Tuesday, December 26, 2006
On a recent trip to New York City via the always convenient JetBlue, the pleasant discovery of a great book exhibition at the New York Public Library just made a great trip even better. Ehon: The Artist and the Book in Japan is up until Feb 4, 2007. Over 280 items in this show... Awe-inspiring and just plain inspiring for any book artist or book lover. The cost of admission ($0) and the bagel & coffee breakfast from the vendor cart across the street, enjoyed on the NYPL steps café tables ($1.85) prove that NYC can be a great bargain as well. A few images from the show here
Thursday, November 30, 2006
Wednesday, November 08, 2006
Reg Beatty, Naomi London, Angela Silver,Carolyn Wren
Jozef Bajus, Diane Bond, Carla Castellani, Rachael Hetezel, Richard Kegler
Curated by Penelope Stewart and Jeff Sherven
University at Buffalo North Campus
B45 Gallery Center for the Arts, Amherst NY
www.visualstudies.buffalo.edu Info call: 645-6878 x1350
gallery hours: Tuesday-Saturday 11am-6pm. Close Nov. 23-26
Monday, November 06, 2006
11th Annual Holiday Print Sale Benefit
One Day Exhibition & Sale of Student Print Media
UB’s Printmaking program and ePic:
the Experimental Print Imaging Center
ePic & Printmaking @ the Dept of Visual Studies
Thursday, November 16, 2006 11:30 AM to 7:30 PM
The University at Buffalo Center For The Arts Atrium
Artist’s Prints by Students, Alumni and ePic’s Community Printshop Participants
All proceeds support student scholarship and research in print media through the ePic Fund.
This years print sale is held in conjunction with the opening reception for the Informal Bookwork’s exhibition, 5:00 – 7:00 PM, in the Visual Studies Gallery B45. Informal Bookwork’s runs November 16th through December 12th.
For more information e-mail: jsherven @ buffalo.edu
Tuesday, October 17, 2006
A recent WNYBAC and Roycroft sponsored workshop at the Roycroft Campus in East Aurora, NY focuses on hand set type and a modified oriental binding. The end result was a limited edition book. The five participants each selected a motto attributed to Roycroft founder Elbert Hubbard and then selected from type and ornaments in the type cases at the Roycroft Shop. The book designed by Richard Kegler features an inset title label and a sewn edge with insert colored leather squares reminiscent of the Dard Hunter designs of the early 1900s. There was also a hand set title page and colophon page signed by each of the 5 participants. All pages were printed on 100# Mohawk Superfine paper. A few of the signed edition of 30 copies will be available to WNYBAC members in the near future
Tuesday, August 15, 2006
Friday, June 16, 2006
Wednesday July 12, 6-9:30pm
at: The Karpeles Manuscript Library Museum 220 North St at Elmwood.
You are cordially invited to attend an open house and meet up for the Western New York Book Arts Collaborative. This gathering is intended as a social get-together to discuss the WNYBAC and upcoming projects. It is also a chance to see the newly renovated Karpeles Manuscript Library Museum on Elmwood Ave. It is also the first Buffalo appearance of special guest, book artist Andy Farkas who will discuss and show examples of his work.
Mr. Farkas will present an overview of his work as an illustrator, writer, printmaker and book artist. Based in Edinboro, Pennsylvania, Mr. Farkas has spent years on book projects he writes, design illustrates and prints himself. He has upcoming engagements at the Erie Art Museum, Minnesota
Center for the Book and East Carolina University.
6-7:30 opening reception
7:30-8:30 Andy Farkas presentation
Refreshments will be served. A splendid time is guaranteed for all.
RSVP required to richard @ p22.com
Monday, June 05, 2006
A handcrafted book workshop, a Calligraphy workshop and a Roycroft motto book workshop are now open for registration. Additional workshops to be added soon.
Monday, May 15, 2006
"The Typographic Mind" by Robert Bringhurst
Friday, May 19 10-11:30 am Location: Eastman 2000
Bringhurst's published works on art, book design and literary criticism include: Visions: Contemporary Art in Canada (1983); Ocean Paper Stone (1984), a history of fine art publishing in B.C.; and The Elements of Typographic Style (1992), a guide to typographic etiquette, grammar and style. Following his interests in typography and book design, he was contributing editor to Fine Print: A Review for the Arts of the Book (1985-90).
Friday, May 12, 2006
1-5 p.m. Central Library, Downtown Buffalo
See: http://www.justbuffalo.org/ for schedule
Plus: An exhibition of Western New York active, small press literary publications organized by Michael Basinski, Curator of The Poetry Collection and Jennifer Lipps, The Poetry Collection's Mary Barnard Fellow, will open on May 13 as part the UB Humanities Institute and The Buffalo and Erie County Public Library's Celebration of the Book (see below). The exhibition will run at the central branch through June 15th.
Monday, May 01, 2006
Saturday, May 13 & Sunday, May 14, 2006
• Will new technologies change how we will be reading and accessing
• What will future libraries and bookstores be like, and how will they
• How will live performance and visual art contribute to the development
of literature in our culture?
The Future of the Book gathers publishers, book manufacturers, teachers, librarians, booksellers, artists, and writers in a series of panels to discuss the future of the world's oldest and most powerful medium.
For more information
One-day-pass $10 (Saturday or Sunday). Two-day pass $15. Register
early-seating for some panels may be limited.
Friday, April 14, 2006
Saturday April 15th at Big Orbit (Sleepy time 8:00)
30D Essex Street
Buffalo, NY 14213-2332
(Free and open to the public)
Bill Berkson writes: “Stepping lightly into the appointed area –- with 'What common language to unravel?' that iconic question of moment blinking over the portals -- Gregg Biglieri shoulders the 'rival dictation' known as poetry to wonder us awake. Indeed, if what here is invoked as ‘Democracy’ is discussible -- and more to the point, livable -- there must be a whole new conversation to engage all available terms by which it might reanimate from present inertia. Biglieri's composite talk keeps all terms open, with alarming interlinear bounce and extravagance ever palpable. This is a full, heartening book.”
Produced in an edition of 500 copies, Sleepy with Democracy was set in Scotch and Dada Pro from P22. This books was written, designed, printed & bound in Western New York.
Friday, April 07, 2006
I founded Tuumba Press in 1976. It was a solo venture in that I had no partner(s) or assistant(s) but it was not a private nor a solitary one; I had come to realize that poetry exists not in isolation (alone on its lonely page) but in transit, as experience, in the social worlds of people. For poetry to exist, it has to be given meaning, and for meaning to develop, there must be communities of people thinking about it. Publishing books as I did was a way of contributing to such a community—even a way of helping to invent it. Invention is essential to every aspect of a life of writing. In order to learn how to print, I invented a job for myself in the shop of a local printer. The shop was in Willits, California—a small rural town with an economy based on cattle ranching and logging; the owner of the shop (the printer, Jim Case) was adamant that “printing ain’t for girls,” but took me on three afternoons a week as the shop’s cleaning lady. A year later I moved to Berkeley, and purchased an old Chandler and Price press from a newspaper ad. I knew how to run the press but not much about typesetting; friends (particularly Johanna Drucker and Kathy Walkup) taught me a few essentials and a number of tricks. The first eleven chapbooks (printed in Willits in 1976-1977) had a slightly larger trim size than those I did myself (in the back room of the house in Berkeley)—I was using leftover paper in Willits, but in Berkeley I bought paper from a local warehouse and used the trim size that was the most economical (creating the least amount of scrap). The list of authors of the first books makes it clear that for the first year and a half I was looking to various modes of “experimental,” “innovative,” or “avant-garde” writing for information; the subsequent chapbooks represent a commitment to a particular community—the group of writers who came to be associated with “Language Writing.” The chapbook format appealed to me for obvious practical reasons—a shorter book meant less work (and expense) than a longer one. But there were two other advantages to the chapbook. First, most of the books I published were commissioned—I invited poets to give me a manuscript by a certain date (usually six months to a year away)—and I didn’t want to make the invitation a burden. And second, I wanted Tuumba books to come to people in the mode of “news”—in this sense, rather than “chapbook” perhaps one should say “pamphlet.” It is for this reason, by the way, that I didn’t handsew the books; they were all stapled—a transgression in the world of fine printing but highly practical in the world of pamphleteering.
Tuesday, April 04, 2006
• Ongoing courses in Book Arts can be taken through Canadian Bookbinders and Book Artists Guild.
• Legendary Coach House Printing is also located in downtown TO.