|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Book Arts Roundtables Minnesota Center for Book Arts is a hub of creativity where interesting, passionate, and knowledgeable people like you learn, share ideas, and get inspired. Join the conversation by attending our fun, interactive Book Arts Roundtables in MCBA's lively studios. Roundtables are always FREE and always OPEN TO THE PUBLIC!
|
|
|
Friday, June 21; 7pm In the grand scheme of papermaking history, Korean paper traditions often receive only a passing mention. However, the history of hanji (Korean handmade paper) is nearly as old as the craft itself, reaching back over 1,500 years. Made sustainably from the inner bark of the paper mulberry tree, hanji is durable and lustrous, made in a wide array of thickness, color, size, and translucency. This coveted item was made by farmers during bitter cold winters and used for books, documents, calligraphy, and painting. Hanji served material and spiritual culture as the body of illuminated sutras, kites, armor, shrouds, and chamber pots. There was seemingly no end to the possibilities of handmade paper until forces of war and industrialization collided and left this once celebrated substrate and its related practices near extinction. Aimee Lee will share her experience of excavating these traditions with first-hand images, videos, and samples of hanji and paper objects. Aimee Lee is an interdisciplinary artist who works in paper, book, performance, and installation arts and specializes in Korean papermaking and allied crafts. She holds a BA from Oberlin College and MFA from Columbia College. She built the first American hanji studio at the Morgan Conservatory in Cleveland, Ohio in 2010 and The Legacy Press published her first book, Hanji Unfurled: One Journey into Korean Papermaking, in 2012. She exhibits internationally and travels as an artist-in-residence and teacher to raise awareness of hanji. For more information, visit aimeelee.net. You can also join Aimee at her weekend workshop: Korean paper, known as hanji, is made from the inner bark of the mulberry tree, renowned for its long and strong fibers. This makes hanji ideal for an array of applications suitable for book arts. One ancient technique called joomchi adds water and elbow grease to hanji to felt, collage, and texture hanji to make pieces that are ideal for remarkably light and durable book covers. With paper mulberry bark, students will learn to make thread for decorative bindings, and with hanji, they will make paper yarn that can be used for non-traditional pages and covers. The most advanced technique covered will be jiseung, a traditional Korean method of cording and weaving hanji, to create woven covers. Bringing these skills together, students will leave with a book cover woven completely of paper, a set of felted hanji, and mulberry bark thread for further experimentation. To register, visit our Adult Workshops page.
|
Thursday, June 27; 6pm reception, 7pm presentation Dimunation was appointed to his post at the Library of Congress in March 1998. As Chief, he is responsible for the development and management of the Rare Book Collection, the largest collection of rare books in North America. He acquires materials, develops programs of lectures and presentations, and oversees the operations of the Division. Previously he has served in similar roles at Cornell University, University of California at Berkeley, and Stanford University. Dimunation did his undergraduate work right here in Minnesota, at St. Olaf College in Northfield. He specializes in 18th and 19th century English and American printing and has considerable experience working with antiquarian materials as well as fine press and contemporary artists books. He has lectured extensively about book collections and has authored a number of exhibition catalogs. |
|
Thursday, June 27; 7pm |
|
 |
Friday, July 19; 7pm Shana Agid is a Brooklyn-based artist, writer, and Assistant Professor at Parsons the New School for Design in New York, where he teaches artists’ books, service design, and collaborative design. During her Spring 2012 residency at MCBA, Shana used the Vandercook SP-25 to print Call a Wrecking Ball to Make a Window, a map-fold book with original text that explores routes taken and spaces made by queer people in New York City from the 1970s through the 2000s. Agid's work focuses on relationships of power and difference, particularly regarding sexuality, race, and gender in visual and political cultures. You can also join Shana at his weekend workshop: This weekend workshop will focus on the fundamentals of large-scale printing, giving students the know-how to pursue large-scale prints on their own. Working with MCBA’s larger-format Vandercooks -- the SP-20, SP-25 and 219 -- students will print from provided matrices to learn basic, and key, considerations in printing big: working with fine lines vs. large areas of coverage, planning a large-format print, and working with multiple color registration over a large area. We will also discuss planning color and experiment with ink mixing and proofing. Students will also have an opportunity to use MCBA's extensive type collection to set wood type to make a large-format print. To register, visit our Adult Workshops page. |
Tuesday, July 23; 7pm Angie Butler is an artist and PhD. researcher based at The Centre for Fine Print Research at UWE. Her work is predominantly in artists’ books, often using letterpress as a method of production, publishing under the press name, Pet Galerie Press. Her artists' books and related works are in a range of national and international public collections including: TATE collection, London, The Limfjord Centret, Thurup, NW Jutland Denmark, Barratt Galleries, Astonville, NSW (New South Wales) Australia, Jaffe Centre For Book Arts, Florida Atlantic University Libraries Florida USA, Iraqi National Art Library Baghdad Iraq, Taiwan International Visual Arts Centre Taipei City, Taiwan. Join us as Angie shares the adventures of her research project so far, which investigates how we learn to design and create artists’ books through letterpress. She’s interested in finding out how practitioners pass on their skills to others, based on their own background and knowledge of their subject area. A tour of her last few months including the story of a special project, collaborative books, book fairs, a guy called LEN, live printing events, mad texting, pied type, and lots of cups of tea (and cake!) Angie is also extending an invitation to you, the Minnesota artist community, to bring along your letterpress book art and ephemera and submit it for a summer-fall exhibition to be held at The University of The West of England, Bristol, UK. At the Roundtable, Angie will provide details about the exhibition, dates, duty of care, returning your work and other such details. All contributions accepted. |
|
Tuesday, August 6; 7pm Through this investigative research she began to explore the text-based typewriter drawings of Anni Albers based on nature and began to draw typographic punctuation marks transferring them into different patterns and formations to form their own visual narrative. The time it takes to produce these sequences unites the pursuit of hand stitched needlepoint botanical samplers as well as forming its own story utilising a repeated mark within a non-repeated pattern. Mandy has spent twenty years working with artists in Kenya where she established an open assess printmaking studio in Nairobi, run by artists for artists. She has exhibited internationally with work held in public and private collections including The British Library, Victoria and Albert Museum, New York public library and Yale Center for British Art. |
|
 |
Thursday, August 15; 7pm Karen Hanmer's work weaves together themes of history, technology, personal and cultural memory, and the landscape of the American Midwest. Her studio practice is unusually varied, including small editions of artists’ books, larger editions of inexpensive multiples, installation, and design binding. Hanmer will present a brief overview of her work followed an opportunity to examine completed bindings based on the unfinished structure models to be constructed in her weekend workshop. Karen Hanmer's artists' books and design bindings intertwine cultural and personal memory, and are often playful in structure or content. She exhibits internationally, and her work is included in collections ranging from The Getty Museum and the Library of Congress to Yale University and Graceland. She is a leader in the book arts community, serving on the editorial board of The Bonefolder and the Guild of Book Workers Journal and as frequent exhibition juror and curator. She offers workshops and private instruction focusing on a solid foundation in basic binding skills. You can also join Karen at her weekend workshop: Continue your study of historical and modern binding structures. Workshop begins with a brief review of numerous historical and modern binding structures, with a focus on methods of board attachment. Similarities between historical and modern structures will be stressed. Students will create five binding models. These models will remain unfinished, so the sewing and board attachment are visible for future reference. Models include Ethiopian, Medieval, Colonial American, Simplified Binding, and non-adhesive Paper Case. This is a fast-paced workshop for students who already have some experience with traditional binding. To register, visit our Adult Workshops page.
For a complete calendar of MCBA events, visit our Events page.
|
 |
Minnesota Center for Book Arts Minnesota Center for Book Arts is located in
|
