City Shields, 20th Anniversary

I am pleased to introduce the successful completion of a 20-year obsession of photographing manhole covers — the 20th Anniversary Edition of City Shields. Just in time to celebrate my birthday at the end of the month. Moreover, November is the month the project was conceived way back in 1999 after a September trip to Scotland with my husband.

This celebratory edition began in June 2017 and accurately represents the creative exploration of geographic locations along ongoing travels between 2017 and 2020.

© 2020 Louise Levergneux. The cover of the 20th Anniversary Edition of City Shields.

© 2020 Louise Levergneux. The 20th Anniversary Edition of City Shields contains 84 die-cut manhole cover photos; two meandering books (French and English); three inserts and six die-cut manhole covers from past volumes.

© 2020 Louise Levergneux. The reading experience of this concluding volume is produced through a meandering book (French and English version), and the sensory touch and photographic details of each manhole cover. The distinct images and text weave the story of my obsessive collecting and the series’ progress.

© 2020 Louise Levergneux. 20th Anniversary Edition of City Shields.

A Short History of City Shields:

In the fall of 1999, a manhole cover piqued my curiosity while on vacation in Scotland. Observing how these manhole covers were different from those back home, they continued to fascinate me. 

Archiving remains a topic in my art work and has been presented in various ways. The collection of manhole covers offered me a novel approach on the theme of autobiography. Photographing only those manhole covers I encountered maintained the autobiographical theme of my artwork in proper perspective.

Between 1999 and 2015, I eagerly photographed over thousands of photos from Arizona, Arkansas, Colorado, Idaho, Illinois, Iowa, Kentucky, Maine, Minnesota, Montana, Nebraska, Nevada, New Mexico, New York, North and South Dakota, Ohio, Oklahoma, Ontario, Pennsylvania, Québec, Tennessee, Texas, Utah, Virginia, Washington DC, West Virginia, Wisconsin, and Wyoming.

Manhole covers continued to define fascinating exploration of geographical locations along my own life journey. A cross country trip in 2016, provided an excuse to include distinct cities of Canadian provinces, from British Columbia, Alberta, Saskatchewan, Manitoba and more volumes of Ontario.

The Design of City Shields Through The Years:

During this extensive on-going project, it was my goal to keep the exact same look and feel for each volume. It was not easy task, as cameras, printers, and papers all evolved through the years.

© 2020 Michael Sutton. Working on the 20th Anniversary Edition of City Shields, using Photoshop.

One thing that was constant was the workflow, all volumes of City Shields were designed and produced in Photoshop using the same template with small increments of change. Of course, not the same version of the software! Each volume throughout the years was boxed in a clear transparent Zip Drive jewel case, which I purchased thousands back in 2000.

In addition I used Adobe PageMaker then InDesign with Arial Narrow and Futura fonts for the insert; Poiret One font was added to the anniversary edition. All volumes are unsigned except the anniversary edition. The series is unnumbered.

© 2000 Louise Levergneux. The original 7 volumes printed with a DC100 printer on Ivolaser paper in an edition of 100. The 18 manhole covers photos included were die-cut by Capitol Box of Ottawa, Ontario, Canada.

© 2016 Louise Levergneux. Since 2006, all volumes have been an edition of 25 copies which has included 21 manhole cover photos. I published the volumes on Generation G-Chrome Lustre paper (manhole covers), Aspen Dual Sided Matte and Lasal Papers (inserts) for more control of colours and details.

© 2020 Louise Levergneux. The anniversary edition contains 84 unbound die-cut manhole covers printed with my indispensable Epson Stylus Photo R3000. The edition contains a meander accordion book with text and photos painstakingly printed on Inkpress paper. A number of duplicate manhole covers and inserts from the past volumes are included. The whole is inserted in a two inch deep transparent acrylic box.

Twenty Years of Capturing Photos of Manhole Covers: 

I began the unique adventure with a strange and new (for 1999) Nikon CP-950 digital camera and a Nikon Coolpix 5900 in 2000. I also photographed with a Canon PowerShot A710. In 2012, the investment of a Sony Alpha 33 D-SLR, my first digital single-lens reflex camera, naturally inspired me. The 20th Anniversary Edition of City Shields was captured with my most recent digital camera — a Sony Alpha 6000.

© 2018 Louise Levergneux. Photo of a manhole cover celebrating Circleville, Ohio’s 100th Anniversary of its Pumpkin Show. This photo is part of the 20th Anniversary Edition of City Shields.

© 2019 Louise Levergneux. Photo of a manhole cover in Los Ebanos, Texas, right on the border of Mexico. This photo is part of the 20th Anniversary Edition of City Shields.

© 2020 Louise Levergneux. Detail of the 20th Anniversary Edition depicting a manhole cover of St Petersburg, Florida. Photo was taken in January 2019.

What I Observed While Producing City Shields:

• I uncovered the intrigue and fascination provided by these everyday infrastructures;

• I grasped the rapid transformation of cameras, printers, and papers into current pieces of technology;

• I learnt the practicality of artists when developing their designs capturing the history or the resources of a city;

• I established contacts with artists who seamlessly integrated the theme of manhole covers in their work; and finally

• I discovered many people were fanatics about unique designs of manhole covers.

© 2020 Louise Levergneux. More detailed manhole covers from the 20th Anniversary Edition of City Shields.

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With this significant accomplishment completed, I now can concentrate on another unfinished project — Surveillance.

City Shields and « a fair deal »

Last month provided me the opportunity to progress with the 20th Anniversary edition of my artists’ book City Shields. The 78 manhole covers included are printed and die-cut. The text for the booklet explaining the project across the last 20 years is currently finished and translated. A few maquettes of the accordion booklet accompanying the edition were printed. While folding and including more pages, an accordion was not the ideal format. City Shields continued to take shape by changing the structured format to a meandering book. With the page template finished and printed, next is folding and scoring the new meandering book — it’s exactly what was needed.

© 2020 Louise Levergneux. Re-thinking City Shields’ book format. Top right: an accordion format maquette; bottom left: mini maquette of a meandering book; top left: cover design.

© 2020 Louise Levergneux. My standard template for printing manhole covers on Generation Paper. Next to my computer is a stack of previously published volumes atop a maquette for the 20th Anniversary edition.

The design of the insert cover also changed since my previous post. The colophon is dutifully written. I also figured out how to seamlessly incorporate six overprinted copies of manhole covers from past volumes into the published booklet. The first four clear plastic boxes are ready to receive all the essential components of this dedicated edition. All I require is to order more art paper, print, cut, score, place them in the container and the 20th Anniversary of City Shields will be completed.

© 2020 Louise Levergneux. The new cover version for CIty Shields.

© 2020 Louise Levergneux. Die-cutting of new maintenance covers.

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With a relative amount of time to write, I wanted to respond to Yama’s question posed on the BookListServ « Can non-refundable application fees for shows be a "fair deal”? »

In the 90’s I fell prey to an undesirable gallery and learned my lesson. Swearing to never give money to exhibit my work again. 

I've been on both sides of this issue, as an exhibiting artist and an art administrator working for a nonprofit alternative gallery. And yes, this alternative gallery in Ottawa, Ontario, received funding from yearly grants. The funding paid for all overhead expenses, the costs for promotion, documentation, and staff. The exhibiting artists could also write grants for their particular show. These galleries have to prove their worth during the grant writing process.

Alternative galleries in Canada are part of the Canadian Artists’ Representation / Le Front des Artistes Canadien. The organization claims that payment of entry fees is not appropriate to an exhibition of work by professional artists.” At the beginning of my career, working at Gallery 101, taught me that an artist should never pay for exhibiting their work, but, instead, “BE PAID.” Is it a « privilege » to exhibit our art and/or craft, or is it a « privilege » for a gallery to display an artist’s work?

No other ART form pays to be considered for a show or otherwise. It is not news that dancers, singers, and actors don’t pay to audition; a publisher does not charge a writer for reading her/his manuscript.

© 2020 Louise Levergneux. More poetic inspiration from the desert of Arizona.

Commercial galleries charge artists a fee to exhibit and another amount for all other expenditures. I have experimented with this type of business, but not in love with the model. The cost is usually prohibitive even with sales. The artist is the creator, they should get paid for working?

I did enjoy the out of the box idea by Alice Simpson, her response instantly reminded me of a similar gallery event in a private home, a long time ago. The show was incredibly successful thanks to the list of art collectors the person hosting the affair invited. The costs were divided by the artists, but the sales covered most of the expenditure. It was outstanding to be in charge of our event. And of course NO entry fees, NO shipping of any kind or insurance, NO hefty percentage for direct sales. 

Every time we ship our work; we take a chance of having our artists' books/objects damaged in transit or while being handled when taken out of the box!! When I am willing to pay an entry fee, the gallery better be prepared to handle my artists’ book like it was their own child!

We are probably the best person to promote our own work, but that does not always help with visibility. I don’t consider any organization asking for 40% or 80% to sell art work, a decent deal. So, definitely a big NO to that outrageous percentage, I don’t care how great the gallery is. Artists should typically receive more compensation since they are the creators. Is this type of percentage considered theft! One has to be reminded that if there were no artists, there would be no galleries. Galleries essentially depend on you to survive, not the other way around.

Moving to the US, it was like going back in time from the progressive approach of alternative galleries in Canada. How to cope with my artist’s rights and being able to exhibit? Being mindful at recognizing who to deal with and be willing to pay an entry fee remains an important decision. A annual budget is certainly a clever idea. I have submitted my artists’ books for exhibitions with fees that were non-refundable and shows without fees. I supported 23 Sandy Gallery's policies because Laura Russell was trustworthy. Ordinarily, galleries openly share their policies. It remains your choice to support a gallery that charges an entry fee or not. If you don't want to pay any fees, you should investigate other ways to find visibility and sales.

So, like most of you, I do not feel a visual artist should pay for the « privilege » of exhibiting. Changing this policy depends on how an artist reacts to such a statement. Canadian artists should follow the guidelines from the Canadian Artists’ Representation / Le Front des Artistes Canadien. I don't recognize an equivalent organization other than the National Artists' Equity Association in the US. If anyone can identify the correct equivalent organization, please let me know.

© 2020 Louise Levergneux. Picturesque scenes en route to Dewey-Humbolt a couple of weeks ago. If this scene does not inspire, what will?

While we genuinely need to continue with exhibiting our work, here are some tips: 

• The most significant thing an artist can do is understand where and how the book/work fits in a gallery or collection. This will help not waste your earned money or your precious time. 

• Accumulate more knowledge regarding your rights, make a decision on how you want to deal with galleries and staff.

• Be vigilant about the gallery or organization you intentionally choose to do business with. 

Hope this post helps in the success of discovering the appropriate answers for your art career. Be comfortable about your decision.

Pennsylvania

My plans for the end of September were to present my artists’ books to libraries in Pennsylvania. 

The first visit was to the Special Collections Research Center of the Charles Library of Temple University in Philadelphia. The library had completely been reconstructed by the AD100 architectural firm Snøhetta. This space echoes Snøhetta’s completed work at the Calgary Library in Alberta, Canada. The Charles Library is filled with a variety of specialized and innovative spaces providing a gateway to Temple’s campus.

© 2019 Michael Grimm. Outside the Charles Library, Temple University, Philadelphia, Pennsylvania.

Standing in front of the Charles Library, I was amazed at the soaring cedar-clad roof that continues throughout the inner atriums. The unique architecture made me pause at the information desk. I was gobsmacked at the building’s unique structure and the number of students engaged in flexible multipurpose rooms, reading areas, and study spaces giving them access to knowledge and technology.

© 2019 Michael Grimm. Inside view of the Charles Library, Temple University.

I was escorted through the « pièce de résistance » — the grand entrance, a three-story, domed atrium to the Special Collection Research Center on the first floor — an inspirational environment. Special Collection Research Center collects, preserves, and makes accessible primary resources and rare or unique materials, to stimulate, enrich, and support research, teaching, learning, and administration at Temple University.

Before entering enthusiastically into my appointment with Margery N. Sly, the librarian in charge of acquiring artists’ books, I spotted an exhibition filled with book arts reflecting the theme of architecture, celebrating the current facilities. I viewed books by Julie Chen, Brian Dettmer, Colette Fu, Malini Gupta, Guy Himber, Emily Martin, Carol Schwartzott, Jana Sim, and Thomas Parker Williams. 

© 2019 Louise Levergneux. Exhibition at the Special Collection Research Center of the Charles Library, Temple University.

© 2019 Louise Levergneux. Ashima by Colette Fu part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. left: The Gist of Romeo and Julier by Emily Martin, right: A Brief History of the Fan by Carol Schwartzott at the Special Collection Research Center.

© 2019 Louise Levergneux. Language Möbius by Jana Sim at the Special Collection Research Center.

© 2019 Louise Levergneux. Spiral Dome Sculpture in Paper and Steel by Thomas Parker Williams at the Special Collection Research Center.

© 2019 Louise Levergneux. [Material in the tissue spaces] by Brian Dettmer at the Special Collection Research Center.

© 2019 Louise Levergneux. Clock Work Fish by Guy Himber part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. The Fortune Teller by Malini Gupta at the Special Collection Research Center.

© 2019 Louise Levergneux. Chrysalis by Julie Chen at the Special Collection Research Center.

My experience went beyond my interaction and presentation to Margery; I felt enveloped by art. Margery was a very approachable librarian who expressed considerable interest in artists’ books. I’m thrilled to announce that Finding Home, A Day Filled with Onomatopoeias, and Earth.15 (Outside the Studio) are now part of Special Collections Research Center of the Charles Library of Temple University.

© 2016 Louise Levergneux. Finding Home, a visual narrative on being unsettled in an environment— to find a sense of place, a sense of belonging.

© 2013 Louise Levergneux. A Day Filled with Onomatopoeias (book and audio), is an interactive book based on the word onomatopoeia and it’s definition.

© 2012 Louise Levergneux. Earth.15 part of the series Outside the Studio, a photographic documentation and a study in movement and time featuring the four basic elements published in a weekly edition.

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My subsequent visit was the McCabe Library of Swarthmore College in Swarthmore. Amy McColl, Head of Collections provided explicit instructions to the library making it a pleasant introduction to the campus. Most librarians I have encountered provide a visual characterization of the library; Amy’s description was a fun and surprising one “the building looks sort of like a fortress” she naturally added in her email. At my arrival I was delightfully surprised by the architecture, it does look like a Medieval Castle outside and inside. With great astonishment the building is referred to as “The Cage,” McCabe Library inspires a wide range of feelings among the student body, many of which are far from positive. Though, I enjoyed the cozy feeling of the atrium, its stone walls and dim lighting seemed to set a claustrophobic mood, but the atmosphere does not transfer to the librarians.

© 2019 Louise Levergneux. McCabe Library, Swarthmore College in Swarthmore, Pennsylvania.

© 2019 Louise Levergneux. The main lobby of the McCabe Library, Swarthmore College.

Swarthmore College is home to a vibrant and continually growing collection of contemporary artists' books. The Book Arts and Private Press Collection is committed to the acquisition of fine printing and artists' books and endeavours to represent all aspects of the physical book including bookbinding, typography, letterpress and offset printing, hand paper-making, illustration, and book design.

After a very up-beat dialogue with both Amy and Susan Dreher, my artists’ books Traverse, Parade, and City Shields (Pennsylvania volume) have fortunately found a new home in the Special Collection of the Rare Book Room in McCabe Library. These join four flip books: Air.10, Earth 16, Fire.3, H2O.11 (Outside the Studio) already collected through Vamp and Tramp in 2018.

© 2015 Louise Levergneux. Traverse, a documentation on the artist’s annual trip across the country to her home town of Gatineau, Québec, Canada.

© 2014 Louise Levergneux. Parade, presents the strange and intriguing scene of empty chairs waiting for the owner that will be curb side when the parade begins.

© 2008 Louise Levergneux. City Shields, Pennsylvania Vol US6: No 1. A photographic documentation using manhole covers to depict exploration of geographical locations along the artist's life journey.

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This brings me to a sad moment for the community, as I convey my sincere condolences for the profound loss of Bill Stewart of Vamp & Tramp, Booksellers at the beginning of November. Bill, with his wife Vicky, were very instrumental in introducing my artists’ books to Special Collections of university libraries in the United States. I will always be appreciative for his demanding work, dedication, and professionalism. Bill will be sorely missed.