Coordinated by Hui

Coordinated by
Hui-Chu Ying
2
MONUMENTAL
IDEAS
in Miniature
Books
Coordinated by
Hui-Chu Ying
MIMB
2
Contents
Forward: Robert J. Huff
Coordinator's Statement: Hui-Chu Ying
Essay: Juan Carlos Ramos Guadix
Translated by Carolina Salazar
Jurors Statement: Michael Loderstedt
Jurors Statement: Cristine Rom
MIMB Artists images and Information
Artists listings
Traveling Exhibition Listing
Acknowledgement
Forward
A miniature book about miniature books! Monumental Ideas in
Miniature Books II is both the title and an apt description of this
exhibition of bound works of art and of the concept it embodies.
Like the first publication in this series it is monumental in its
ambition and scope.
In a time when the future of the printed book seems to be in
question, this project demonstrates the enduring power of our
most basic communication technology. The book as a unique
object, made by hand, to communicate and express the human
condition remains a monumental idea.
Gathering great examples of this unique art form from around the
world and to re-present them both as exhibited works and in this
graphic media is a truly monumental undertaking. As a traveling
exhibition these works will present an environment of images
and ideas in galleries and art spaces around the world. Each work
invites the viewer/reader into its world; its structure, its images
and its ideas. Each work reveals itself in time as the works in this
edition are revealed in the process of experiencing the book.
For those who experience the traveling exhibition the
transformative nature of becoming totally engaged in miniature
scale objects will establish the context that holds these
objects together.
It is an honor and a privilege to be a small part of this project
by providing these comments. Those who really deserve to
be recognized and thanked are the artists without who’s work
this could not have been possible; the students, faculty and
staff of the Mary Schiller Myers School of Art who brought
the project into being; the juror’s, who’s experienced decisions
give this edition it’s unique character; the international partners
that make the monumental scope of the project a reality and
Professor Hui Chu Ying, who’s energy and enthusiasm has
brought this monumental idea into being.
Robert J. Huff
Professor of Art/ Interim Director
Myers School of Art
The University of Akron
[email protected]
Coordinator’s statement
A good book should leave you... slightly exhausted at the end.
You live several lives while reading it.
~William Styron, interview, Writers at Work, 1958
Some one asked me why are you organizing yet another
Monumental Ideas in Miniature Books (MIMB) Traveling Exhibition?
Didn't you learn your lesson from the last 3 years worth of
exhaustive work? Why not! We need to share books all the time.
Those incredible MIMB artist books deserve to be shown all over
the world. Organizing the MIMB show was such an amazing
leaning experience. It has traveled to 60+ educational institutions
nationally and internationally. The MIMB exhibit will continue to
travel until 2012. I should probably relax and closeout my project,
but my heart keeps telling me that there are so many more
amazing books out there that need to be shared and I should
continue to promote and show Monumental Ideas in Miniature
Books as a continuing project as a biennial or a triennial exhibition
in the future.
Originally, the idea for the Monumental Ideas in Miniature
Books exhibition came from needing to produce an economical
traveling exhibition during a tough economy. How can we show
artists’ works all over the world on a meager budget? I think the
miniature book idea is really a great artform to serve as the basis
for this economical traveling exhibition. Any artist can take on the
challenge of scaling down thoughts, text, images, and materials
to create a readable, workable small scale artist book that is a
pleasure to handle, to read and to exhibit.
The main mission of MIMB is to encourage artists to create their
own books to share with everyone. The exhibition is open to all
artists who want to bring their monumental ideas and put them in
miniature books. Our motto is that if you make them we will show
them.
I read every MIMB book when I received it. Many of books can be
opened up like miniature sculptures. When I hold the miniature
book in my hand, it is akin to holding a jewel. Many books have
surprising and interesting content confirming the old adage that
one ought “not to judge a book by its cover.” A few books exude
a beautiful sensibility throughout their pages. Some carry strong
massages conveying issues dear to the artists. There are so many
extraordinary ideas to be found in this collection. The varieties of
materials the artists used are incredible. This year we have a few
books made from recycled materials and some in which the artists
have reinvented their old works. What a perfect time to create
artwork that is eco-friendly. We appreciate the time it takes the
artists to create five books and give them to us unconditionally.
As the MIMB coordinator, I take this responsibility seriously. I want
to be sure the artists’ works will be shown in as many venues as
possible. There is no rental fee for any host institution. The only
cost involved is shipping the show to the next institution.
The total weight of the MIMB II exhibit is less than 20 Lb. We
have106 books from 7 countries: from India, Pakistan, Germany,
China, Japan, Canada, and Spain. At the end of the exhibition,
the collection will be distributed among five educational
institutions and libraries. We want to ensure that these artist
books can be easily accessible to the public.
MIMB is an educational and collaborative project, that includes
a team of teachers, a photographer, a graphic designer, gallery
assistants, and jurors who tirelessly volunteer to make this
monumental task continue. I want to especially thank the
following volunteers for their time and work – the students
from the Myers School of Art - Carolina Salazar (gallery
assistant), Thom Ruszkiewicz (graphic designer), Paul Wonznicki
(photographer), and Kevin Stalder (web designer). It is impossible
to coordinate MIMB without these hardworking students who
spent hours working behind the scenes to document, photograph,
design a catalogue, update the webpage and schedule the
traveling exhibitions to 30+ locations.
I am so grateful to those students who really are the best team
of assistants one could asked for. Thanks to jurors Cristine C.
Rom, Library Director from Cleveland Institute of Art and Michael
Lorderstalt, faculty from Kent State University who spent an
entire afternoon helping us select books to travel nationally and
internationally. Thanks to Juan Carlos Ramos Guadix, Professor
of University of Granada, Spain who wrote an essay for MIMB II.
Thanks to Robert Huff, Professor/Interim Director of the Myers
School of Art, who wrote a forward for the catalogue and who
graciously extended his total support toward the MIMB project
from the start. Lastly, but not least, I wish to extend a thank-you
to every MIMB II artist. It is your incredible work that makes this
exhibition possible. I am humbled and honored to work with you
and share your books to the world.
Hui-Chu Ying,
Professor of Art
Myers School of Art
The University of Akron
Pequeñas constelaciones.
Páginas singulares
La selección de libros de artista titulada Monumental Ideas in
Miniature Books II que nos presenta Myers School of Art, The
University of Akron, Ohio, bajo curadoria de la profesora HuiChu Ying, es producto de la colaboración de un gran elenco de
artistas plásticos internacionales. Los cuales a través de estos
pequeños objetos nos presentan sus inquietudes estéticas,
articuladas mediante sus particulares modos de percibir
el mundo. Este elenco de pequeños objetos de una parte,
permiten una aproximación a las experiencias desarrolladas
por el arte de pasado siglo XX. Pues hemos de considerar que
la idea actual del libro como Arte, comienza a concretarse,
entre otros, con Mallarmée, Apollinaire, y Duchamp. De otra,
esta muestra apunta hacia las formulaciones estéticas de este
nuevo milenio.
La presente exposición de objetos-libros fue preparada no
para dar una visión general del mejor trabajo producido
actualmente en el campo de lo que se viene denominando
libros de artista. Sino como una clase específica de obra,
los objetos-libros de este determinado género, quizás no
proporcione al espectador una definición exhaustiva. Sin
embargo, supondrá un desafío a su noción de lo que es, en
realidad, un libro. Asimismo, suscitará el tema de por qué son
tan numerosos los artistas, que se sienten los interesados por
ese maravilloso objeto conformado física y básicamente por
unos elementos tan simples como la tinta y el papel.
Las múltiples posibilidades creativas presentes en esta
muestra, donde el libro es concebido como espacio
artístico, a priori, parece hacer necesario un intento de
clarificación, ordenando las obras en diferentes apartados
orientativos. No obstante, hemos de reseñar como dice
Coleman: el libro de artista no es el resultado de un mismo
único; cualquier propuesta de clasificación por tendencias,
estilos, contenidos, formatos, etc., queda superada por la
variedad y actualidad de la producción bibliográfica.
Partiendo de la estructura formal del libro bajo un prisma
tradicional, los artistas aquí presentes, mediante cualquier
procedimiento y sobre cualquier soporte, realizan un
sistema secuencial de signos que no es preciso leer o sólo
leer. Por el contrario, introducen al lector/espectador/actor
en un juego en el que puede utilizar todos sus sentidos
incorporando una dimensión temporal a la obra plástica
mediante avances o retrocesos en esa lectura. A diferencia
de los libros tradicionales, los cuales son meros soportes
encargados de emitir información bajo un contenido
semántico, los aquí presentes, objetos-libros, solamente
hacen referencia a ellos mismos comunicando mediante sus
propias especificidades plásticas.
Así bien, podemos apreciar hasta que punto el libro de artista
ha contribuido a la transgresión de los géneros tradicionales
desde el momento en el que el texto y la imagen pugnan allí
por intercambiar funciones y sentido, como si la obra gráfica
necesitara ser leída y el texto estéticamente contemplado. La
mayoría de estos pequeños objetos, presentan un constante
desplazamiento, un oscilante cambio ya no de significados, sino
de los signos mismos, lingüísticos o gráficos, siendo algo en última
instancia todavía preso del prejuicio primordial, de la abstracción
del mismo límite entre texto y gráfica. En estas pequeñas
constelaciones, la gráfica intenta escapar por muy diversos
medios a su inscripción material y textual como página de un
libro, reivindicando su propia autonomía. No solo por lo que
concierne a los materiales tradicionales del libro —papel, cartón,
tinta— empleando a cambio otras superficies— cerámica, madera
metal, metacrilato— sino también por utilizar diferentes técnicas
de impresión encaminadas a lo que podríamos denominar
transgresiones tecnológicas del modelo del grabado clásico.
Así pues, podemos ver obras de singular aspecto mediante
momentos fragmentarios de tecnologías, focalizados y extraídos
de su contexto de origen para ser investidos.
e invertidos en espacios para los cuales no estaban pensados y
producir en ellos unos efectos no esperados. Estas, dentro de su
diagrama tecnológico, siguen ofreciendo las facilidades formales
propias del grabado tradicional. Poniendo de manifiesto, a pesar
de lo que actualmente se piensa, que el espacio inscriptivo
del grabado constituye por sí mismo un espacio autónomo,
regenerador altamente vitalizado el cual queda lejos de la
inflación programada del procedimiento.
Para todos aquellos que vivimos apasionadamente el mundo del
grabado y de la imagen impresa es un privilegio poder disfrutar,
contribuir y participar en este maravilloso evento. En el cual,
utilizando como soporte expresivo la forma y estructura del libro,
este se convierte en un espacio de gran versatilidad, de carácter
interdisciplinar y cuyas clasificaciones que terminarán allí donde
acabe la creatividad de su autor.
Juan Carlos Ramos Guadix
Profesor de la Facultad de Bellas
Artes de la Universidad de Granada, Spain
Small Constellations. Unique Pages
Translated by Carolina Salazar
The selection of artist books titled “Monumental Ideas in Miniature
Books – MIMB II”, presented by Myers School of Art of The
University of Akron, Ohio, and curated by professor Hui-Chu Ying,
is the result of the collaboration of a large cast of international
visual artists. Through these small objects, they show us their
aesthetic concerns, articulated by their particular way of perceiving
the world. On one side, this collection of small objects allows us
an approach to experiences developed by the art of the twentieth
century. Then, we must consider that the current idea of the book
as Art becomes a reality with Mallarmée, Apollinaire, and Duchamp,
among other artists. On the other side, this exhibition aims to
present the aesthetic formulations of this new millennium.
This exhibition of object-books was prepared not to give an
overview of the best artwork currently being produced in the
field of what has been naming artist books; but to show a specific
kind of work of art, the “objects-books”, of this particular genre.
Perhaps this title does not provide the viewers with an exhaustive
definition. However, it will challenge their notion of what is actually
a book. It will also raise the issue of why a large number of artists
feel concerned by that marvelous physical object, basically made
by some elements as simple as ink and paper.
Due to the multiple creative possibilities present in this show,
where the book is conceived as art space, a priori, it may seem
to be necessary to make an attempt to clarify, organizing the
works in different sections for guidance. Nonetheless, we should
state as Coleman said: the artist book is not the result of a unique
particular; any proposed classification according to trends, styles,
contents, formats, etc, is exceeded by the variety and timeliness
of the bibliographic production.
Starting from the formal structure of the book under a traditional
prism, the artists here make a sequential system of signs, by using
any method and medium, so that is not necessary to read or just
read. By contrast, the artists introduce the reader/viewer/player
to an interactive game in which they can use all their senses,
incorporating a temporal dimension to the visual artwork by
advances and setbacks in their reading process.
Unlike traditional books, which are mere media to issue
information in a semantic content, object-books only refer
to themselves, communicating through their own specific
techniques.
Therefore, we can see how far the artist book has contributed
to the transgression of the traditional genres, from the
moment in which the text and image have been struggling
to exchange roles and meaning, as if the artwork needs to be
read and the text aesthetically contemplated. Most of these
small objects have a constant movement, a fluctuating change,
not over meanings, but the signs themselves, linguistics or
graphics. This swing shift is ultimately prisoner of the primary
preconception, the abstraction of the boundary between text
and graphic. In these Small Constellations, the graph attempts
to escape, throughout a variety of media, to its material and
literal inscription as a book page. Thus it can assure its own
autonomy, not only regarding the traditional materials of the
book –paper, cardboard, ink– using in contrast other surfaces –
ceramics, wood, metal, acrylic-; but also using different printing
techniques aimed at what might be called technological
violations of the model of classic printmaking. Thus, we
can see art works of singular appearance, by fragmentary
technological moments targeted and taken out of its context,
to be invested and reversed in spaces which were not designed
for, producing in them some unexpected effects.
These art works, within their technological diagram, still offer
formal characteristics of traditional printmaking. Showing,
despite what is currently thought, that the engraving space
constitutes by itself an autonomous space, highly revitalized
and restored.
For all of those who passionately live the world of printmaking
and the printed image, it is a privilege to enjoy, contribute
and participate in this marvelous event. In which, by using
the form and structure of the book as expressive support, the
book becomes an area of great versatility and interdisciplinary
character, whose classifications will eventually end where the
creativity of its author ends.
Juan Carlos Ramos Guadix
Professor, Fine Arts School at the
University of Granada, Spain
MIMB II Juror's Statement
As always, it is a privilege to jury a collection of submissions to an
exhibition of international artists making small books for many reasons.
As a maker of artist books, I can appreciate the mental challenge and
the protracted problem solving they represent as objects. These books
provide me with an insight into how artists combine notions of both
“monumental and miniature”, terms usually viewed in opposition to one
another. Secondly, it is a rare glimpse into what is on the minds of artists
from another culture than one’s own.
Overall, I believe I was most impressed with the small books that became
self-contained, engaging paper sculptures. Books whose thought
provoking physical engagement with paper, ink and/or found ephemera
really challenged the typical notion of “book”. These included works by
Jesse Alan Brown’s Envelope Journal #3, Kevin Steele’s Naughty but Nice,
and our own Clevelander, Margaret Kimura’s Journey through Mushikui.
These were all notable examples of fascinating miniature works with
monumental presence.
Other distinctive works used fascinating structures to reveal their content
gradually. I enjoy this as a viewer, to discover new interpretations of
a subject through time. Stacy Elko’s Tea Bonobo Style demands both
physical and mental time, as does Bethania Barbosa Bezerra de Sousa’s
Laberintos. It is the allure of a book, to discover through the combination
of image, paper and touch, an idea. The quality of application in these
materials is of tremendous importance in the success of these works, it
reveals the focus of design and craft, of particular sensitivity to the page,
to folds, to cover and text. Crystal Chen’s Quotations combines sewing
as drawing in a smart and poignant way. As the traditional book moves
away from our homes, and off our shelves, it may become that artists are
the last speakers of this language of the turning of fine papers.
I would like to thank Cris Rom from the Cleveland Art Institute for helping
make the selections, and for lending her informed voice to the process.
I thank Hui-Chu Ying for her gargantuan effort to organize this second
incarnation of MIMB. Clearly she has not learned from the first one, and
we all better for it.
Michael Loderstedt
Faculty, School of Art
Kent State University
MIMB II Juror's Statement
When I joined the Cleveland Institute library staff in 1981, I was asked
to start a collection of artists’ books. Since then, the Institute’s artists’
book collection has grown to over 1,420 titles that explore the book as
an object and as an idea and represent the range of books made by
artists, worldwide, from the early 1960s to the present. Over the decades,
I have had the pleasure of talking with book artists, visiting artists’ book
exhibitions, and meeting with artists’ books distributors, to which I can add
the pleasure of jurying this exhibition with Michael (Kent State University).
While there is no completely satisfying definition of what constitutes an
“artists’ book,” most artists and curators agree that an artists’ book is an
artwork that exists within the physical or conceptual framework of a book.
The artists’ books genre started as an American and Western European
art movement but is now international in scope, as artists from around
the world are engaging with the book. The earliest period of the artists’
book movement from the 1960s to 1970s was a time of great energy,
innovation, and excitement. While the initial zeal may have tempered over
the decades, interest in the book continues and, in recent years, seems
to be experiencing another revival. The book form had, and continues
to have, much to offer artists. It is familiar and universal but open to reinterpretation; contemporary as well as historical; and direct, even intimate,
in its relationship to the reader.
The range of books made by artists is vast and increasingly varied. This
is demonstrated by over one hundred MIMB II (2011) submissions from
eight countries. Materials ranged from paper and plastic to tea bags,
wood blocks, and mailing envelops, and the techniques from letterpress,
silkscreen, and digital prints to collage and die-cut. As in MIMB I, the
accordion fold was popular and prevalent, though some books, such as
Kevin Steele’s tulip fold book, Naughty But Nice, used this structure in an
especially playful manner. Several artists turned to non-codex or nontraditional forms: notably Margaret Yoko Kimura’s delicate and sensitive
scroll Book of Journey Through Mushikui 2011, Kevin Shook’s rotating
ring book Civil Ring, Ling Luo’s circle book Solar Terms, and Sandra
Murchions’ Delta Station referencing a belt with secret compartments.
Stacy’s Elko’s innovative Tea Bonobo Style encourages reader exploration
and discover. Whatever the material, technique, or structure, all of the
books in MIMBII speak to the enduring allure of books and bookmaking. I
am grateful to Hui-Chu Ying for all her efforts in bringing this fascinating
exhibition to fruition and for the opportunity to see these wonderful small
books – it was a monumental task!
Cristine Rom
Library Director
Cleveland Institute of Art
MIMB
2
May Hariri Aboutaam
The Anatomy of Cocooning
Mixed media, water color, digital imaging,
threads, hard cover, silk fabric
4"x 5"x 1"
San Ramon, CA
[email protected]
Fernanda Alvarez
Ajuar Para Estar Sola (The Trousseau To Be Alone)
lithography on Chinese paper
3.5” diameter
Oviedo, Spain
[email protected]
Fawn Atencio
“Stranded in China; a Long Long Story”
printmaking, Scroll Assembly
1”x 4”x 1 1/8”
Dever, Co
[email protected]
www.songlinespress.com
Bethania Barbosa Bezerra de Souza
Laberintos
Photopolymer plate
3.9”x 4.3”x 0.4”
Granada, Spain
[email protected]
Makiko Berry
Go Train, Go
eraser print
4”x 5.2”x 0.4”
Kameoka, Japan
[email protected]
www.artwanted.com/ogenkidesuka
-www.myspace.com/makikoberry
Cathie Bleck
“Altar of Transformation”
Letterpress, wood engravings and emboss using English
Boxwood and waxed string.
3.5”x 3.5”x 1/2” (folded) 27”x 3.5” (open)
Cleveland Heights, OH
[email protected]
www.cathiebleck.com
Jesse Alan Brown
Envelope Journal No. 3
No. 3 coin envelopes, canson sketch,
magnetic clasps, PVA adhesive
2.5”x 4.2”x 1
Dawson, PA
[email protected]
www.jessealanbrown.com
Heather Bryant
Monsters
Lithograph
4”x 5”x 1/4”
Norfolk, VA
[email protected]
http://heathermbryant.wordpress.com
Addeane S. Caelleigh
"4 Haiku by Basho"
Handmade and machine made papers,
perl cotton, polymer beads
Size: 3”x 4”x 1/2”
Charlottesville, VA
[email protected]
Breanna Charles
She’s A Butterfly
Rice paper, tracing paper, ink, xerox transfer,
prisma marker, ribbon
2”x 2 1/8”x 1/2”
Akron, OH
[email protected]
Crystal Chen
Quotations
Silkscreen
1.75”x2.25”x0.5”
Desoto, TX
[email protected]
Debbie Christensen
Compliments
Ink, paper, coptic binding
3”x 3”x 3/4”
Cleveland, OH
[email protected]
Susie Cobbledick
Time
Kozo paper, book board, linen,
relief printing
1 3/8”x 2”x 2”
Lakewood, OH
[email protected]
Neverne Covington
Shards of Memory Glisten
Rust, ink, watercolor, charcoal
4”x 5”x 22” (open)
St. Petersburg, FL
[email protected]
www.nevernecovington.com
Jen Craun
Walking in Circles
Screenprint on tyrek and rives BFK,
matchbook accordion bind
2” squared (closed) 2”x10” (open)
Cleveland, OH
[email protected]
www.jencraun.com
Isabel Cuadrado
Escultura de Viaje 2
Screenprint on paper and thread
4 1/4”x 4 2/4” (folded) 4”x 4 2/4”x 14” (unfolded)
Oviedo, Spain
[email protected]
http://isabelcuadrado.blogspot.com/
Tessa Dallarosa
Eclipsed
linocut, monotype, letterpress
4”x4”x3/4”
Laramie, WY
[email protected]
Maritza Davila
Mapa de un Paisaje para una Busqueda
screenprint, chine colle text
4.25”x3”x2.75”x31” long open to 25”
Memphis, TN
[email protected]
atabeira.com
Jesus De la Rosa
“Borderlands”
screenprint, on lennox 100
5”x4” (closed) 4”x25” (open)
Kingsville, TX
[email protected]
www.jesusdelarosa.net
Margaret Denk-Leigh
Observations (2010)
archival digital prints on somerset book, ribbon
3”x 3”x 1.5”
Cleveland, OH
[email protected]
www.maggiedenk.com
Stefanie Dykes
Querl
altered book
5”x 5”x 1”
Salt Lake City, UT
[email protected],
tstefaniedykes.com
Leslie Edwards Humez
Pink
mixed media
5”x 3.75”3.75”x 0.75”
Painesville, OH
[email protected]
www.clevelandartseast.com
Juan Eizaguirre Diez
“Breakwater Elements”
Collage and watercolors
5.8”x 2”x 0.25”
Madrid, Spain
[email protected]
www.juaneizaguirre.com
Stacy Elko
Tea, Bonobo Style
Relief, tea bags, screen print tags
4”x 4”x 1”
Lubbock, TX
[email protected]
www.depts.ttu.edu/art/Stacy Elko/stacy.html
Jody Ferenczy
12 Steps to a Better Body Image
ink on paper, metal wire
3.1”x 2.8”x 0.2”
Akron, OH
[email protected]
Sandra C. Fernandez
“Loveuetes”
etched copper plates, etchings, handmade paper
4” diameter
Austin, TX
[email protected];
[email protected]
www.sandrafernandez.info
Sandra Fernandez Sarasola
“Seed”
Collage
3.8”x 3.8”
Madrid, Spain
[email protected]
www.arteriagrafica.com
Dora Ferrero-Melgar
“Noviembre”
litograph, silkscreen, digital print on michel paper, and Ginkgo Biloba lea
4”x 2”
Oviedo, Spain
[email protected]
Ramon Freire Santa Cruz
Recuerdos Naturales
printmaking, photopolymer, silk screen print
3.9”x 4.7”
Ecija, Spain
[email protected]
Julie Friedman
Settled
etching
4 5/8”x 5”x 3/8” (closed) 4
5/8”x 5”x 17” (open)
Medina, OH
[email protected]
www.juliefriedman.net
Betsey Garand
The Past is Present
Birch bark, shina wood, woodcut
and pochoir on Rives BKF
5”x 4”x 56” (open)
Hancock, NH
[email protected]
Leah Gay
Here’s Where Flip Book
Xerography and monoprint on cardstock
4.25”x5.5”x0.75”
Twinsburg, OH
[email protected]
Chialla Geib
How Lovely
Xerox transfer on tea-stained tissue paper, card
stock
4”x 4”
Akron, OH
[email protected]
Marcie Gill-Kinast
Artist’s Book
hand built mixed paper
4”x 5”x 1/2”
Canton, OH
[email protected]
Alicia Giuliani
To the Other Side
Screen printing, book binding
5”x 3”x 1.5” (in box) 3”x 4”x 2” (open)
Syracuse, NY
[email protected]
Jonathon Goebel
Consumed
Etching, aquatint
4”x 50” (open)
Bluffton, SC
[email protected]
Carlos G Gomez
“The Truth about the Border Wall” 2010
Mix media on Strathmore board
4”x 5”x 1/8” closed - 4”x 15” Open
Brownsville, TX
[email protected]
[email protected]
http://www.utb.edu/vpaa/cla/art/Pages/GomezPage.aspx
Teresa Gomez-Martorell
The Tiny Book of Tears
Hard cover, accordion bound
2.8”x3.5”x0.2”
Austin, TX
[email protected]
http://thelibraryoftheloba.blogspot.com
Mathew Grady
“Free Play”
Paper, wood, pastel, graphite
2”x 2”x 3” 12” open
Cleveland, OH
[email protected]
Natalie Grieshammer
“Open Me (Find Yourself)”
Okawara, glaseen, wool
5”x 2”x 2” closed – 5” x 17” open
Clevaland, OH
[email protected]
Nicole Hand
Collected Legacy
french binding with etching, relief, lithography
5”x 3 5/8”x 3/4”
Almo, KY
[email protected]
www.blackdogpress.com
Terea Harrison
She Woman
Xerox transfer
4”x 2”x 0.3”
Bedford Heights, OH
[email protected]
Jesus Herrero Jimenez
On Off
Collage
3.5”x 3.5”
Madrid, Spain
[email protected]
www.arteriagrafica.com
Rachael Hetzel
I Understand
Letterpress
3 1/8”x 3 1/8”x 1/2”
Rochester, NY
[email protected]
www.pistachiopress.com
Morgan Hiscocks
(Pocket) Badger
Letterpress on Twinrocker paper, linen, glass
1.5”x 5”x 3” (closed)
Madison, WI
[email protected]
watchmorganmakepaper.blogspot.com
Robert Howsare
Relay
Serigraph, letterpress
4”x 4.75”x 0.12”
Athens, OH
[email protected]
www.roberthowsare.com
Rabeya Jalil
The Jammed Bookmark
Paper, yarn, thread
Size: 4.4”x 3.6”x 1”
Karachi, Pakistan
[email protected]
David B. Johnson
Lost Language
Color intaglio and letterpress, accordion book
4”x 5”x 0.5
Muncie, IN
[email protected]
Sarojini Jha Johnson
Insects
Intaglio and photo intaglio
1”x 2”x 1/2”
Muncie, IN
[email protected]
Sue Johnson
Ice
Pigment print, accordion book
1.75"x 1.2"x 0.5"
Lexington Park, MD
[email protected]
www.suejohnson1.com
Darlene Kalynka
Scything
Photo-etching, aquatint, watercolor
3.5”x 5”x 0.25”
Kamloops (B.C), Canada
[email protected]
http://www.tru.ca/ae/vpa/darlenekalynka/darlene.htm
Jill Kambs
Cord
Hand-cut pigment inkjet prints with decorative sewing on arches cover paper,
commercial book cloth on cover with handmade polymer plate imprint
3”x 3”x 1/2”
Iowa City, IA
[email protected]
Ina Kaur
“Internal Essence”
handmade paper, color etching
5” diameter
Tampa, FL
[email protected]
www.inakaur.com
Margaret Yuko Kimura
Book of Journey Through Mushikui 2011
Etching, collage of old bookpages from Japan
1”x 1”x 1 1/8”
Cleveland Heights, OH
[email protected]
www.yukokimura.com
Landa King
The World's Biggest Problems 2009
cyanotype
5.25”x5.25”x0.5”
Seguin, TX
[email protected]
Eva Kwong
“Love Between the Atoms”
paper, digital print
3 1/8”x 4 5/8”
Kent, OH
[email protected]
Daniel Lubniewski
“A Guide to Nizo, Vol. 1”
digital prints
4.5”x 3.5”x 0.5”
St. Louis, MO
[email protected]
dalubnie.deviantart.com
Ashton Ludden
"Industrialization Brought Us Together"
Engraving, beeswax, Styrofoam, handmade stickers, clear plastic wrap
4”x 5”x 1”
Knoxville, TN
www.ashtonludden.com
Ling Luo
“Solar Terms”
collagraph, woodblock, sewing, handwriting, fire burning
4”x 5”x 1”
Shanghai, China
[email protected]
www.flickr.com/photos/luoling
Kirk Mangus
Travel
Paper, ink. Watercolor, printer ink
3”x 3”x 1/4”
Kent, OH
[email protected]
Emily Martin
Unsupervised
Inkjet
4”x 2 1//2”
Iowa City, IA
[email protected]
www.emilymartin.com
Rachel Mauser
I Went to the Mountains, but They Were Not There
accordion book with intaglio
4”x 4”
Murray, KY
[email protected]
Daniel Maw
Red's Barbershop
Digital
4”x 5”x 1/2”
Knoxville, TN
[email protected]
www.danielmaw.com
Joshua McGarvey
The Industrial State Park
Intaglio with chine colle
4.25”x 5.25”x 0.7”
Muncie, IN
[email protected]
Clay McGlamory
Odometer
Enamel screeprint on sheets of acrylic with sand
flocking and varnish, bound with shoe laces
5"x 4"x 0.75" (closed) 5”x 8.5” (open)
Norfolk, Virginia, USA
E-mail: [email protected]
Web site: claymcglamory.wordpress.com
S.V. Medaris
“Pig, Hog, Bacon”
Reduction linoleum prints on rives BFK and
bookcloth, hard-cover accordion bind
3 3/8”x 4 3/8”x 1”
Mount Horeb, WI
[email protected]
http://svmedaris.com
Sara Marie Miller
"Accustomed to Armor"
Silkscreen on Japanese paper with beeswax
and decorative paper band
4”x 5”x 0.1”
Knoxville, TN
[email protected]
www.sara.marie.miller.com
Carol Lynn Mitchell
The Petition Box Project
digital
3”x 3 5/8”x 7/8”
Bay Village, OH
[email protected]
http://carollynnmitchell.com
Ricardo Mojardin
“Bicho Blanco. Bicho Negro”
Paper, pin on cardboard
6.75”x 5.8”
Oviedo, Spain
[email protected]
www.ricardomojardin.com
Cara Mullinary
Under the Big Top
Paper, thread, fabric
2”x 3”x 1/2”
Pittsburgh, PA
[email protected]
Sandra Murchison
Delta Station
Sewing, graphite rubbings, paper, fabric
5”x 4”x 1”
Jackson, MS
[email protected]
www.sandramurchison.com
Megan Myers
An Interesting Surprise
Glass beads, wood, hinges, masonite, wire
4”x 5”x 1”
Alexandria, KY
[email protected]
www.mmmyers.weebly.com
Stephen Nolan
Magic Wonder Shrooms Tell A Story
Spray paint, sharpie, glue
1/2”x 1/2”x 2
Akron, OH
[email protected]
Rachel Nore
"Twist, Tangle, Knot, Snare, Wring, Lock"
letterpress, woodcut, lino cut, human hair and bees wax
4.75”x3.75x1” (closed)
Tempe, AZ
[email protected]
Gisela Oberbeck & Erich Paproth
Continents Moving Over White Spots
Paper, cutout, printmaking, painting
4.7”x 4”x 0.8”
Berlin, Germany
[email protected]
www.erichpaproth.de / www.gisela-oberbeck.de
Wendy Partridge
Refuge
letterpress, pressure printing, watercolor
4”x 4”x 5/8”
Cleveland Heights, OH
[email protected]
Robert Patierno
Fair Weather Friends
block print, spray paint
4”x 5”x 1”
Manchester, PA
[email protected]
www.patierno.com
Adam Payne
“Biohazard”
acrylic on transparency, presentation board
3 5/16”x 4 5/16”x 1”
Akron, OH
[email protected]
Alicia Pelaez Camazon
Esperando
Photopolymer plate and xylography
2.16”x 4.9”x 0.19”
Marbella, Spain
[email protected]
Juan Carlos Ramos & Antonio Carvajal
Miradas Sobre el Agua
Photopolymer plate
5.1”x 3.9”x 0.7”
Granada, Spain
[email protected]
Stefanie Ramsey
Lifeline
Coptic stitch relief chine colle’ on rives BKF
4”x 4”x 0.5”
Arlington, TX
[email protected]
www.stefanieramsey.com
Troy Richards
Curse of the Blood Diamond
Screenprint, archival digital print
4”x5”x0.5”
Newark, DE
[email protected]
www.troyrichards.org
Tara Sabharwal
Open Book/ Closed Home
Woodcut
3”x 2”x 2”
New York, NY
[email protected]
www.tarasabharwal.com
Rodolfo Salgado Jr
Transfusion
Stone lithograph
3.5”x 5”x 0.5”
Iowa City, IA
[email protected]
Web site: www.rodolfosalgadojr.com
Kavita Shah
Who Are We? Where Are We Going?
Paper, prints
4”x 5”x 0.5”
Vadodara, India
[email protected]
www.chhaap.com
Rachel Shelton
Reprocess
Metal eyelets, envelopes, string, paper
3.2”x 2.5”x 0.5”
Cleveland, OH
[email protected]
Kathryn Shinko
Arrhythmia
Paper, thread
3.5”x 5”x 0.25”
Mansfield, OH
[email protected]
http://www.behance.net/hermanngirl1
Kevin Shook in collaboration with Jillian Sokso
Civil Ring
Archival inkjet, rotating ring book
1.5”x3.25”x3.5”
Birmingham, AL
[email protected]
kevinshook.com
Vishwa Shroff & Katsushi Goto
Room
Archival inkjet printing on acid free paper
1”x 4”x 5”
Vadodara, India
[email protected], [email protected]
www.vishwashroff.wordpress.com
Shawn Kathleen Simmons
Vessel-ations in Meaning
Paper
3”x 3”
Silver Lake, OH
[email protected]
www.shawnksimmons.com
Jillian Sokso in collaboration with Kevin Shook
The Two Maps
Silkscreen on yamagampi
3.5”x 6”
Fillmore, NY
[email protected]
jillian_sokso.com
Andrew Somoskey
Equilibrium Continuum
Photocopy
4”x4”
Mantua, OH
[email protected]
Mark Soppeland, Jeff “JD” Dumire
and Penny Rakoff
Labyrinth
Digital print, string
4”x 3”x 3/4”
Akron, OH
[email protected]
www.marksoppeland.com/
Kevin Steele
Naughty but Nice
Double-sided tulip fold, letterpress printed pattern paper, debossed velour covers
1.5”x 1.5”x 0.5”
Bloomington, IN
[email protected]
www.mrkevinsteele.com
Catherine M. Stewart
Courtship Colour Studies
Archival inkjet print
3.4”x 4.4”x .5”
Vancouver, Canada
[email protected]
www.catherinestewart.net
Denise E. Stewart
Resentment
woodblock print, vellum, cardstock, typewriter, gum labels
4”x 2.5”x 5/8”
Beachwood, OH
[email protected]
Cassondra Stukofski
“Every Day”
Digital and colored pencil on handmade cotton paper
1”x 1”x 1/2” (closed) 5”x 8” (open)
Indianapolis, IN
[email protected]
Peter and Donna Thomas
The Donkey and the Thistle
Letterpress printed on Peter’s handmade paper using
linoleum cuts and Lydian type
3”x 2.5”
Santa Cruz, [email protected]
http://www2.cruzio.com/~peteranddonna/
Jeannette Thompson
Tree of Life
Sumie japanese rice paper, monoprint, screenprint
4.5”x 5”x 1/4”
Burbank, OH
[email protected]
Joseph Tilstra
“Elements”
Steel, copper, wood, ink on paper
5”x 1”
Canal Fulton, OH
[email protected]
William Tourtillotte
Energy
Archival inkjet on rag paper
4”x 3”x 3/8”
South Bend, IN
[email protected]
www.artbert.com
Donna Webb
Aqua
Watercolor, pastel, pencil, oil paint, plexiglass, wire
3.5”x 5”x 1”
Akron, OH
[email protected]
www.blueskywebb.com
Carly Whiteleather
Advice From a Caterpillar
Recycled paper
1”x 2”x 2”
Copley, OH
[email protected]
Melanie Yazzie
“A Snap Shot”
Relief on handmade paper
4”x 5”x 1/2”
Boulder, CO
[email protected]
http://glenngreengalleries.com
Frank Yunker
Ad Infinitum
Intaglio and watercolor
4”x 5”x 3/4”
Tucson, AZ
[email protected]
http://frankyunker.blogspot.com
Ulrich Zwick
Fairy Tales
Digital print on paper
3.94”x 3.94”x 0.2”
Offenbach am Main, Germany
[email protected]
www.das-offene-atelier-vom-zwick.de
Participating Artists
May Hariri Aboutaam
Fernanda Alvarez
Fawn Atencio
Bethania Barbosa Bezerra de Souza
Makiko Berry
Cathie Bleck
Jesse Alan Brown
Heather Bryant
Addeane S. Caelleigh
Breanna Charles
Crystal Chen
Debbie Christensen
Susie Cobbledick
Neverne Covington
Jen Crann
Isabel Cuadrado
Tessa Dallarosa
Maritza Davila
Jesus De la Rosa
Margaret Denk-Leigh
Stefanie Dykes
Leslie Edwards Humez
Juan Eizaguirre Diez
Stacy Elko
Jody Ferenczy
Sandra Fernandez Sarasola
Sandra C. Fernandez
Dora Ferrero-Melgar
Ramon Freire Santa Cruz
Julie Friedman
Betsey Garand
Leah Gay
Chialla Geib
Marcie Gill-Kinast
Alicia Giuliani
Jonathon Goebel
Carlos G Gomez
Teresa Gomez-Martorell
Mathew Grady
Natalie Grieshammer
Nicole Hand
Terea Harrison
Jesus Herrero Jimenez
Rachael Hetzel
Morgan Hiscocks
Robert Howsare
Rabeya Jalil
David B. Johnson
Sarojini Jha Johnson
Sue Johnson
Darlene Kalynka
Jill Kambs
Ina Kaur
Margaret Yuko Kimura
Landa King
Eva Kwong
Daniel Lubniewski
Ashton Ludden
Ling Luo
Kirk Mangus
Emily Martin
Rachel Mauser
Daniel Maw
Joshua McGarvey
Clay McGlamory
S.V. Medaris
Sara Marie Miller
Carol Lynn Mitchell
Ricardo Mojardin
Cara Mullinary
Sandra Murchison
Megan Myers
Troy Richards
Stephen Nolan
Rachel Nore
Gisela Oberbeck & Erich Paproth
Wendy Partridge
Robert Patierno
Adam Payne
Alicia Pelaez Camazon
Juan Carlos Ramos & Antonio Carvajal
Stefanie Ramsey
Tara Sabharwal
Rodolfo Salgado Jr
Kavita Shah
rachel Shelton
Kathryn Shinko
Kevin Shook
Vishwa Shroff & Katsushi Goto
Shawn Kathleen Simmons
Jillian Sokso
Andrew Somoskey
Mark Soppeland, Jeff “JD” Dumire &
Penny Rakoff
Kevin Steele
Catherine M. Stewart
Denise E. Stewart
Cassondra Stukofski
Peter and Donna Thomas
Jeannette Thompson
Joseph Tilstra
William Tourtillotte
Donna Webb
Carly Whiteleather
Melanie Yazzie
Frank Yunker
Ulrich Zwick
MIMB II USA Hosts:
University of Akron, OH.
Hui-Chu Ying. [email protected]
University of Texas, Austin, TX.
Sandra C. Fernandez. [email protected]
Ball State University, IN.
Sarojini Tha Johnson, [email protected] David Johnson [email protected]
University of Tennessee, Knoxville, TN.
Althea Murphy-Price. [email protected]
University of Texas at Arlington, TX.
Nancy Palmeri. [email protected]
University of Iowa, Center for the Book, IA.
Emily Martin. [email protected]
Birmingham-Southern College, AL.
Kevin Shook. [email protected]
Texas Lutheran University, TX.
Landa King. [email protected] Kyle Olson. [email protected]
Texas Tech University, TX.
Stacy Elko. [email protected]
Texas A&M University-Kingsville, TX.
Jesus de la Rosa. www.jesusdelarosa.net
Houghton College, NY.
Jillian Sokso, [email protected]
Texas Tech University, Lubbock, TX.
Stacy Elko. [email protected]
Kent State University, OH.
Michael Loderstedt. [email protected]
University of Texas, Brownsville, TX.
Carlos G. Gomez. [email protected]
University of Colorado, Boulder, CO.
Melanie Yazzie. [email protected]
University of Delaware, Delaware, DE.
Troy Richards. [email protected]
Youngstown State University, OH.
Joe D’Uva. [email protected]
Belmont University, TN.
Jessica Owings. [email protected]
Cleveland Institute of Art, OH.
Maggie Denk. [email protected]
Amherst College, MA.
Betsey Garand. [email protected]
MIMB II USA Hosts:
MIMB
II International Hosts:
The University of Mount Union, OH.
Margo Miller. [email protected]
Sala Políglota. Proyecto’ace, Buenos Aires, Argentina
Alicia Candiani. [email protected]
Old Dominion University, VA.
Heather Bryant. [email protected]
Hiram College, OH.
Chris Ryan. [email protected]
Ohio Northern University, OH.
Melissa Eddings-Mancuso. [email protected]
Monticello-Union Township Public Library, IN.
Monica Casanova [email protected]
University of South Carolina Beaufort, SC.
Jonathon Goebel. [email protected]
Southern Graphics Councils International 2012 , New Orleans, LA.
Western New York Book Arts Collaborative, NY.
Richard Kegler. [email protected]
The Virginia Arts of the Book Center, Charlottesville, VA.
Addeane Caelleigh, [email protected]
University of Virginia, Charlottesville, VA.
Addeane Caelleigh, [email protected]
University of Granada, Spain
Juan Carlo Ramos Guadix. [email protected]
National Taiwan University of Arts, Taipei, Taiwan
You-Hui Chung. [email protected]
Escuela de Arte de Oviedo, Spain
Beatriz Suarez Fernandez. [email protected]
Yonsei University, South Korea
Byungkeum Oh. [email protected]
Thompson Rivers University, Kamloops Art Gallery, Canada
Darlene Kalynka. [email protected]
Taller Arteria Grafica, Madrid, Spain
Sandra Fernandez. [email protected]
Chhaap Foundation for Printmaking Trust, India
Kavita Shah. [email protected]
The Kamloops Art Gallery, Kamloops, BC, Cananda
Craig Willms. [email protected]
University of Puerto Rico, Museum Casa Roig, Puerto Rico
Teresa Brigantti [email protected]
ACKNOWLEDGMENT AND CREDITS
www.mimb.org
MIMB curator: Hui-Chu Ying
Catalogue Designer: Thom Ruszkiewicz
Photographer: Paul Wonznicki
Website Coordinators: Kevin Stadler
Cover Designer: Chris Hoot
Exhibition Coordinator at Emily Davis Gallery: Rod Bengston
Logistics Coordinator: Carolina Salazar
Publications Company: Blurb.com
http://www.flickr.com/photos/mimborg/