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.

Arizona in the midst of the Pandemic

Most days are clear, sunny and warm in Arizona. Here, one might forget that the world is experiencing a crisis and it’s affecting how we live and work. I sit here, as a nomad in a 24 foot travel trailer in Picacho Peak — a hidden gem of Arizona, reflecting on what to write for my April blog post. 

My husband, Michael, and I are fortunate to be able to hike every day in the desert behind the resort. As two people living 24/7 in 181 square feet, we need to naturally take some air. With the Covid-19 pandemic it’s important for us to be settled where we can still safely walk or hike everyday. Having an excellent MIFI allows us virtual contact with others while sheltering in place. To keep busy, we are attending online classes, carefully searching the web for information, getting news... For me it’s important to talk every day with my aging mom back in Canada and keep her spirits up while she is self-isolating in Gatineau.

Apart from conversation and long hikes in the desert, I have time to catch up on artwork and our own personal Incessant Journey blog. Even as full-time travelers, like most people life has undoubtedly changed. Being in Arizona, I had prepared months ahead on visiting artists studios. From a pragmatic point of view, the artists mutually agreed self-isolation was the best policy. Therefore, planned meetings with five binders and book makers in the Tucson area were postponed. Till next year!

In the meantime, staying at home gives me the opportunity to think of the concept for a 20th-anniversary package for my artist book project City Shields. I have over 80 new photos of manhole covers to go through plus text and information from the last 20 years to compile. Hoping to have most of the package done by the Fall.

© 2020 Louise Levergneux. The new package for the 20th anniversary of my project CIty Shields.

Earlier in the year, Barbara Grygutis and I had been in contact for our annual get together. That visit was also differed. At the beginning of March, just before the health crisis, I had time to view Barbara’s new installation in Phoenix, Arizona — A Path For Water.

© 2020 Louise Levergneux. A Path for Water by Barbara Grygutis, at the corner of 6th & Butler in Phoenix, Arizona.

© 2020 Louise Levergneux. A closer look at A Path for Water by Barbara Grygutis.

© 2020 Louise Levergneux. Looking inside A Path for Water by Barbara Grygutis.

“Conceptually, the sculpture is the funnel through which the water is collected for the site. The sculpture was developed for the tip of the site. The ribbon style walkway, commencing at the top of the sculpture, makes its way down the sculpture, and becomes the walkway, which ends at the fence. My approach to creating a work of art for the 6th and Butler site is to look at the entire site as the canvas for the artwork. Most importantly, the landscape development is integral to the sculptural elements. The entire site will ultimately be the work of art.” Barbara Grygutis

© 2020 Louise Levergneux. A Path for Water by Barbara Grygutis.

© 2020 Louise Levergneux. A Path for Water in its environment.

© 2020 Louise Levergneux. I’m appreciative for all of your continued virtual news and posts while we are self-isolating. Be safe. To give back here is a Cactus in bloom with spectacular flowers..

Texas in November

As I prepared to make my way across Texas in the Fall of 2019, I took the time to communicate with a few university libraries to establish a possible visit. At the beginning of November, after a couple of personalized emails, I received an invitation from Kevin M O’Sullivan, Curator of Rare Books at the Cushing Memorial Library and Archives at Texas A&M University for a tour of their collection. Unfortunately, our travel plans changed, and I couldn’t accept Kevin’s invitation. Maybe, next year.

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A week later, in Denton, I was delighted to visit and present my artists’ books to Kimberly L. Johnson, Director of Special Collections for the Texas Woman’s University Blagg-Huey Library. The Woman's Collection, Artist's Books Collection, with nearly 300 works of art, focuses primarily on photographic book art, either by or about women. The library acquisitions timeframe is April, so, I’m looking forward to the choice of books that might join the Artist's Books Collection in 2020.

© 2019 Louise Levergneux. The Blagg-Huey Library at the Texas Woman’s University.

© 2019 Louise Levergneux. The entrance of the Blagg-Huey Library.

© 2019 Louise Levergneux. The Blagg-Huey Library at the Texas Woman’s University.

© 2019 Louise Levergneux. WASP Memorial Statue – The WASP memorial statue was sculpted by Jewel Estes of Dallas and donated to the Texas Woman’s University Library on April 20, 1995, by the Women Airforce Service Pilots, WWII. The life-size bronze statue commemorating the experience of America’s women pilots of World War II is located on the second floor of the Blagg-Huey Library in the Woman’s Collection.

© 2019 Louise Levergneux. The Blagg-Huey Library, Special Collections’ reception at the Texas Woman’s University.

© 2019 Louise Levergneux. The reading room where I met with Kimberly Johnson.

The Woman’s Collection at the Blagg-Huey Library is the most comprehensive source of research materials on Southern and Southwestern women in the United States and in 1979 was appointed by the Texas legislature as the state’s authentic collection on the history of women and the official archives of the Women Airforce Service Pilots of World War II.

The Mary Evelyn Blagg-Huey Library is a beautiful classical style building with marble floors, chandeliers and stained-glass windows. There are exhibits about the role women have played in history throughout the library. It’s a very warm and inspiring library.

© 2019 Louise Levergneux. Currently, the Woman's Collection features one of the vastest repositories of women in aviation in the world, housing the official collections of Women Airforce Service Pilots of World War II, the Whirly-Girls International Helicopter Pilots, Women Military Aviators, Association of Women Airline Mechanics, International Society of Women Airline Pilots, the Air Race Classic, as well as many of its individual members' collections.

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© 2019 Louise Levergneux. The Peace Library at University of Texas in San Antonio.

© 2019 Louise Levergneux. The grand entrance to the Peace Library at University of Texas in San Antonio.

As November came to an end, I met with Stephanie Noell, the Special Collections Librarian at University of Texas in San Antonio and introduced my artists’ books. Prior to my visit, through our emails, Stephanie outlined some of my publications that were of interest. Four books intrigued her: Finding Home, City Shields, Traverse, and Parade. 

© 2019 Louise Levergneux. Special Collections Reading Room at the University of Texas in San Antonio.

It was an absolute pleasure to connect with Stephanie who was very cordial. I was fascinated by the questions and the reason for her interest in certain artists’ books especially “Perception”. After a marvelous demonstration and conversation, I’m thrilled to announce that my artists’ books Finding Home, City Shields, Parade, and the last copy of Decades Apart, have joined more than 200 artists' books located in the Special Collections Library at UTSA.

© 2016 Louise Levergneux. Finding Home.

© 2010 Louise Levergneux. City Shields, Texas Vol US11: No 1

© 2014 Louise Levergneux. Parade.

© 2012 Louise Levergneux. Decades Apart

The congenial approach at UTSA was apparent in how I was received and how easy it is for researchers to access the library materials through appointments. On my way out of the Reading Room, as we finished our conversation on special collections, my curiosity was sparked by five huge books in an impressive cabinet. I discovered John James Audubon’s pictorial works, The birds of America: from original drawings, (Audubon, J., Lizars, W., & Havell, R. (1985). The birds of America: from original drawings. New York: Abbeville Press). 

© 2019 Louise Levergneux. Standing beside John James Audubon’s The birds of America.

The month of November finished on a high after my artists’ books introduction. Let’s see what Arizona will bring, with its sun and warmth. 

New Mexico

Two years ago while visiting Craig Jensen in Texas, I was recommended a visit to Priscilla Spitler’s studio located in Truth or Consequences, New Mexico. With my itinerary already planned for the forthcoming year, it was impossible to drive to the cool desert climate at that specific time.

Last October, after an exchange of emails with Craig, I was introduced to Priscilla remotely and prepared my way from Texas to the one town that changed its name from Hot Springs to Truth or Consequences as the result of a radio show contest in 1950.

© 2019 Louise Levergneux. Making my way to Truth or Consequences, New Mexico.

I relished standing outside and viewing Priscilla’s private studio, a beautiful structure reminiscent of a tiny home. Priscilla has downsized in her creative space, which reflects her production binding projects. I was welcomed by Priscilla and we spoke about her thirty years of experience in hand bookbinding and how this challenging craft provided her the freedom to express her artistic design.

© 2019 Louise Levergneux. Priscilla’s studio.

© 2019 Louise Levergneux. Priscilla’s studio filled with the tools of the trade and cloth of all colours.

© 2019 Louise Levergneux. Priscilla’s studio with an Adobe style structure.

© 2019 Louise Levergneux. Priscilla sharing her current binding edition work.

“As a collaborator of book production, my hands have sewn, bound, and assembled thousands of edition books and boxes. It has exposed me to extraordinary people and students who share the love of the handmade book.” Priscilla Spitler

While we sat at ease talking, I was intrigued by an exhibition catalogue entitled “Drop Dead Gorgeous - Fine Bindings for La prose du Transsibérien Re-Creation” on her worktable. Priscilla showed me the catalogue with an explanation of the exhibition of the same name. She continued to accurately explain her book structure and the work load it took to finish an entry piece for the show. The traveling exhibition titled DROP DEAD GORGEOUS: Fine Bindings of La Prose du Transsibérien Re-creation, opened at the UCLA Library Special Collections last October 2019. The organized exhibition featured the work of twenty-two design binders, including Priscilla Spitler, Don Glaister, Monique Lallier, Midori Kunikata-Cockram and Patricia Owen. 

© 2019 Louise Levergneux. Priscilla’s studio and home have a very distinct personality that is felt throughout her work.

After an informative tour of Priscilla’s studio space, we moved to the room where she traditionally focuses on her own art bindings. Priscilla’s extensive work incorporates goatskin onlays recessed on leather panels, gold and blind tooling, paint and stenciled acrylic, pastepaper décor, cut foil stamping technique, and endpapers personally decorated.

© 2019 Louise Levergneux. This is one of Priscilla’s unmistakable designs incorporating collage, print, and colours.

© 2019 Louise Levergneux. Priscilla’s exploration of alternative book structures.

© 2019 Louise Levergneux. “Remembering Jan Sobota” by Priscilla Spitler. Honoring Ladislav R. Hanka, Remembering Jan Bohuslav Sobota, this book contains original fish etchings; bound in two colors of gray Hewit and Harmatan goatskin leathers in a laminate case; decorated with three fish designs made with stamped, cut foils and a silver stamped title. Paste papers by Priscilla.

© 2019 Louise Levergneux. “The Eagle Jaguar and the Serpent” by Priscilla Spitler.

© 2019 Louise Levergneux. “Anatomy” by Priscilla Spitler.

© 2019 Louise Levergneux. Pricilla explaining the work involved in her book “In the Garden”.

The ease and beauty of Priscilla’s work is inspiring. Her workshops are available throughout the year. A great experience talking and knowing Priscilla — many thanks for a wonderful afternoon.

Texas, Y'all!

Next stop over Austin, Texas. Since 2018, during my first visitation to the Austin Book Arts Center, the key members have been very welcoming and invited me to join in any event happening throughout while staying in the city.

Approaching Austin, I instantly communicated with Olivia Primanis and Mary Baughman, letting them know of my plans. A prompt response was received with pertinent information on the Third Thursday Series of ABAC for the month of November. Olivia Primanis presented “How will I bind this artists’ book? I couldn’t miss this guest artist talk!

© 2019 Louise Levergneux. The cloth corner of the Austin Book Arts Center in Austin, Texas.

© 2019 Louise Levergneux. The Austin Book Arts Center is filled with interesting equipment..

The email naturally included a kind invitation for me to participate in the conversation and present my own artists’ books. I happily brought two books and took part in the discussion. The overall session was a hands-on exploration of a variety of materials and structures that were used through the centuries and how they affect how a book handles. Carefully choosing a particular structure for your specific project remains a key element for success of the « raison d’être » of the artists’ book.

This was a terrific evening enjoying the camaraderie of people who appreciate bindings and artists’ books. An incredibly popular session provided me the opportunity to encounter other members of the ABAC.

© 2019 Louise Levergneux. (from left) Bob Bryant enjoys the enviable reputation of being a treasure for the center, Bob collects old books, and in 2017 decided to take classes, which permits him to repair his own collection; Mary Baughman, Olivia Primanis, Linda Anderson; Margaret Tenney is documenting the event and is as a board member; Sigrid Nama and Christopher Hynes an artist who creates assemblage art and paintings.

© 2019 Louise Levergneux. One of Olivia Primanis' great pleasures is experiencing the way each binding structure effects how a book’s “mechanics’ work!”; Linda Anderson instructs book-arts classes for teachers at ABAC; Kathryn Cooksey Pew and Sigrid Nama.

© 2019 Louise Levergneux. Linda Anderson, Christopher Hynes, Mathew De La Cruz, Beatrice Baldwin, Suzan O’Connor, and Mary Dines.

© 2019 Louise Levergneux. Exploration of a remarkable variety of structures.

© 2019 Margaret Tenney. Myself, Bob Bryant, and Christopher Hynes’ artists' book “Threads of Life: Of Birds and Clouds.”

© 2019 Louise Levergneux. Kathryn Cooksey Pew, Sigrid Nama, Christopher Hynes, and Beatrice Baldwin. The accordion structure in the forefront is Christopher Hynes’ artist's book which was part of Olivia’s question for the talk, “which binding will create physical qualities that flow with the narrative of “Threads of Life: Of Birds and Clouds.”

© 2019 Margaret Tenney. Alan Stearman, myself, and Bob Bryant; Laura Agnew a wonderful volunteer; Olivia Primanis, Linda Anderson, Kathryn Cooksey Pew, Sigrid Nama, Beatrice Baldwin, and Suzan O’Connor.

© 2019 Margaret Tenney. (from center to left around the table back to the right) Kathryn Cooksey Pew, Sigrid Nama, Christopher Hynes, Beatrice Baldwin, and Barbara Brown; Mary Baughman a board member; Lena Rogy, trained in book binding in Germany is currently teaching workshops at ABAC; Andrew; Amanda Stevenson, Executive Director of ABAC; Alan Stearman an engineer who followed a couple of workshops, then helped to repair or improve equipment at ABAC; myself and Bob Bryant.

© 2019 Margaret Tenney. The talk brought me back to my books and their structure. My turn to talk about my books and the reason for structure; Mathew De La Cruz in the background.

© 2019 Louise Levergneux. Alan walking by some of the equipment in the studio. He has devised a solution for the board shear of ABAC. The replacement counter weight was unbalanced and the board shear was a bit unsafe to use. Alan drilled into the replacement counter weight to attach a threaded rod. He found a weight for a telescope that fits the threaded rod. This current rod allows the new weight to be placed where it balances the blade of the board shear. Alan equally found magnets that can be turned on and off. These magnets are used to secure the "fence" on the board shear.

If any of you are in the Austin area, visiting the Austin Book Arts Center it is worth the effort to properly engage with creative people experienced in book arts. If you have time, join a workshop in letterpress printing, bookbinding, papermaking, typography, or book history.

North Carolina, Part 2

While in the state of North Carolina, I reached out to Josh Hockensmith, Art Library Assistant for the Joseph C. Sloane Art Library of the University of North Carolina in Chapel Hill for the presentation of my artists’ books.

Prior to my visit, Josh asked if perusing the collection would be of interest, if so, he would be delighted to pull a selection of books for me. Enthusiastically looking through their collection in the Artstor image database, I chose several books. The artists' books that interested me where the ones relating to subject matters in my own or future books. I was also interested in researching different interpretations of similar themes or innovative concept while at Hanes Art Center. 

I presented my artists’ books to Josh Hockensmith and Alice Whiteside, the head of the art library. After our session, Joshua talked about Angela Lorenz’s artists’ book called Soap Story. As, I washed my hands with one of the last six tiny bars of soap, I found myself instrumental in helping an artist realize her goal by releasing a little more of the text, silk-screened on linen pages placed inside the soap.

© 2019 Louise Levergneux. A selection of books that were pulled for me to peruse at the Joseph C. Sloane Art Library of the University of North Carolina in Chapel Hill.

Afterwards, I was guided to a table full of artists’ books for me to genuinely enjoy. It was thrilling to be able to properly view artists’ books included on my short list. Some were seen online, others discovered through conversations, without having the unique experience of reading them first hand.

© 2019 Louise Levergneux. High Tension: Montage by Philip Zimmermann. Paperback machine-sewn, offset printing, unpaged.

© 2019 Louise Levergneux. High Tension: Montage by Philip Zimmermann. “I wanted to create a book that investigated stress and perhaps even looked into ways of relieving it.” — PhilipZimmerman.

© 2019 Louise Levergneux. Sanctus Sonorensisby Philip Zimmermann, Spaceheater Editions. Board book, offset printing, 90 unnumbered pages, color illustrations, 28 cm.

© 2019 Louise Levergneux. Sanctus Sonorensis by Philip Zimmermann. “The cover image is part of the Sonoran desert in Southern Arizona about 50 miles from Lukeville and just a couple of miles from the Mexican border. It is one of the most heavily trafficked and dangerous entry points for illegal Mexican immigrants entering the United States. Many die there each year from exposure and lack of water. The skyscapes are all photographed in New Mexico and Arizona during 2003 and 2004.”

© 2019 Louise Levergneux. The fortune teller by Malini Gupta. Digitally printed, Japanese Stab binding, waxed paper infused with the smell of incense; 17 unnumbered leaves-color illustrations in a box + 1 folded sheet.

© 2019 Louise Levergneux. Mutually Exclusive by Emily Martin, Naughty Dog Press. Magic wallet, letterpress printing, 12x17 cm, unpaged.

© 2019 Louise Levergneux. Mutually Exclusive by Emily Martin.

© 2019 Louise Levergneux. Anything from Anywhere by Emily Tipps, RG Brian Dickson, Jon Pierce, and Jennifer Moore. Single-fold pamphlet in a clamshell box, letterpress printing, handmade papers, 21 x 14 cm; 1 box (4 volumes of 16 or 20 pages each.

© 2019 Louise Levergneux. Sidewalk Salon by Manar Moursi, Cairo Al Kotob Khan for Publishing. Smyth sewing, offset printing.

© 2019 Louise Levergneux. Sidewalk Salonby Manar Moursi. 214 pages illustrations, 26 cm + 3 maps.

© 2019 Louise Levergneux. Sidewalk Salon by Manar Moursi.

© 2019 Louise Levergneux. The Sundown Salon unfolding archive: a project by Fritz Haeg.

© 2019 Louise Levergneux. The Sundown Salon unfolding archive: a project by Fritz Haeg.

After naturally viewing my web site Josh added quite a few more artists’ books that might peek a mutual interest. I enjoyed Josh’s excellent selection.

© 2019 Louise Levergneux. Age Specific by Dennis Marsico. Accordion fold, letterpress printing, digital prints, 13 sequences in one box.

© 2019 Louise Levergneux. Age Specific by Dennis Marsico.

© 2019 Louise Levergneux. Atlas of Punctuation by Heidi Neilson. Case binding, letterpress printing, 29 pages.

© 2019 Louise Levergneux. Atlas of Punctuation by Heidi Neilson.

© 2019 Louise Levergneux. Atlas of Punctuation by Heidi Neilson.

© 2019 Louise Levergneux. Descendant by Jennifer Brook. Artist improvised structure, coptic binding, letterpress printing, wooden bindings, 12 pages, 20 x 10 x 11 cm.

© 2019 Louise Levergneux. Descendant by Jennifer Brook.

© 2019 Louise Levergneux. Transplant by Jennifer Brook, Tree House Press. Coptic binding, letterpress printing, unpaged, 17 cm.

© 2019 Louise Levergneux. Transplant by Jennifer Brook.

© 2019 Louise Levergneux. Intrusion by Ellen Knudson, Crooked Letter Press. 18 double leaves color illustrations wood cuts in slipcase.

© 2019 Louise Levergneux. Intrusion by Ellen Knudson. Illustrations 29 x 19 cm in slipcase 30 x 19 cm.

© 2019 Louise Levergneux. Intrusion by Ellen Knudson.

© 2019 Louise Levergneux. The square by Islam Aly. Coptic binding, laser cut, 160 unnumbered pages, chiefly illustrations, 12 cm.

© 2019 Louise Levergneux. The square by Islam Aly. “Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. Cairo’s map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to demonstrate the streets of Cairo.”

© 2019 Louise Levergneux. The square by Islam Aly.

I also viewed Fragments from the stacked deck by Judy Anderson, Nexus Press. Loose-leaf in enclosure, offset printing."This book began in outrage, a response to the increasing reports of violence against women in the world. Text fragments were taken from the daily news, juxtaposed with one woman's voice." A deck of cards offset printed in color on one side and black-and-white on the opposite side, with silhouettes of women and "feminine" forms such as vases and floral/botanical imagery cut out from surrounding fields of text.

Panorama by Julie Chen; took two people to handle for viewing, so, Josh helped me to experience the book opened as it revealed various panoramic views. Panorama contains two main sections, each with layered pop-ups. Each page contains relief and pressure print images and texts. When completely opened the book measures 5 feet wide. Housed in a cloth-covered, drop-spine box.

My books and I were well received, and I enjoyed viewing some incredible creations from some talented artists. Later onI will provide feedback on the results of my visit.

I hope you enjoyed reading of my visit at the Joseph C. Sloane Art Library. I wish you all a great year 2020.