RBMS CONFERENCE IN IOWA CITY (June 20 – 23, 2017)
Boreas Fine Art will be exhibiting at the RBMS 2017 Conference where we are sponsoring the Thursday afternoon seminar “Collecting in the Heartland: Regional Book Arts,” with panelists Garth Reese, Elspeth Healey, Kevin O’Sullivan, Roger Myers, and Lyn Korenic.
RBMS is a the Rare Books and Manuscripts Section of the Association of College and Research Libraries, a division of the American Library Association.
We will have the following books at Table 23:
Minuit is one of Broodthaers’ earliest creative endeavors in book form, completed when he was primarily a poet rather than a conceptual artist. It displays many of the hallmarks of his later work and also many of the images that he would continue to rework throughout his career. Minuit is a limited edition softcover letterpress book which is exceedingly scarce in North America.
The namesake for Rosalind Krauss’ post-medium art world, this conceptual book explores the use of mixed media through depictions of two voyages on the North Sea. An edition limited to 1000 copies.
[ Bosman, Richard ] Mather, Cotton, Nathaniel Hawthorne, Henry David Thoreau, and John Greenlef Whittier. CAPTIVITY NARRATIVE OF HANNAH DUSTON RELATED BY COTTON MATHER, JOHN GREENLEAF WHITTIER, NATHANIEL HAWTHORN AND HENRY DAVID THOREAU, FOUR VERSIONS OF EVENTS IN 1697. San Francisco: Arion Press. 1987.
Richard Bosman illustrates four versions by four famous American writers of the Indian captivity narrative of Hannah Duston. Rendered in black-and-white with red ink to theatrically portray blood, this volume contains thirty-four woodblock prints throughout the text.
Cissy Ross is a writing instructor at the University of California – Santa Barbara. In this poem, illustrated with manipulated images of gothic type from an incunable, she writes about a modern day Eve searching for faith in everyday life.
This work was created with the artist’s Ideation Cards, an earlier work produced in collaboration with Barbara Tetenbaum. These cards comprise both specifications for a book’s material construction and fifty-four descriptive adjectives (including three wild cards). This remarkably beautiful sculptural book, displayable both linearly and circularly, is the surprising result of Chen’s own random drawing.
This book features a single poem by William Carlos Williams and seven color intaglio prints by the highly influential painter Helen Frankenthaler whose lyrical compositions, filled with her signature soft washes of color, suggestively complement Williams’ theme of love. The book is signed and dated by Frankenthaler on the folio.
In her Against Love Poetry (2001), Boland sought to escape the effusive courtliness or previous European love poems and to embrace the love of “dailiness,” or the ordinariness that provides much of the beauty in most peoples’ lives. Quarantine is a profoundly moving poem from this collection.
A record of a trip taken by David Hockney and Stephen Spender, this 1982 book features the masterful writing of Stephen Spender and 158 reproductions of illustrations painted, drawn, or photographed by David Hockney. Signed by Hockney and Spender. It also includes an original lithograph signed and numbered by Hockney.
Like Rauschenberg’s erasure of a de Kooning drawing, this book is an erased exhibition catalogue from the Institute of Contemporary Arts in London which had organized a solo exhibition of Kassay’s work. The artist has disbound the book and sanded away all of the text and illustrations. It is signed and dated by the artist in pencil, which are the book’s only markings.
This book is the third and last collaboration between the painter and printmaker Alex Katz and the poet Robert Creeley. It features a single poem by Creeley and a single original woodcut by Katz. The book is signed by the author at the colophon and by the artist on the print.
This is a signed exhibition catalogue for an exhibition of Kelly’s plant drawings that preceded the recent exhibition at the Metropolitan Museum by twenty years. This elegantly illustrated book is one of one hundred copies signed by Kelly and by John Ashbery who contributed an essay.
This version of Prometheus Bound, the famous play by Aeschylus, was created by Russell Maret using Henry David Thoreau’s 1843 translation. It’s design juxtaposes the lines of the characters on a central axis down the middle of the page, made possible by the fact that there is never more than two characters on stage at one time. This innovative design arrangement is accompanied by an original frontispiece drawing by Maret.
For this book, Maret chose twenty-three works from former United States Poet Laureate Mark Strand and designed the typeface wryly called Strand Serif especially for this publication. Unlike some of Maret’s other books, this work features no illustrations, allowing Strand’s brief, poetic vignettes, characteristically surreal in their imagery, to speak for themselves.
The familiar Biblical story of Jonah is interpreted in this book by artist and printer Russell Maret who used a horizontal format, the King James translation of the Bible, and a spiky typeface called Nicolas from the Dale Guild Type Foundry which in turn is based on lettering from the 12th century.
[ Maret, Russell ] Euclid and Sir Thomas Little Heath, trans. INTERSTICES & INTERSECTIONS, OR AN AUTODIDACT COMPREHENDS A CUBE. [ New York ] : Russell Maret. 2014.
Featuring commentary and illustrations by the artist, this large-scale accordion book explores the principles of geometry on a mathematic and personal basis. Maret’s layered printing process results in illustrations that have a distinctive, luminous quality and are masterpieces of printing virtuosity. Mark Dimunation, Chief of the Rare Book and Special Collections Division at the Library of Congress, has called this book “a tour de force of color printing.”
[ Maret, Russell ] Schneider, Nina. PRESSED FOR TIME: A DESCRIPTIVE BIBLIOGRAPHY OF THE WORK OF RUSSELL MARET. New York: Russell Maret. 2014.
This richly illustrated and handsomely produced bibliography describes the work of artist and printer Russell Maret. Covering Maret’s manuscripts and printed books, as well as commissioned works, broadsides, and ephemera, it is also highlighted with tipped-in specimens of leaves and ten pages of four-color photographs of the artist’s books by his wife Annie Schlecter.
In this edition of the prose poem Iskandariya, poet Brigit Pegeen Kelly has collaborated with artist Briony Morrow-Cribbs and the Rollin Milroy at the Heavenly Monkey press to produce a small but thoroughly lovely work.
This series of three staple-bound paperback books constitutes Richard Prince’s first and rarest artist’s book. Each book is similar but not identical to the other two. Together they constitute his earliest exploration of self image through the lens of commercial promotion. No limitation is stated but these books are very scarce.
First published in 1923, the ambitious, experimental novel Cane by Jean Toomer is here presented with artwork by the celebrated sculptor Martin Puryear. Puryear chose to illustrate the edition here with seven large woodblock prints that serve as abstract portraits of the female characters in the book and three small prints that are tipped into the book to introduce its three sections.
This book features drawings and thoughts inspired by the coffered ceiling in the oratory of the Hôtel Lallemant, a Renaissance-era building in Bourges. The coffers decorated with crests and cherubs are the stimulus for Righi’s intricate drawings, calligraphies, and engravings.
This book is one of a number of collaborations between artist Larry Rivers and New York School poet Kenneth Koch. Rivers designed the book, and the cover reproduces a collage by Rivers featuring the title, the author’s name, and photos of Koch.
This book combines Nobel laureate Isaac Bashevis Singer’s novel with three color lithographs by Larry Rivers, hors texte, one of which is printed as a foldout sheet. The books is signed by both the artist and the author.
Dieter Roth was an artist well known for his multi-faceted work with books and multiples. This work presents a diary for 1966 that is entirely typographic. No illustrations are included and even the punctuation marks are spelled out as words.
In the 1960s, artist Ed Ruscha created a series of now-iconic photographic artist’s books using low cost means of production and distribution, and Thirtyfour Parking Lots in Los Angeles is one of them. These emotionally flat, documentary-style photographs present a stark contrast to fine art photography of the time in which Ruscha had no interest. They simply but obliquely document a critical aspect of the Los Angeles area and of the life style of the people who live there.
One of the highly influential photographic books created by Ed Ruscha in the 1960s, Royal Road Test documents the wreckage of a typewriter thrown from a speeding car. This project was the result of a spontaneous action by Ruscha and his friends Mason Williams and Patrick Blackwell, and in the book the perpetrators make an express reference to the Dada art movement which began fifty years earlier.
Ach features a poem about death by popular German poet Robert Gernhardt. In a fitting tribute to Gernhardt’s well known playfulness, Schäpers’ pages feature twelve collages of Chinese hell money which are the banknotes traditionally burned at funerals in China to help the dead have a good time in the afterlife.
This is a book about the art of Japanese archery, known as kyudo, or the way of the bow. Written in German by Berlin based author Heiko Michael Hartmann, this book is very much in the tradition of Zen in the Art of Archery by Eugen Herrigel, another German writer who, like artist Veronika Schäpers, lived in Japan for several years.
Im Hochhaus was inspired by a real-life story of massive pension fraud in Japan where deaths were not reported, and corpses were hidden away by relatives, in order continue to receive the deseased’s pension.
Aokigahara is the name of a forest at the base of Mt. Fuji and, after the Golden Gate Bridge, is the world’s second most popular place to commit suicide. This eponymous book by artist Veronika Schäpers uses a complex stencil process rather than regular printing to create ghostly images and uses staggered pages to create the impression of a person fading into the forest.
A classic example of artist Kiki Smith’s investigation of human anatomy, Fountainhead is an artist’s book that depicts various body parts emitting their associated bodily fluids. The prints include eyes leaking tears, a mouth dribbling saliva, an ear oozing wax, and more.
A book created by book artist Buzz Spector, this volume conceals miniature metal bomb sculptures within its pages. For this work, Spector chose to alter Das War der Bombenkrieg, a German book published in 1961 about the firebombing of German cities in World War II.
This is a new and in Strand’s opinion better edition of his seminal 1940 portfolio Photographs of Mexico. Both editions contain twenty revealing photogravures of Mexico’s landscape, people, architecture, and folk art. This is one of 250 copies each signed by Strand.
This book is a reprint of Adams’ 1930 Grabhorn Press edition of the same name. These photographs document both the timelessness of UNESCO World Heritage Site Taos Pueblo and the roots of Adams as a young photographer following a pictorialist tradition. This is a limited edition of 950 copies each signed by Adams.
Tetenbaum, Barbara. EMPTINESS IS NOT NOTHING. DIE LEERE IST NICHT NICHTS. Leipzig: Triangular Press. 2009.
A visual representation of Heidegger’s 1969 seminal essay on sculpture Art and Space, this hand-painted screenprint addresses the abstruse and difficult meaning of Heidegger’s aesthetic theories.
[ Wagener, Richard ] Parmenides. Robert Bringhurst, trans. THE FRAGMENTS OF PARMENIDES & AN ENGLISH TRANSLATION. Berkeley: Editions Koch. 2004.
This stunning bilingual edition of this philosophical poem features twenty fragments translated by Robert Bringhurst. It has five color wood engravings by Richard Wagener. Each opening features the original Greek set in a digital typeface designed by Christopher Stinehour and the translation set in a new roman typeface by Dan Carr.
The unusual size and shape of this autobiographical book, its use of vibrant color and metallic ink, its edgy imagery, and the pointed reference in the title to high tension power lines all suggest an electrically charged explosion.
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