Forgotten, Lost and Found

This month I present the creative work of artist Amandine Nabarra who produces unfolding spaces and shares visual stories while living in Southern California.

As artists we frequently exercise our sense of touch to achieve a deeper understanding of an art piece. This is impossible in a gallery environment. After trying to search for more intimacy in her own work, Amandine found her calling — artists’ books — vessels or spaces that reveal a tactile story.

© 2013 Amandine Nabarra. Forgotten, Lost And Found by Amandine Nabarra; edition of 20 numbered and signed

“Each artist’s book needs to be discovered, opened, felt and/or heard. It’s an intimate experience where the reader uncovers his or her own unique relationship with the subject matter”. — Amandine Nabarra

© 2013 Amandine Nabarra. Forgotten, Lost And Found by Amandine Nabarra; pigmented digital prints on Japanese mulberry paper. Housed in a black fabric box with a digital image tipped onto black paper.

We all have a different way to form our book concepts. Amandine starts each book with questions; in her book Tempus Fugit, she asked “Are we resilient as the clouds changing forms and adapting to the weather?”

“Can water be an object and still flow like water?” was answered in the publication, The Bernoulli Equation.

In Forgotten, Lost And Found: “How does it feel to collect our memories or to forget them altogether?” came to mind.

© 2013 Amandine Nabarra. Forgotten, Lost And Found by Amandine Nabarra; a tunnel book in the form of two parallel accordions supported by 6 frame-like panels.

© 1996 Louise Levergneux. My Memories of My Memories (miniature version), chapter 4.

Following Amandine’s information on her latest publication Forgotten, Lost and Found, I was reminded of my very first artists’ book My Memories of My Memories touching a similar subject; the one of childhood memories. I think all types of memories are a subject matter that interests all people.

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When I was young my parents divorced and a few years after their breakup I realized I had lost all memories of my early childhood. I don’t know if I had a problem remembering or if it was a response to the traumatic event. Since then, I have been on a quest to understand how memory works.

Contrary to popular belief, we don’t store memories. We reconstruct them, and this process is quite unreliable. With the help of photographs and family anecdotes, I feel I have recovered many these memories but how real are they?

I decided to create an artist’s book that would illustrate three types of memories: the ones we forget completely, the ones we don’t remember, and those we recover. I chose a tunnel book structure and used the three sides, one for each type of memory. The structure offered a story that could be read in any three ways.

The process of forgetting and losing memories was placed on the side of the structure. I captured pictures of people lost in the night, running, walking and trying to find their way. The cold colour tones add to the doubts of the frantic search.

© 2013 Amandine Nabarra. Forgotten, Lost And Found by Amandine Nabarra represents thoughts and feelings, scenes of vivid memories or forgotten experiences. The depth of the book reminds us of the passing of time; 5 inches x 6.5 inches closed; extends to 9 inches

For the inside of the book, I photographed the tunnels along the freeway that linked Italy to France. It was constructed in the mountains or hills and the tunnels were long, extremely long. I am slightly claustrophobic, so it made me nervous driving for hours from one tunnel to the next. Nonetheless, I used warm colour tones to depict them since they lead to a happy memory recovery.

The depth of the tunnel structure represented the time it took to remember and the hurdles we have to go through in order to reconstruct our memories.

I printed my photographs on a Japanese mulberry paper to convey a sense of nostalgia. The long fibers of this paper created a subtle movement. The images looked matte with a little sheen, and it added a slight blurriness, which emphasized the idea of lost or old memories.

The mix of abstract and figurative photographs taken at night was enhanced by the use of colour tones that bind the images together as it expressed feelings of loss or recovery.

In the process, I found the science of memory fascinating. How we encode, store and retrieve information to make decisions is a complex issue. Some memories might help us; some will haunt us for the rest of our life. As for me, I am happy to have recreated my childhood memories even if I will never know if they are “new memories” of my past or if I've remembered them. — Amandine Nabarra

© 2013 Amandine Nabarra. Forgotten, Lost And Found by Amandine Nabarra; inside view

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Amandine’s success depends upon finding the proper balance between her intuition and her reason. I hope you will find her out of the box thinking and her vision intoxicating!

Have a great month of March! / Bon mois de mars !

Surveillance

I’m delighted to announce the release of my recent artists’ book that considers our privacy and freedom in a social and democratic world.

© 2021 Louise Levergneux. Surveillance, a tunnel book, 7 x 5.25 x 1.5 inches (18 x 13 x 4cm).

« Surveillance » presents the direct result of a three-year collection of security warning sign photos. The key concept started in the summer of 2017 while traversing the US from Boise, Idaho, to Gatineau, Québec. I felt my every move being watched, while travelling across the country. I became more sensitive and aware of the level of surveillance forced upon me. It wasn't that the surveillance was personal, but universal, that presented a dilemma for me. However, it became apparent Google was tracking my digital journey as I researched online. I noticed advertisements from my latest searches as Google kept tabs with bread crumbs history and presented personalized promotional links on the screen. Who’s watching?

© 2017 Louise Levergneux. Original warning sign photo.

Generally, my book ideas come after being blitzed by a subject matter or a visual stimulus. I surprise myself by photographing a similar subject over and over again, till the collection of photos provide the incentive to research in depth what captured my attention.

© 2019 Louise Levergneux. Original warning sign photo taken in San Antonio, Texas.

Next, various scenarios are played by writing or reviewing photos. I operate with the five principal questions of strategy, which helps to clarify the idea. Habitually these questions are resolved through my thought processes in the early hours of the morning. Once the idea has permeated through, I gather all my photos into Photoshop and the fun begins. This is my tool to design. The software provides to me the freedom to experiment and photography as a medium inspires me.

Next comes the planning of content, size of the page, composition, colours, the materials, structure and binding of the book... It takes a while to digest all these components and start publishing. For me, the structure is what takes the longest to decide and implement.

© 2019 Louise Levergneux. Figuring out the binding and electronics in Natalie Freed’s studio in Austin, Texas.

© 2019 Louise Levergneux. A copy of the front cover for the tunnel book, laser cut by Sarah Pike from Free Fall Laser in Adams, Massachusetts.

« Surveillance » was one of the most complicated projects I created. I needed the help of other artists who were knowledgeable in their fields for the book to come together. While visiting Olivia Primanis at The Harry Ransom Center in 2018, the idea of adding electronics to the book came to mind. Olivia suggested Natalie Freed as a contact, who was giving a workshop at the Austin Book Arts Center at the time. Working with Natalie remained a delightful experience, and our meetings brought many possibilities to the forefront and solidified the type of binding. Another conversation during a studio visit with Thomas Parker Williams in Philadelphia, provided me the opportunity to communicate with Sarah Pike from Free Fall Laser in North Adams, Massachusetts. I could not fathom the idea of cutting the windows of the cover page and holes necessary to attach the camera and wires on the book board. Oh, I tried! But this job was better executed by a laser cutter.

© 2020 Louise Levergneux. The pages of the tunnel book printed and ready to assemble.

Once the components and structure were in place, I concentrated on the five pages of the tunnel book. The fun continued in the world of Photoshop. Printing double sided layouts remain a lengthy process. Registration needs to be checked at least twice before printing the actual image. The printer settings, printer profiles, and the colour handling should be correctly chosen for the type paper used; printers are relatively complex, and they don’t always cooperate. When my Epson works smoothly, the images that roll out are beautiful with crisp and bright colours. I enjoy printing with an Epson Stylus Photo R3000; what you see is what you get — meaning — my images print exactly as they are perceived on the computer screen.

© 2019 Louise Levergneux. Cutting to size the book board for the binding of Surveillance.

The least fun of my projects is using glue! It's is all over the place. I’m lucky a book is completed without any glue on the cloth! Once the binding, the switch, the colophon, the cover image, the structure were all in place, the end was near. The pleasure of seeing all the components come together is fantastic. Now, I can invite the viewer into a world where personal freedom is infringed by the bombardment of warning signs. Once inside, the viewer’s privacy is usurped once more by a photo captured without permission.

When an artists’ book comes to completion in an effective way, the feeling of accomplishment is tremendous. I can say, done, and it feels great!

Since the project is complete my focus is now on promoting and distributing « Surveillance ». I hope you can take pleasure in the finished product. Enjoy!

As always, thanks for your interest by reading my blog posts.

© 2019 Louise Levergneux. Inside view.

New Year, New Work

I sincerely thank everyone for the ongoing support during a challenging year. Your efforts to communicate and staying in touch were appreciated.

Two artists whose work has been inspirational start the new year.

Monique Lallier, renowned book binder and book artist, practices her craft from her studio in North Carolina which I had the opportunity to visit in 2019. Last December, Monique emailed me her latest bindings, and I’m happy to present these bindings as part of my first post of the year.

A catalog of an exhibition at the Guilford College Art Gallery in Greensboro, NC, from October 29, 2018, to January 6, 2019, which includes 46 years of fine bindings produced by Monique Lallier is the foundation for this binding. Monique Lallier: A Retrospective is available through Oak Knoll Press.

2020 Monique Lallier. The binding is buffalo leather « reliure buffle » and the kumihimo which form her initials « ML » are inlays. The other coloured leathers are mosaics. Each binding has the same design but different in colour. The book is housed in a silk clamshell box « boitier en soie ».

We all appreciate Monique’s creative and thoughtful approaches to her binding projects. Her use of unusual materials and innovative techniques make her bindings both distinctive and dynamic. During my visit, I enjoyed Monique introducing me to the sequence of narrated and entertaining descriptions and processes included with each creative binding while perusing through the original catalog.

MONIQUE LALLIER: A RETROSPECTIVE. New Castle, DE and Greensboro, NC: Oak Knoll Press and Guilford College Art Gallery, 2018. 8.5 x 11 inches. paperback.Monique Lallier: A Retrospective is available through Oak Knoll Press.

Lallier enjoyed binding one of her favourite books in 1974, Clochemerle by Gabriel Chevalier and illustrated by Dubout. Monique mentioned the illustrations were hilarious.

2020 Monique Lallier. A traditional binding in boards « reliure traditionnelle passer en carton » with signatures mounted on guards « les cahiers monté sur onglets ». Full beige buffalo binding « reliure plein buffle beige » with leather mosaics, lacunose and four of the circles, the largest of which, are decor from the old binding. The book is currently housed in a cloth clamshell box « boitier en toile ».

2020 Monique Lallier. The front cover « plat avant » has an edge to edge lining « doublure board à bord » and fly leaves « gardes volante » in green suede.

2020 Monique Lallier. Back inside cover by Monique Lallier.

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Marlene MacCallum lives in Prince Edward County, Ontario, Canada, where she focuses on her passion for producing artist’s books. Just before the holidays, Marlene invited me to view her most recent piece Shadows Cast and Present, an interactive digital artwork (please click on the title of Shadows Cast and Present to view.)

Shadows Cast and Present is a project made possible by funding from the Canada Council for the Arts Digital Originals grant program and with the invaluable assistance of Marlene’s two creative collaborators, Matthew Hollett and David Morrish. The Digital Originals program was developed to support artists promote and disseminate their work in the current Covid-19 reality. In an interesting synchronicity, Marlene had been thinking of producing a dematerialized or virtual iteration of her book works as a way to address the challenges of exhibiting and sharing art that takes the form of book-like structures.

What I enjoy about Marlene’s artists' book is the visual interpretation of personal domestic space and the ordinary stuff of daily life; and how she is fascinated by her relationship with the spaces that frame our lives and objects that fill the majority of daily routines.

I also incorporate the common day-to-day events and appreciate ordinary moments of every day, building our history, whether sensational or monotonous. I am fascinated by the concept of personal memory and identity. Those elements are exactly what grabbed my attention in Marlene’s work.

Images of the book work:

2018 Marlene MacCallum. Shadow Canto One: Still Life, by Marlene MacCullum. Handbound artist’s book with slipcase, pamphlet binding with gatefold structure, digital pigment print on Aya, 23.7 × 17.5 × 1 cm (closed dimensions), 2018. Edition of 15.

2018 Marlene MacCallum. Shadow Canto One: Still Life, detail of spread three fully opened (23.4 x 68.5 cm)

2018 Marlene MacCallum. Shadow Canto Two: Graffiti by Marlene MacCullum. Hand bound artist’s book with slipcase, accordion binding with hard covers, digital pigment print on Aya (bird images) and Niyodo (music images), slipcase constructed of stained Tyvek wrapped around eterno boards, 23.7 × 16 × 1.4 cm (closed), 2018. Edition of 15.

2018 Marlene MacCallum. Shadow Canto Two: Graffiti, detail of bird images expanded, 23.3 x 124.8 cm (expanded dimensions)

2019 Marlene MacCallum. Shadow: Incidental Music by Marlene MacCullum. Hand bound book work with image accordion suspended over text accordion. Images are digital pigment prints on Digital Aya, hand-set letterpress poem and blind embossed soundscape letterpress. Case bound with digital pigment print covers. Dimensions: 23.7 × 15.9 × 1.1 cm (closed), 23.6 × 30 cm (page spread). View of the closed piece.

2019 Marlene MacCallum. Shadow: Incidental Music. Detail of the soundscape, embossed letterpress.

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Woohoo! Let’s give ourselves a round of applause for all of our accomplishments ... Being able to create, teach, sell and exhibit in 2020!

To all Health, Happiness and Tranquility for 2021.

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Surveillance

I have noticed through emails and blog posts the amount of work being done by artists during these unusual times. Congrats to all! I admire those of you who have discovered ways to keep your art world/business going. It is fantastic to feel connected every morning as I tune into my emails  and read about everyone’s creative process. As artists, we need many concentrated hours to create. The last eight months gave my husband and I the opportunity to produce while being isolated at home.

© 2020 Louise Levergneux. The accordion sides of Surveillance being cut.

Last April, as full time RV’ers, Michael and I decided to acquire a reliable place to stay. Our travels where put on hold while Covid dictated our lives. These days, weeks, months gave us the opportunity to write and produce in our incredibly compact space. Finally, cabin fever set in and with the virus still very much around; we required more room. In September we moved our studio spaces into a small, modest home (399 square feet) for our creativity to continue to blossom. 

© 2020 Louise Levergneux. Getting ready to work on Surveillance.

© 2020 Louise Levergneux. Freshly cut pages for Surveillance.

With a major publication completed, I need to concentrate and get the next artists’ book — Surveillance — done. How to get back into this complicated book after so many months since my last review?

A blog post I read back in 2016 by Big Jump Press came to mind, while sitting here in front of all the various parts to assemble for Surveillance. The subject was on how to get organized for completing a project after a long break. The article is a fun read written by Sarah Bryant entitled “Ok, where was I?” and is very impressive.

For months, I kept Surveillance on the forefront of my mind, thinking of better ideas, solutions, materials... even while conceptualizing other ideas. It never dawned on me to put into place Sarah’s method. Once I got absorbed by manhole covers, Surveillance was put aside in safe containers and disappeared from my thoughts. Even though Sarah’s article is a terrific read, it’s a bit late for me.

© 2020 Louise Levergneux. The different parts to put together.

At the moment, the plan of action is to start recalling how I developed the model, folded paper, cut, glued and assembled the book... !!! My brain hurts just thinking about it all as I prepare to get started again.

© 2019 Louise Levergneux. The first page/cover template of Surveillance once the binding is opened.

© 2019 Louise Levergneux. View through the first page/ cover of Surveillance.

In the mean time, if you intend to take a break from a book project for whatever reason, please read Sarah’s post. My suggestion is to plan for the future.

© 2015 Louise Levergneux. I wish you all a great holiday season this month and hope you will be able to celebrate with loved ones.

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The Treasures of Arizona

Meticulously researching binding structures online a few years ago, I was captivated with Philip Zimmermann’s book work Sanctus Sonorensis, a book of border ‘beatitudes’. This work comments on the complicated attitudes of Americans on illegal immigration from Mexico. Being in Arizona for a few months, I reached out to Philip for a studio visit. But last April, another disappointment came my way when a planned visit to his studio in Tucson had to be promptly cancelled because of the pandemic.

While wandering full time, I relished the valuable experience of viewing artists’ books during my rendez-vous to many library special collections and artist studios. These tumultuous times establish unique challenges and missed opportunities. But, I aspire to continue virtually meeting with leading artists as mentioned in my previous post. Not the same as in person, for sure! But virtual communication, nevertheless, brings creative inspiration and opens doors for new dialogues with artists’ books.

This month 1/2 Measure Studio Blog is featuring Philip Zimmermann’s work for all of us to vicariously experience. Enjoy your visit.

Philip Zimmermann owns and operates Spaceheater Editions in Tucson, Arizona, and has been making artists’ books and multiples under this imprint since early 1979. Zimmermann produces open-edition and limited-edition works that use photography, printmaking and design.

© 2020 Philip Zimmermann. The front of Philip’s adobe brick house in the Historic Ft. Lowell area.

© 2020 Philip Zimmermann. Shown above is the exterior and entrance of Philip's main studio area. This adobe addition was built in the summer of 2008 after his move from New York.

Philip Zimmermann in his main studio. Courtesy of Philip Zimmermann.

© 2020 Philip Zimmermann. Views of the interior of Philip Zimmermann’s main studio area. It is only about 400 square feet plus a small full bathroom.

© 2020 Philip Zimmermann. This is the smallest studio Philip has ever had. The size of this tight atelier was determined by the amount of land at the back of his home and the HOA (Homeowners Association) rules.

© 2020 Philip Zimmermann. Living in an historic district, an architect was hired to conform to the building restrictions, HOA rules, the Historic Fort Lowell District as well as the city of Tucson. This didn’t seem like a straightforward task!

© 2020 Philip Zimmermann. The only printing devices Philip still has are a large Epson inkjet printer and a colour laser printer. Otherwise, he buys printing from overseas or from local commercial printers. His current book is being printed in France.

© 2020 Philip Zimmermann. The studio annex area which is in an enclosed part of what was a covered porch on the back of his house. This is where Philip does book binding board cutting, wrapping and shipping of books, foil-stamping, paste paper, and hopes to restart his silkscreen practice as well.

© 2015 Philip Zimmermann. Reaper is a meditation on the destructive cycle of violence and war, followed by rebuilding and reconstruction, then war again. This is often followed by yet another iteration of that rebuilding and destruction: a painful cycle that has continued in many areas around the globe throughout history.

© 2015 Philip Zimmermann. The theme for Reaper was inspired by the events in Gaza during the summer of 2014. It is most commonly caused by the friction and antagonism between different religious and tribal/ethnic belief systems and often aggravated by the extreme actions of fundamentalists on both sides and their often rigidly-held and intolerant ideas.

© 2015 Philip Zimmermann. In this book, based on an adaptation of the old Turkish-map-fold structure, text is read on several levels. The outer tabs hold the first ten rather innocuous lines of the primary texts of four specific belief systems. They include the Rig-Veda the oldest sacred Hindu text, the Torah (Genesis) from the Jewish faith (the Old Testament), the first lines of the Christian New Testament Bible, and finally the first ten lines from the Qur’an from Islam. The title of the book refers to both death, as in ‘the grim reaper’, and to the model name of one of the American drone or UAVs (unmanned aerial vehicles) used for bombing in the Middle East and elsewhere.

© 2015 Philip Zimmermann. Reaper is a four-colour archival pigment inkjet-printed book, created as a series of fold-out, modified, Turkish-map-folds, printed on acid-free French Paper Co. stock. Pages hand-cut and folded and cased-in by hand, with board covers; German Dubletta bookcloth spine was used, with inset title. An archival phase-box enclosure is included. Dimensions: 6.5" x 7.5" x 1". An edition of 25 copies, signed and numbered.

© 2014 Philip Zimmermann. Incident in Deseret — on January 5th, 2014, seven book artists were in Salt Lake City to attend the national conference of the College Book Art Association at the University of Utah. A group traveled to Robert Smithson's canonic land-art piece The Spiral Jetty, about an hour or two out of town in the nearby Great Salt Lake. To commemorate the visit, it was decided that each artist who was there that day would create a book with the Spiral Jetty as theme, and complete it within one year – or earlier if possible.

© 2014 Philip Zimmermann. The idea behind Incident in Deseret: “I am fascinated by faith, and how so many religious people throughout the world are able to ignore what many would think of as logical thinking in order to make the leap to belief. In some ways, I admire that ability as it suggests a certain innocence and magical thinking that I am not able to summon up. The danger is when those folks start to think that they are the only people in the world able to communicate with god and travel the true path to heaven. I think of the location of the Spiral Jetty and Salt Lake itself as ground-zero for the Church of Latter Day Saints and the Mormon faith. Although my book uses terminology that comes from the LDS belief (picked due to the location of the Spiral Jetty) I could have just as easily have used nomenclature from any number of other world religions. Stylistically, I think of this book as the meeting of Jean-Luc Godard's Alphaville and Chris Marker's La Jetée with The Book of Mormon. Deseret is the original Mormon name for Utah and was originally comprised of a large section of the American West that included not only Utah (and the Great Salt Lake where the Spiral Jetty is) but also large portions of Colorado, New Mexico, Arizona and California. Brigham Young's petitions to the US Congress to recognize this huge new state were turned down numerous times and eventually became what is now the current, much smaller, state of Utah. Deseret was also a language and an alphabet system that was developed but never widely used during the 19th century by the Mormons. The title also gives a little nod to a classic western book that I was impressed with when I read it in high school, The Ox-bow Incident and another book (and famous short film) called An Occurence at Owl Creek Bridge.”

© 2014 Philip Zimmermann. The edition of Incident in Deseret is printed by archival inkjet on uncoated oatmeal Speckletone paper made by The French Paper Company and bound in a drum-leaf binding in an edition of thirty. There is also a digital print-on-demand version on white coated paper. The dimensions on both are 8"x8"x.5". The book was started in Philip’s studio in Tucson and completed during an artists' residency at the Ucross Foundation, Clearmont, Wyoming, in August 2014.

© 2011 Philip Zimmermann. Cruising Altitude is a dos-á-dos (double-sided) book on one side about wanderlust, travel, and the quest for the exotic. The other side covers the darker angle of travel: of being a stranger or foreigner in another country or culture.

© 2011 Philip Zimmermann. “The section titled ‘Above’ in Cruising Altitude explores the desire to travel away from one’s normal and humdrum world, to see and experience the different and the exotic.”

© 2011 Philip Zimmermann. “There are many complex reasons why we want to travel. Part of what drives wanderlust is an impatience with the everyday and the desire to expand one’s horizons, sometimes to destroy one’s comfortable status quo, to escape, to satisfy one’s curiosity about the world. Travel makes one more tolerant, perhaps even promotes peace between cultures and nations.”

© 2011 Philip Zimmermann. Cruising Altitude.

© 2011 Philip Zimmermann. Cruising Altitude.

© 2011 Philip Zimmermann. “However ’Below’ (the other, mirror, section) is about the flip-side of wanderlust. In Cruising Altitude the traveler, displaced person, or foreigner encounters a virulent and often jingoistic resistance from the inhabitants of the new locations that one enters as a visitor. Terms for ‘the other’, usually derogatory or demeaning, appear over photographic views looking down from airplane windows. Although I believe this to be universal, living in Southern Arizona on the border with Mexico I am very aware of this viewpoint in some of the local state population. In addition to the feelings that I have about this subject derived from my current living location, I was the child of an American diplomat. Although I grew up loving the many different places we lived, I never fit in to any of them, nor felt that any one of the places we lived was my home, always feeling like ‘the other’, and that includes the United States itself.”

© 2011 Philip Zimmermann. Cruising Altitude was published in an edition of fifty. The text-block interiors and end-sheets were printed by HP Indigo. There are gold and silver metallic foil titles on both covers. The book was bound by hand with archival book board and Kensington premium bonded red leather, designed to look and feel a little like the old Baedeker travel guides that were extremely popular in Europe in the late 1880s through the 1930s. The dimensions are 5"x8"x.5". Each book comes in an archival gray phase box.

© 2003 Philip Zimmermann. Nature Abhors is about loss, the inevitable by-product and, (perhaps pessimistically) the final result of life and love.

© 2003 Philip Zimmermann. “In the previous four years I had had a great deal of loss in my life with both my parents dying (one by a hit-and-run car), 9.11.2001 and all that meant for anyone living in New York, plus romantic complications in a relationship where the two of us did not need or want the same thing. This book is a rumination on what loss has meant for me personally and also what I have found has been a more universal feeling of loss since 9.11. Although the book contains visual references to the twin towers, it is determinedly not about that disaster but more about the collateral damage from that period of time on personal relationships, and ways of moving on from that loss.”

© 2003 Philip Zimmermann. Nature Abhors.

© 2003 Philip Zimmermann. Nature Abhors is 5.25 x 5.25"; printed by HP Indigo on Mohawk Superfine paper. It is 30 pages long, in a hand made slipcase and comes in corrugated-paper fold-out archival phase box. The woven spine construction is based on a model developed by Claire van Vliet from a form originally created by Hedi Kyle. The photograph on page six was taken by Elizabeth Alderman, all the others and the text are mine. To be read through on one side, then on the reverse. Accordion-folded, each sheet affixed to the next with paper tabs illustrated with segments of spinal vertebrae. Both the slipcase and the book are signed and numbered by the artist in an edition of 150.

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I graciously appreciated Philip Zimmermann's time and especially the possibility of sharing is work with all of us. Philip’s new book entitled Swamp Monsters is a series of distorted photos of the president and his flunkies at the Republican National Convention; printed on newsprint with a high speed Kodak inkjet at PRINTNEWSPAPER in France.

Swamp Monsters is already on sale in a number of book outlets including Printed Matter in NYC.

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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.

Still in Casa Grande, Arizona

After ten weeks of sheltering in place, I'm experiencing the pressure of the unknown. I do humbly admit the effect of teleconferencing is beneficial. My artists’ book entitled “Finding Home” which I created in 2016 comes to mind at this key moment. I feel the need to properly nourish my sense of belonging. I dream of the day when a hug isn’t an imminent threat, and I can visit family, friends and artists studios in real time.

© 2020 Louise Levergneux. In the last month, I’ve continued working on my 20th anniversary volume of City Shields. This is a blast!

The remarkable beauty of the flowering cacti, the forever lasting sunny days and the dry heat of Arizona, is no longer nourishing my creative soul. As a nomad without being able to travel, I’m increasingly feeling trapped in the vehicle meant to liberate me.

© 2020 Louise Levergneux. A Senita Cactus in the heat of Casa Grande, Arizona.

Most of the time it’s peaceful here in Casa Grande. While I’m content to work on my recent artists’ book, creating, researching... Sitting for too long can gnaw at the imaginative mind even if busy with activities one loves.

Covid-19 has undoubtedly affected our humble lives. Artists currently possess extended periods of time to be creative, but our minds are on the uncertainty. We are trying to work and live through these hard times. Ultimately, the crisis has forced its way into our creative work.

Thomas Parker Williams from Pennsylvania has emailed me information on his recent unique artists’ book entitled Pestilence.

Thomas’ conceptual sources include mathematics, music, literature, theology, design, philosophy, astronomy, history, natural sciences, architecture, and Eastern thought. 

© Thomas Parker Williams. Pestilence by Thomas Parker Williams, 12” x 24" x .875” closed.

© Thomas Parker Williams. Pestilence by Thomas Parker Williams, original drawings with dry pigments in alkyd medium, stains, ink and coloured pencil.

© Thomas Parker Williams. Page one of Pestilence by Thomas Parker Williams.

© Thomas Parker Williams. Page three of Pestilence by Thomas Parker Williams.

“Pestilence was drawn during the week of April 13-20, 2020. It is a metaphor for the worsening COVID-19 crisis and the rejection of reality by some in our country. This crisis will change life as we see it. My hope is we will be able to accept the cooperative action needed to survive it.” Thomas Parker Williams

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Another artist — Guylaine Couture — who juggles with the specific ideas she wants to powerfully convey, recently completed a zine entitled “Mes indispensables, pandémie 2020”.

© 2020 Guylaine Couture. My Indispensable, Pandemic 2020, drawings and texts by Guylaine Couture. The zine is folded and cut manually; 16 pages.

© 2020 Louise Levergneux. I received an actual, physical wild pink coloured envelope in my mail box last week, inside I found a copy of “My indispensable.” This little zine brought a smile to my face.

© 2020 Louise Levergneux. Surprise! included in the envelope were a set of three small cards printed manually on recycled paper by Guylaine.

Guylaine enjoys working on subjects that challenge us like cancer, ecology, mourning or the landscape. These subjects depend upon introspection. It is critical for Guylaine to produce each book differently, that the form changes, evolves and adapts to its point of view.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is a single sheet format. 2 ¾ inches x 4 ¼ inches when closed.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is 2 ¾ inches x 4 ¼ inches when closed.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is also available in English.

“Vivre ce moment historique est toute une aventure. Elle est différente pour chacun de nous. Pour ma part, j'ai voulu en témoigner par ce zine sur le sujet. J'y parle de mes (nouvelles) expériences et découvertes.” Guylaine Couture

“Living this historic moment is quite an adventure. It varies for each of us. For my part, I wanted to bear witness to this complex issue with a zine. I talk about my (new) experiences and discoveries.” Guylaine Couture

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On another note, James G. Jenkins’ sculpture provides a theme for both intellectual and visual curiosity. Jim’s work reflects an eclectic and deep understanding of philosophy, spirituality, history, physics and other sciences, and our current societal state. “COST-O-TOM(B), You will feel a slight pressure” presages the current health crisis.

© J. Jenkins 2018. The creation of COST-O-TOM(B), You will feel a slight pressure by Jim Jenkins.

“There are several instruments normally associated with the practice of medicine or health care displayed. Combined in this way it becomes a hyper-anachronistic-allegorical-metaphysicalperplexing-conundrum.

Please note specifically there are no bodily fluids in any sort of suspension. The suspension of disbelief has been removed as well. Perhaps consider that the system has already been sucked dry, the life blood removed with nothing remaining. 

A cast trooper marches steadfastly along a very short plank. Soldiering on without complaint, silent, noble but encouraged to Bite the Bullet should anything untoward happen. The .45 caliber bullet suggests this and is labelled as such. 

A country in distress is symbolically displayed. The parties responsible might be discovered by examining the white paper with words provided with impact. A scalene triangulation suggesting unequal influence is fabricated with a surgical suture suggesting perhaps that we have been stitched up.

The Elephant in the Room remains in a carefully folded origami display concealing what is right in front of our face.” J. Jenkins

© J. Jenkins 2018. “COST-O-TOM(B), You will feel a slight pressure” by Jim Jenkins. Materials: Costotome, hypodermic syringe, distillation glassware, surgical tubing, surgical sutures, test tube, an American flag, sealing wax, peacock feather, gilt frame, aristocratic purple velvet fabric, a .45 caliber bullet, cast trooper, white paper with words typed, brass nameplate, stainless steel angle, flat bar, rod, discs, shredded money, and glass tubing.

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Congratulations to everyoe who is being resourceful in continuing their teachings during these strange times. With many hours, to create, how is your art work progressing?

Confined in Arizona

I hope you are all safe and taking this self-isolation time to keep busy so doldrums don’t become the new normal. 

For me, social distancing means no studio visits, I do miss the physical interaction with artists in their private atelier. Strategically planning these impressive outings throughout the year was a lovely diversion during my continuous travels. Talking and sharing ideas with artists paved the way for brainstorming on new concepts. I undoubtedly gained in depth knowledge on binding, which could be applied in my new artists’ books.

My only communication these days, like most of you, is by virtual contact between family and friends. Some of us share “happy hour”, converse our quest for life’s journey and most important knowing everyone is safe and well.

© 2020 Louise Levergneux. An Argentine Giant Cactus in bloom at the Fiesta Grande RV Resort in Casa Grande, Arizona.

In late March, with the shelter-in-place directive, we got grounded in Casa Grande, Arizona. The southwest is not a bad area to be stuck in, with it’s sunshine and blooming cacti. But, by the end of April, severe temperatures reached 107° F. It is getting HOT, HOT, HOT!

Shelter-in-place has given me the opportunity to start working on different projects. Meticulously planning my concepts, printing the visuals, writing statements, and studying Photoshop in more detail... 

© 2020 Louise Levergneux. Working on my 20th Anniversary cover for City Shields. Already 20 years has passed since the beginning of my on-going projet of manhole covers. WOW!

I’m making headway with the 20th Anniversary booklet of City Shields. One can’t wield a mighty hammer to pierce a small hole! — I’m frustrated at trying to use the necessary software rarely utilized in the past year.

© 2020 Louise Levergneux. The cover for City Shields’ 20th Anniversary package edition in progress. This is the first draft, the design may change as the work progresses.

We often swear at the technology in our possession but in these uncertain times, the internet has proven to be a valuable tool. I sincerely appreciate the social contact with all of you through private emails or communications received by the BookListServ though not as many as before the pandemic. Listening to Helen Hiebert podcasts brings a sense of closeness. The informative videos of John Cutrone, Book Arts 101: Home Edition takes us on different journeys. Different blog posts like the familiar one from Catherine Miller and Guylaine Couture naturally prompt me to smile as I have visited both artists. Many sincere thanks for your continual dialogue during our social isolation. 

These digital dialogues expand opportunities for me to receive information on newly completed artwork or work in progress from many artists. You could say that these are my new virtual studio visits. I joyfully received this artist statement from Jim Jenkins of Illinois. Jim is conscientiously working on a wordsculpture and transmitted it for review and comment. Between his first email and now, he has undoubtedly gone through additional re-crafting as we all do at the early stages of creative production.

After the clever piece had stirred up a bit more in Jim’s active mind, I received a shortened version of his statement for Cosmic Clockwork Comet and some images of the final artwork to present to my readers.

It has been said that time is an event more than anything else. We remember events, we usually don’t remember time passing as in the ticking of a clock. We usually don’t remember our hours of uneventful boredom unless we find some important thought momentarily hidden and then revealed within our boredom. Perhaps, this is when and how the sculpture began. Halley’s Comet and the fact that it is periodic and only visible to us every 75-76 years; provides a beginning, which in and of itself, is an event. The comet is on a far reaching elliptical orbit, a self-referential timed event, chronicled historically, beginning in 239 BCE in China. Mark Twain who was born and raised very near Quincy famously said that he was born on the arrival of Halley’s Comet in 1835 but would probably not be on Earth to witness the return. This proved to be true as he did pass away within the year of the return. Our perception of all things is contingent upon our ability to see, our individual vision. Things that are unseen or left out are many times as valuable to our understanding as what is visible. Some objects mirror other objects within our field of vision. An object like the comet is only occasionally visible. That doesn’t mean that it isn’t there it just means we lack the long range vision to see it. We do know however, it’s out there physically but imperceptible. I’ve incorporated two purposeful dates into the sculpture: 2020 the year of the placement of the sculpture and 2061 the return date of the comet. The students attending Quincy Junior High School today may very well see the return of Halley’s Comet, it’s unlikely I will. This will give me and Mark Twain something in common. What the world will look like in 41 years is of course unknowable and un-seeable today. This is at the core of the sculpture. The seen and the unseen, the thing and the no-thing.

J. Jenkins © 04.17.2020

© 2020 Jim Jenkins. COSMIC CLOCKWORK COMET by Jim Jenkins for Quincy Junior High School “Celebration of Education Sculpture Series.”

© 2020 Jim Jenkins. COSMIC CLOCKWORK COMET by Jim Jenkins, funded by The Moorman Foundation & Arts Quincy.

© 2020 Jim Jenkins. COSMIC CLOCKWORK COMET, drawing by Jim Jenkins.

As we all continue to self-Isolate, remember that communication with others via digital dialogue helps us to be together alone. STAY WELL! 

© 2020 Louise Levergneux. Beauty is everywhere. First Light, Hybrid Torch Cactus in Casa Grande, Arizona.