made papers also include blue jean, cotton muslin, and Russian hemp/abaca. In her book works, Degener combines hand-made papers with painted pulp, letterpress, and wet-pulp applications to produce visual paper environments that range in format from broadsides, to books, to large paper installations. She is also co-founder of Hand Papermaking Magazine.
November 2, 1998
Jim Lee is a woodcut artist, book maker, and educator. He teaches printmaking, drawing, and a book-arts course at the Hartford Art School at the University of Hartford in Hartford, Connecticut. His dramatic black and white woodcut prints and books include portraits, images of toys, and illustrated nursery rhymes. His recent book, The Place of the Long River, Connecticut River Anthology, includes color reduction woodcuts that interpret the writing of two writers from each state that the eight rivers which comprise the Connecticut River valley flow through. He is also the proprietor of the Blue Moon Press, his private press imprint for his woodcut and letterpress printed books which include collaborations with poets and other artists. His work has been exhibited in “New American Woodcuts,” in Buchenbach, Germany, and “Turning the Page,” an international exhibition of artists’ books in Honolulu, Hawaii, and is included in the collections of the Chicago Art Institute, Boston Public Library, and New York Public Library.
November 11, 1998
Ann Kalmbach and Tatana Kellner
Ann Kalmbach and Tatana Kellner are co-founders and, respectively, the Executive Director and Artistic Director of the Women’s Studio Workshop (WSW) in Rosendale, New York. With a particular focus on printmaking and the book arts, WSW is an artists’ cooperative studio with a strong national reputation. Founded in 1974 as an alternative space for artists to create new work and to share skills and equipment, WSW has steadily grown to include facilities for printing, papermaking, photography, and ceramics. Besides its studios and an extensive catalog of artists’ books, WSW also offers classes, internships, fellowships, residencies, grant opportunities, public school programs, exhibitions, and other special initiatives and projects.
An MFA graduate of the Rochester Institute of Technology (RIT), Ann Kalmbach is a printmaker and book artist. Her books can be found in many library and museum collections, including the Museum of Modern Art and the Metropolitan Museum of Art. As manager of WSW’s silkscreen and offset facilities, Kalmbach has worked with many artists on hand-printed books and other special projects. Czech-born artist Tatana Kellner, also an MFA graduate of RIT, is a photographer and book artist who makes ample use of her background in painting, printmaking, and hand papermaking. Her work, which is shown widely and has been the subject of numerous solo exhibitions in the United States, is strongly informed by her early life in communist-era Prague growing up in a Holocaust-survivor family. Kalmbach and Kellner produce collaborative artists’ books as KaKe Art. They will discuss their own work, and the work, programs and initiatives of the Women’s Studio Workshop.
September 22, 1999
Mary Jo Pauly
Mary Jo Pauly is a letterpress printer and book artist, and is Artistic Director for the Minnesota Center for Book Arts (MCBA), Minneapolis, Minnesota. MCBA was founded in 1983 to support and facilitate collaborative efforts in the book arts, and to help integrate those efforts into the everyday lives of the community through classes, workshops, tours, field trips, exhibitions, lectures, public school outreach, a range of internship and volunteer opportunities, and the production of consistently well-produced and affordable fine-press publications.
Mary Jo Pauly began her educational career in graphic design and subsequently received an MFA from the University of Wisconsin at Madison where she studied with Walter Hamady. Her work as a book artist, integrating fine press tradition and structural inventions, has been exhibited nationally and internationally. In addition to her position at MCBA as Artistic Director, she also maintains the letterpress studio; conducts a variety of classes and workshops; oversees the Artists-in-Residence program, Book Arts Cooperative, and fellowship programs; curates and selects guest curators for MCBA’s exhibition program; is project manager of all publication projects; and participates in the Book-Artists-in-the-Schools residency program. Mary Jo Pauly will discuss her own work, as well as the work, programs and activities of the Minnesota Center for Book Arts.
October 13, 1999
Susan E. King
Susan E. King is an artist and writer who began making books after she moved to Southern California in the 1970s to participate in the experimental Feminist Studio Workshop (FSW), the first independent school for women artists. She eventually became the studio director of FSW’s Women’s Graphic Center at the Woman’s Building in Los Angeles. Growing up in the South in a family of storytellers, Susan King’s work is imbued with a sense of place that often reflects Southern oral tradition and history. She continues to divide her time between Los Angeles and rural Kentucky. Trained as a sculptor, she brings sculptural form to her printed and one-of-a-kind artist’s books, which she prints at Paradise Press in Los Angeles, and at cooperative presses around the country. Her work is in major collections including The Getty Center, the Bibliothèque Nationale, the Museum of Modern Art Library, and the Victoria and Albert Museum Library. Chronicle Books in San Francisco recently published a trade edition of King’s artist’s book, Treading the Maze, originally produced at the Visual Studies Workshop in Rochester, N.Y. Treading the Maze presents dual texts, one of her pilgrimage to European sacred sites, and the other of her journey through the medical realities of breast cancer.
November 8, 1999
“The Book as Object” Sculptor, book artist, critic, and art theorist Buzz Spector is one of the nation’s premier contemporary artists making use of the book as an expressive medium. Since the mid-1970s, Spector has produced numerous bookworks, including his recent books The Position of the Author (Visual Studies Workshop, 1993) and A Passage (Granary Books, 1994). In 1978 Spector co-founded White Walls, a Chicago-based magazine of writings by artists, and served as the publication’s editor until 1987. He has written extensively on contemporary art and culture for a variety of publications, including Art Forum, Art Issues, Dialogue, and The New Art Examiner, and is the author of The Book Maker’s Desire (Umbrella Editions, 1995), a collection of critical essays on artists’ books and other topics in contemporary art. In his own work, Spector frequently manipulates books to explore the relationship between the physical and conceptual identities of books. In several works produced since 1981, Spector has methodically torn out the pages of books. This systematic excision obliterates portions of the texts he selects while transforming the books that contained them into objects of displacement and forgetting. Through this process of alteration, Spector brings focus to the physical and conceptual dichotomy of books–books may be used conceptually or as sculpture, but not always both at the same time.
October 18, 2000
Book artist, educator, performance artist, and artist’s book dealer, Marshall
Weber will offer a slide presentation on the activities of the New York-based book arts
cooperative Booklyn Artists Alliance. A former Madison resident, Weber co-founded Booklyn two years ago (along with fellow Madison expatriates Christopher Wilde, Dylan Graham, and Mark Wagner, among others). Booklyn has developed rapidly into a significant book arts presence, with educational and consulting services offered worldwide, and a highly successful distribution service representing both emerging and established book artists, such as Walter Hamady, Caren Heft, Jim Lee, Ruth Lingen, Jeff Morin, JoAnna Poehlmann, and Margaret Sunday. The collaborative book work of the Booklyn Alliance is also generating considerable attention.
February 21, 2001
Clarissa Sligh is a noted African American book artist who creates biographical and
autobiographical narratives using photographs and other visual media. Her current work explores concepts based on intersections of history, memory and cultural representation. Sligh will offer an artist talk at Woodland Pattern Book Center as part of the Book FOR[u]Ms series on Friday, March 9, 7:00 pm. Her remarks will focus on an exhibit featuring two of her works: a photographic documentary entitled “Jake in Transition from Female to Male” and her artist’s book “Voyage(r): A Tourist Map to
Japan.” The exhibit will be on view at Woodland Pattern February 23-May 31, 2001. In
“Jake in Transition,” Sligh uses photographs and interviews to document the sex
change process of Deborah/Jake from female to male. While making the documentary, Sligh also had to confront her own feelings and concepts about sexuality, gender identity, intimacy, and sexual and emotional boundaries. In “Voyage(r),” Sligh presents
the revelations afforded by foreign travel through the experience of her own trip to
March 9, 2001
Cecilia Vicuña is a Chilean poet, filmmaker, book artist, performance artist and sculptor whose work often confronts the contemporary realities of ecological disaster. Vicuña works in the tradition of the oral poetry of the High Andes. She has published thirteen books of poetry and has performed “ritual readings” throughout the U.S., Europe and Latin America. Hailed by the Village Voice as a poet whose work melds the political and the sensual, Vicuña, Laura Hoptman tells us, also “uses the metaphor of the book to describe a large number of her works, perhaps all of them.”
September 28, 2001
Charles Alexander is a poet, letterpress printer, book artist, critic, and publisher. Alexander was educated in part at the University of Wisconsin-Madison, where he worked with legendary book artist Walter Hamady. In 1980 Alexander founded Black Mesa Press in Madison, which he operated until he moved to Tucson in 1984. In 1985 he established Chax Press in Tucson, which he continues to direct. Through this imprint, Alexander produces hand-made, letterpress books and literary trade editions, both of which explore the conjunctions of innovative writing and book forms. From 1993 through 1995 Alexander was also executive director of the Minnesota Center for Book Arts, one of the nation’s premier centers for the arts of the book.
A poet as well as an editor and critic, Alexander’s books of poetry include Hopeful Buildings (Chax Press, Tucson, 1990) and arc of light/dark matter (Segue Books, New York, 1992), which have received high praise form his literary colleagues. The poet Robert Creeley has written that in Alexander’s work he “hears a complex literacy of literalizing words.” The poet and critic Ron Silliman writes that “Charles Alexander pushes the envelope of what is possible in writing even further, to the ends of the universe.”
October 12, 2001
Bad Water Book Club member and Milwaukee native, Michael Koppa began his career as “Son of Koppa,” working at his parent’s grocery store, Koppa’s Foods on Farwell Avenue. There he founded the world’s first, and so far only, grocery fanzine, The Sphere, which ended its two-year run at fame in 1995.
Koppa is a graduate of UW-Madison, where, like Charles Alexander, he worked with Walter Hamady. Under his imprints, Dead Art Ltd. and Kopralalia Press, Koppa produced two volumes of a Milwaukee-area chapbook, CRUX (1996), set on a Linotype machine, hand-printed letterpress, and hand bound.
Koppa’s interest and research in typography and book design recently led him to acquire foundry type and a Vandercook proofing press, on which he produced an exquisite hand-set, hand-bound, limited-edition presentation of David Steingass’s Native Son at Home (2000), under his current imprint Heavy Duty Press.
Koppa is also a noted collage artist, and his substantial body of work has been shown in numerous venues, including the Charles Allis Art Museum and Grava Gallery.
November 7, 2001
Brad Freeman is director of Nexus Press in Atlanta and editor of the Journal of Artist Books (JAB). Nexus Press, a programming division of the Atlanta Contemporary Art Center, is a non-profit, award-winning, cooperative press. Devoted to producing and publishing affordable, experimental, limited-edition artists’ books, Nexus Press is one of the premier book presses of its type in the United States.
Brad Freeman is also a photographer, a master offset lithographer, and one of the leading proponents for the use of offset printing in the book arts. Over the past 20 years, Freeman has produced a range of work which includes silver gelatin prints, highly-wrought digital prints, and complex artist’s books. In whatever medium he works, Freeman produces visual and textual narratives that explore the ever-shifting interface of private space and public sphere.
November 29, 2001
Jody Williams has produced books since 1989 under her own Minneapolis imprint, Flying Paper Press. A printmaker as well as a book artist, Williams has exhibited her work in Canada, the United States, and Europe. Her books are in collections at the Walker Arts Center and the San Francisco Museum of Modern Art, and are also well represented in Special Collections at the University of Wisconsin-Milwaukee Libraries.
Williams received an MFA in printmaking from Rochester Institute of Technology in New York. She has taught 2D and 3D papermaking, printmaking, and technical and conceptual artists’ books at the Minneapolis College of Art and Design, where she currently works, as well as at the University of Minnesota, and the Minnesota Center for Book Arts.
Williams works in a small format using handmade papers, copper-plate etchings, and silkscreen. While her books are small, each has an enormous presence. Williams’ work includes accordion-book and box structures such as Time Will Tell (1991) Quintessential Questions (1996), and condensed creatures (2000), as well as The Diminutive Digest, a “tiny periodical devoted to tiny things,” which Williams has published twice a year since 2001.
September 29, 2002
A teacher, curator, and arts administrator, as well as a book artist with an international reputation, Carol Barton’s work has been exhibited worldwide and is in many collections, including the Library of Congress in Washington and the Victoria and Albert Museum in London. In 1995, she curated “Science and the Artist’s Book” for the Smithsonian Institution. She was awarded the Bogliasco Fellowship for a residency in Italy in the fall of 2000. In 2001, she was awarded a residency by the Sacatar Foundation in Brazil. Barton is currently on the faculty of the University of the Arts, Philadelphia, where she teaches classes in bookbinding and book structures.
Barton says that “the book allows” her “to combine” her “background in painting and photography with interests in sculptural forms, printing, and serial images.” Her “inspiration,” she states, “comes from varied sources: reading, historical references, functional objects (furniture, jewelry and kinetic toys), architecture, and other artists’ books. The book is a flexible framework for these influences.” That flexibility is evident in all the books Barton has created in the last fifteen years. Her projects include pop-ups, structured and sculptured books, and tunnel books.
October 21, 2002
Book artist and educator William Drendel is Director of the Columbia College’s Book & Paper Arts Center. Drendel is also very active in the national book-arts community, and is a Co-Director of Paper & Book Intensive (PBI). He has taught workshops throughout the country and his work is in many important collections both here and abroad.
Drendel is interested in early bookbinding techniques and structures, but he uses those techniques and structures to make non-traditional books. Drendel’s work tends, he says, to be “very sculptural, very graphic, and often very visually tactile.” His books are made out of materials that range from goat-skin to wax paper to circuit boards. Because his books are often “kinetic,” Drendel suggests they are “meant to be handled and played with.” Books for non-readers as well as readers, sometimes they are not meant to be read at all, but merely looked at and enjoyed as objects.
November 14, 2002
This season’s Book FOR[u]Ms series focuses on the book as structure. Karen Wirth, who is a 1975 BFA graduate of UWM and is currently Chair of the Fine Arts Department, Minneapolis College of Art and Design, is an artist and educator whose work encompasses a range of subjects including architecture, sculpture and books. Her work has been exhibited extensively, including the Smithsonian Institution and the Walker Art Center. Her book works include offset editions (Visual Studies Workshop Press), one of a kind sculptural pieces, and rooms sized installations (Walker Art Center). In the past few years, Wirth’s work has expanded into the public sphere. She designed the grand staircase at the Open Book Center with MSR Architects, and has worked with architect teams designing light rail stations for the Minneapolis Hiawatha Project Light Rail Transit system.
She received an MFA in sculpture at the University of Minnesota-Twin Cities and a BFA in Art Education at the University of Wisconsin- Milwaukee. She is a professor and Chair of Fine Arts at Minneapolis College of Art and Design. She has received numerous grants, including the Bush and McKnight Artist Fellowships, NEA Fellowship, Minnesota State Arts Board, and Jerome Book Arts Fellowships. Published writing includes essays for JAB (Journal for Artists Books), catalog essays for Minnesota Center for Book Arts and College of Visual Arts, and book reviews for Women’s’ Studio Workshop. Wirth has lectured internationally including the Cornell Program in Rome and Camberwell College in London.
October 20, 2003
This season’s Book FOR[u]Ms series focuses on the book as structure. Katherine Ng, a native of Los Angeles, is a book artist, origamist, and printer. Her artist books are sculptural in structure and document various cultures within society: Asian American, lesbian, mental health and cross-cultural similarities. Her books are collected internationally and exhibited throughout the United States. She is the director of the letterpress studio at the Armory Center for the Arts in Pasadena were she teaches letterpress printing and book arts to children, teens and adults. Her most recent works are accordion books created from Lego building blocks, a favorite toy from her childhood. Katherine observes that “the majority of my work reflects my bi-cultural upbringing in a Chinese American family,” where “my anecdotal text becomes incorporated into structures that emphasize a stereotype of my ethnicity – Chinese take-out boxes and fortune cookies.”
April 8, 2004
This season’s Book FOR[u]Ms series focuses on the book as structure. Pati Scobey is a visual artist who has been pushing the print beyond two dimensions into the interactive structure of the book for the past twenty years. An MFA graduate of UW-Madison and a student of Walter Hamady, Pati Scobey is recognized for her inventive approach to technique and imagery and her in-depth experience in the book arts. She approaches her work with an attitude of exploration and experimentation, balancing discovery and planning. When creating books, she begins with structural components that reflect the concept and imagery she intends to address. Scobey’s body of work evokes a sense of animated space, strong color and forms distilled to reflect the essence of their origins. Her book production encompasses one-of-a-kind books, artists’ books, private press books and collaborative projects.
May 13, 2004
Kathy Kuehn is a printer, printmaker, book artist, and proprietor of Salient Seedling Press. A graduate of UW-Madison, she was a student of, and later assistant to, Walter Hamady at his Perishable Press in Mt. Horeb, Wisconsin. She founded her own press, Salient Seedling, in Madison in 1978. Known for her collaborations with other artists and writers, Kuehn’s works are notable for the use of her own handmade papers, her versatility in employing a number of typographic styles, and her simple, but elegant binding structures.
Kathy Kuehn has been a printer for 25 years, nine years of which have been sent at Pace Editions in New York City, where she currently works. At Pace she collaborates with contemporary artists and a small team of printers on the publication of limited-edition etchings and relief prints. Kuehn has taught book arts and printmaking at Whitman College and the Oregon School of Arts and Crafts. Her artists residencies include the Sitka Center for Arts and Crafts and her workshop instruction includes eight summers teaching letterpress printing to poets in the Summer Writing Program at the Naropa Institute’s Jack Kerouac School of Disembodied Poetics.
November 19, 2004