The Book As Art: PULP

PLEASE DO NOT REMOVE FROM GALLERY

The Book as Art v.6.0: Pulp Presented by the Decatur Arts Alliance, Georgia Center for the Book, DeKalb Library Foundation, and the Decatur Library

August 10–September 28, 2018 A book begins as a small mass of material, formed and pressed into life by ideas, words, and machines. Pulp becomes paper, becomes thought, becomes word, becomes book, becomes sculpture.

Pulp is the impetus and endgame of these physical book objects. From the tactile complexity of handmade paper, to the sensational tabloid tales of pulp fiction, these objects, in an increasingly digital world, stubbornly survive.

These objects interpret the concept of the book and invite the viewer to look beyond the printed page to where word has become form.

Book As Art: Pulp is the sixth edition of this critically acclaimed artist book exhibition established by the Decatur Arts Alliance in 2013. Entries hail from across the United States and around the world, and from emerging artists as well as recognized masters in the genre. The Book As Art is pleased to present these examples from the finest in the field. .

Jurors are Lisa Beth Robinson, Greenville, NC; Stephanie Smith, Decatur, GA; and Cynthia Nourse Thompson, Philadelphia, PA.

Special events:

Opening Reception, August 24, 7:00 – 9:00 p.m.

Closing Reception and White Glove Night, September 28., 7:00 – 9:00 p.m.

On White Glove Night, we're putting away the "do not touch" signs. Volunteers will provide participants with white gloves allowing firsthand exploration of the books in the exhibition.

Organizing Committee Angie Macon, Executive Director, Decatur Arts Alliance Joe Davich, Director, Georgia Center for the Book Gina Reynoso, Coordinator, White Glove Nights Dot Moye, Jury Coordinator, The Book as Art Lockey McDonald, Registrar Cynthia Lollis, Anna Carnes, Anna Fallon, and Charlotte Pfieffer

Islam Aly, Cedar Falls, IA

Fantastic Fauna Johannot paper; 3 images, laser-­‐engraved wooden boards; large book, ten sections with four folios; miniature books, five sections with three folios Edition of 40

Islam Aly is currently an assistant professor of Art Education in the Department of Art at the University of Northern Iowa. At Helwan University, Egypt, he received a BA and an MA in Art Education; afterward, he graduated from the University of Iowa, with an MFA in Book Arts and a Ph.D. in Teaching and Learning with a concentration in Art Education. His books explore the possibilities of historical bindings in contemporary book art practice. He has combined book traditions with digital technologies. His work is created at the junction between culture, technology, and aesthetics.

Photography credit: Islam Aly

Islam Aly, Cedar Falls, IA

Sacred Meanings Laser cut mould-­‐made Johannot paper Edition of 40, #20/40

Islam Aly is currently an assistant professor of Art Education in the Department of Art at the University of Northern Iowa. At Helwan University, Egypt, he received a BA and an MA in Art Education; afterward, he graduated from the University of Iowa, with an MFA in Book Arts and a Ph.D. in Teaching and Learning with a concentration in Art Education. His books explore the possibilities of historical bindings in contemporary book art practice. He has combined book traditions with digital technologies. His work is created at the junction between culture, technology, and aesthetics.

Photography credit: Islam Aly

Andi Arnovitz, Jerusalem, Israel

ACID Etchings, aquatint, spit bite, hand bound box, embossed cove

Born in 1959 in Kansas City, USA, Andi Arnovitz now lives and works in Jerusalem, Israel. A conceptual artist, she uses etching, digital information and various printmaking processes, as well as fabric and thread to create both print series, artist books and large-­‐scale installations.

These pieces explore various tensions that exist within religion, gender and politics. Andi has exhibited her work in England, China, The United States, Israel, Spain, Poland, Finland, Germany, France, Lithuania, Canada, Italy, Mallorca and Bulgaria. She has had many one-­‐woman shows and participated in multiple group shows. Her work is in many private collections in both the United States and in Europe, as well as major universities, museums and institutions, including the US Library of Congress, The Smithsonian, The Israel National Library, The Museum of Art in Ein Harod, The Islamic Museum, The Smithsonian and Yeshiva University Museum.

Photography credit: Andi Arnovitz

Andi Arnovitz, Jerusalem, Israel

Kidnapped Digital laser cut dolls, handmade cage, silkscreened bag

Born in 1959 in Kansas City, USA, Andi Arnovitz now lives and works in Jerusalem, Israel. A conceptual artist, she uses etching, digital information and various printmaking processes, as well as fabric and thread to create both print series, artist books and large-­‐scale installations.

These pieces explore various tensions that exist within religion, gender and politics. Andi has exhibited her work in England, China, The United States, Israel, Spain, Poland, Finland, Germany, France, Lithuania, Canada, Italy, Mallorca and Bulgaria. She has had many one-­‐woman shows and participated in multiple group shows. Her work is in many private collections in both the United States and in Europe, as well as major universities, museums and institutions, including the US Library of Congress, The Smithsonian, The Israel National Library, The Museum of Art in Ein Harod, The Islamic Museum, The Smithsonian and Yeshiva University Museum.

Photography credit: Andi Arnovitz

Andi Arnovitz, Jerusalem, Israel

Living Borders Digital prints of hand drawings/hand cut Edition of 6

Born in 1959 in Kansas City, USA, Andi Arnovitz now lives and works in Jerusalem, Israel. A conceptual artist, she uses etching, digital information and various printmaking processes, as well as fabric and thread to create both print series, artist books and large-­‐scale installations.

These pieces explore various tensions that exist within religion, gender and politics. Andi has exhibited her work in England, China, The United States, Israel, Spain, Poland, Finland, France, Germany, Lithuania, Canada, Italy, Mallorca and Bulgaria. She has had many one-­‐woman shows and participated in multiple group shows. Her work is in many private collections in both the United States and in Europe, as well as major universities, museums and institutions, including the US Library of Congress, The Smithsonian, The Israel National Library, The Museum of Art in Ein Harod, The Islamic Museum, The Smithsonian and Yeshiva University Museum.

Photography credit: Avshlom Avital

Elizabeth Ashcroft, San Francisco, CA

Chasm Altered book

The Dissected Library is the title I have bestowed upon my ongoing series of altered books. I find the literal board-paper-thread-glue-ink-word essence of the book offers a unique platform to cut into, build onto and burst out of in both two- and three-dimensional forms. I use every facet of the book as a building block to create both wall and freestanding sculptural pieces. In the Open Book series of which “Chasm” is a part, I peruse the pages and choose words and phrases to cut & fold & spill out of the permanently fanned open book leafs – my own form of editing if you will. An opportunity to “write” a new fluttering narrative of randomly chosen segments of someone else’s story – not a formal narrative but one where one’s eye flicks among the words, finding links that connect and reconnect into subsequent uniquely personal narrative tiers. In addition to the essence of the word play, their physical presence creates interlocking spatial relationships through patterns and shadows.

Photography credit: Elizabeth Ashcroft

R Burton, Havre de Grace, MD

Blue Highway #22 Digital images inkjet printed, assorted papers

Blue highways are the small, winding, and less traveled roads printed in blue on vintage road maps. Taken at a leisurely pace, these highways provide an interesting view of the passing landscape, a perspective that is missed when traveling major roadways. Blue Highway #22 began with a photo of a country road in southern New Jersey. My books explore the layers of consciousness and sub consciousness through which travel is experienced. I am intrigued by the concept of travel -­‐ movement from one physical point to another and travel through time, space and place.

Photography credit: R Burton

Robert Creighton, North Dundas, ON, Canada

stones Mixed media bound book and portfolio Limited edition of 20

Photography credit: Robert Creighton

Debra Disman, Santa Monica, CA

Burning Bush Artists' Book/Sculpture One of a kind, discrete work

I currently work both as a solo practitioner and in the public sphere of community engagement in the form of the book, in forms inspired by the book, and in new sculptural media of my own devising which push the boundaries of the book into new forms and materials. Although the work remains tethered to loose definitions of the book as structure, it is moving progressively into other sculptural and conceptual realms where labor, repetition and a passion for the haptic (Debra Disman, Santa Monica, CA

Debra Disman, Santa Monica, CA

Profusion Artists' Book/Sculpture One of a kind, discrete work

I currently work both as a solo practitioner and in the public sphere of community engagement in the form of the book, in forms inspired by the book, and in new sculptural media of my own devising which push the boundaries of the book into new forms and materials. Although the work remains tethered to loose definitions of the book as structure, it is moving progressively into other sculptural and conceptual realms where labor, repetition and a passion for the haptic (<http://www.dictionary.com/browse/haptic>) become powerful motivators and themes.

Having worked extensively with the built environment, I am fascinated by the parallels between books and buildings in terms of structure, meaning and utility; each creates public and private spaces where stories are "read” on many levels, often revealing more than their authors and makers ever intended. I try to create such places and spaces of contemplation, realization and bafflement in my work and to instigate investigation, exploration and discovery in myself and others.

Photography credit: Bernard Wolf

Mari Eckstein Gower, Redmond, WA

Common Threads Artist book with parchment page overlays Edition of 40

Forming Common Threads examines how storytelling informs, inspires and transforms our lives.

I’ve taken stories of strong women from history and myth and used them as a form of antidote to the belittling, toxic and hurtful comments I grew up with. Traditionally myths, histories and all the best stories have been a means of communicating deep truths about human existence. To me, these are the type of tales that form a thread of ideas with the power to inspire me to move forward. When I was young, I was often told things like, “Girls can’t do that.” Instead of allowing such stifling comments stop me, I’d study historical examples as a form of psychic band-­‐aid for the hurt. Looking at the accomplishments of women like Amelia Earhart or Nellie Bly, I’d think, “Wait a minute. They didn’t let being female stop them from flying an airplane or writing exposes.”

Photography credit: Laura Russell

Mari Eckstein Gower, Redmond, WA

Songs of Celestial Navigators Artist book with parchment page overlays 12" x 10.5" x .75" Edition 40

I started painting elephants as a form of meditation. I’d been working on big projects intently for two years. I’d just started a new project that involved intensive research on world cosmologies, calendars and time. I soon realized, though, that I was tired and needed to recharge. Also at that time current world events had left me sad, worried, and bewildered. So I began painting elephants. In the back of my mind, I envisioned the elephants that were once believed to support the earth as it traveled through the heavens. I also thought about the Hindu deity Ganesha. As the remover of obstacles, he is the perfect companion for someone on an artistic journey. The elephants turned into a little altarpiece, partly to Ganesha, partly to the celestial elephants, but mostly to healing.

Photography credit: Ross Mulhausen and Kat Gower

Andrew Huot, Norcross, GA

Walks with Rosie Artist’s Book, letterpress and relief on sekishu Edition of 20

My art is about my observations of the world's small, passed-­‐over details. Looking at everyday situations, I distill them down to their essence and then extend those situations outward to our collective experience. I want to make the viewer laugh or pause to consider the unnoticed details of the world. My goal is to make well-­‐crafted artist books and prints that tell a story in a graphic and oblique way. My process starts with observing life around me; gathering details, making lists, drawing diagrams, and maps. I find the lines and shapes of patterns that I then use to begin the process of developing a complete experience, a path for the viewer to navigate. I work in traditional bookbinding structures and use methods of reproduction such as woodblock and letterpress printing for the tactile qualities they give to the final artwork. Themes running through my work include commentary on everyday life and the unobserved humor of the day-­‐to-­‐day.

Photography credit: Andrew Huot

Myda Iamiceli, Carrollton, GA

50/50: Finding Myself Within Two Cultures Mixed media, ink, paper, board, book arts Edition of 5

Myda Iamiceli's artwork and design investigates the immigrant and second-­‐generation American and concepts of identity, hybridity, adaptation, memories, place and belonging. As a second-­‐ generation Cuban-­‐American, Myda is an American but Cuba is present in her life every day. She lives within two worlds. To explore this experience, she has created autobiographical books that employ ethnographic research methods and conducts interviews with first-­‐ and second-­‐ generation Americans to learn about their experiences and perceptions of identity. These interviews provide rich content to create work that visually reveals how our experiences shape our cultural identities. Myda believes storytelling is key to understanding other cultures and the complexities of identity. Through visual storytelling her intent is to engage the audience and gain understanding, acceptance and cultural empathy.

Photography credit: Myda Iamiceli

Diane Jacobs, Portland, OR

REP-­‐HAIR-­‐ATION Letterpress, etching, relief, gocco, felt, handmade paper, photo engravings, collagraph, human hair

REP-­‐HAIR-­‐ATION is a portfolio of 15 prints using a wide range of printing and image-­‐making techniques that examines the legacy of slavery in the United States. Throughout the portfolio, the words SEE, FEEL, OPEN, and ACT are explored metaphorically and literally, through text and image, in a meditation on institutional racism that continues today in the form of the prison-­‐ industrial complex.

Photography credit: Bill Bachuber

Peggy Johnston, Des Moines, IA

Podiforma Prickelarium Papier maché, paper, paint, thread and fishing line

My love of paper and fascination with containers made it almost inevitable that I would discover the book arts. Since crafting my first book, I have explored bookmaking as an art as well as a craft. I focus on the book as an art object. I think of myself as a sculptor using bookbinding techniques. The mechanics and engineering involved in book structures fascinate me. Often, I will exaggerate elements of book design in creating these sculptural pieces. I lean toward distinctive materials (old leather, metal, wood, old books) when designing my one-­‐of-­‐a-­‐kind works. The materials I choose add a tactile aspect to the work. I search for just the right materials for some projects, but other times materials at hand suggest a project or design to me. I often say that I am not in control of my art. It controls me.

Photography credit: Peggy Johnston

Lauri Jones, Decatur, GA

Newsfeed Rust print on textile, machine pieced, hand quilted

My rust prints are the product of an on-­‐going dialog with materials. With the help of my vast collection of rusty objects, I create compositions that are strange yet familiar. My work speaks of the decay and rebirth all around us, and my interests are rooted in themes of renewal, transformation and the inevitable change in all of our lives.

Photography: Lauri Jones

Carole Kunstadt, West Hurley, NY

Sacred Poem LXIII Thread, gampi tissue, paper, pages from Parish Psalmody, 1849

Pages from a Parish Psalmody dated 1849 are cut, layered and recombined, resulting in a presentation that evokes an ecumenical offering – poems of praise and gratitude. The focus is the temporal quality of our lives, intimacy and the vulnerability of memory and history. Utilizing both a reductive and additive process, embracing its inherent qualities while transforming the book’s pages, the paper itself gains significance through the process and merges with a new intent. The gold leaf elevates and heightens the rich textural qualities presenting a sumptuous visual experience. The interplay alludes to the enticing presentation of illuminated texts historically and to its potential as a spiritual repository. The interplay alludes to the enticing presentation of illuminated texts historically. Explored and displayed in this visual context, the alteration of the papers’ linear, tactile, and facile nature emphasizes transformation, while the possibility of revelation is playfully realized.

Photography: Kevin Kunstad

Carole Kunstadt, West Hurley, NY

Sacred Poem LXVIII Thread, gampi tissue, paper, pages from Parish Psalmody 1849 9" x 9" x 3" One of a kind

Pages of psalms* are manipulated and recombined, resulting in a presentation that evokes an ecumenical offering -­‐ poems of praise and gratitude. The aged pages suggest the temporal quality of our lives and the vulnerability of memory and history. Visually there is a consistent and measured cadence to a page of psalms which is echoed in the repetitive weaving or restructuring of the paper. The gold leaf elevates and heightens the rich textural qualities alluding to the enticing presentation of illuminated texts historically. The intended use, as well as the nature of a psalm as spiritual repository, both imply a tradition of careful devotion and pious reverence. The physical text evocatively and powerfully serves as a gateway to an experience of the sacred and the realization of the latent power of the written word.

*Sacred Poem Series -­‐ physical, material, and intellectual inspiration from Parish Psalmody, A Collection of Psalms and Hymns for Public Worship, published 1849.

Photography credit: Kevin Kunstadt

Amadeo Lasansky, Nashville, TN

8 Variations on a Rectangle Soft cover accordion book Edition of 10

"I fell in love with photography at the end of college," Amadeo Lasansky says. "I grew up in a family of artists, surrounded by art, but it wasn't until I looked through a camera, that I discovered my own medium and a way of seeing the world. I love capturing, in one shot, the essence of a person or a scene. We each see the world in a unique way, and my photographs present my particular vision." That vision has been honed by traveling to over 35 countries and documenting what he saw and experienced. The result is a body of work that spans the world and yet also brings the world into focus, so to speak. These travels took place during 15 years that he lived in New York City and managed a commercial photo studio. Lasansky recently relocated to Nashville, where he has discovered a whole new venue, much of it the natural world in and around this vibrant city, and he began shooting in color.

Photography credit: Amadeo Lasansky

Beth Lee, Bozeman, MT

Piano Accordion Artist book of archival papers and card stock, inkjet printing, brads and ribbons Edition of 10

My primary focus, and my entrance into art, has been alphabet, symbols, and mark making. Mark making as a means of communication across time, the alphabet as a repository of knowledge and memory – these are what inspire me. I’m particularly interested in that knife-­‐edge between pattern and meaning, image and message, definition and abstraction. The personality of the mark grabs me, and the physicality of it. The viscosity of the medium, the pliability of the pen or brush, the way the medium sinks into the paper are all sources of never-­‐ending interest.

Photography credit: Beth Lee

Susan Lowdermilk, Eugene, OR

I Think that the Root of the Wind is Water Letterpress text and pressure prints, pop-­‐up construction Edition of 30

I am interested in expressing the tenuous qualities of the human experience as visual and conceptual ideas. I represent forms, shapes and objects as visual metaphors. I am interested in dualities in our human condition—chance versus strategy, faith versus reason, serendipity versus design, peace versus war, winning versus losing and our relationship to and separation from nature. Our experience of reading books is increasingly changing from being physical and tactile to digital and virtual. My artist books are hand printed and hand constructed and feature low-­‐tech movable elements that are meant to be technologically transparent. I view these artist books as a counterpart to the flood of mass-­‐produced, digital imagery that we contend with constantly.

Photography credit: Susan Lowdermilk

Susan Lowdermilk, Eugene, OR

Aviary Multiple plate color etching, woodcut, hand coloring Deluxe edition of 3 Digital edition of 30

I am interested in expressing the tenuous qualities of the human experience as visual and conceptual ideas. I represent forms, shapes and objects as visual metaphors. I am interested in dualities in our human condition—chance versus strategy, faith versus reason, serendipity versus design, peace versus war, winning versus losing and our relationship to and separation from nature. Our experience of reading books is increasingly changing from being physical and tactile to digital and virtual. My artist books are hand printed and hand constructed and feature low-­‐tech movable elements that are meant to be technologically transparent. I view these artist books as a counterpart to the flood of mass-­‐produced, digital imagery that we contend with constantly.

Photography credit: David Simone

Amy Lund, Portland, OR

Memento Mori Book, handmade paper Edition of 6

My work seeks to understand the quality and power of Home-­‐-­‐to grasp the practices of how we live and how it influences the skills we learn, resilience we acquire, its role in our identity and the happiness we hopefully find. I reuse, remake, and rethink the materials and skills of my domestic life. I transform the goods and skills of both Home and Book making visible the beauty and power of each. The things I make lure the viewer to touch, handle and feel, inciting a personal yet conceptual response.

Photography credit: Shiloh Gastello

Linda McConaughy, Baltimore, MD

Non Site: Deer Isle Found objects, handmade book, acrylic on paper

My experience of place is deeply personal. It is constructed through dialogue -­‐-­‐ what a place discloses to me, what draws me in: an unlikely meeting of colors, spaces and shapes that recur unexpectedly, patterns formed by growth and erosion. My work reflects my desire to attend to and decode my dialogue with place, particularly with the natural world. The landscape of the natural environment is full of opportunities for decoding – even the smallest, most humble elements hold vast potential for investigation. My work is informed by Robert Smithson’s Provisional Theory of Non-­‐Sites (1968). Smithson used the term Non-­‐Sites to title a group of works based on specific geographic locations, or sites, which became the source of natural materials he transported and organized in a gallery space, or Non-­‐Site. Between the actual site and the Non-­‐ Site itself exists a space of metaphoric significance. It could be that "travel" in this space is a vast metaphor.

Photography credit: Linda McConaughy

Sara Norman, Decatur, GA

A Book for Mom Book/Paper arts

My mother’s parents passed-­‐away leaving behind all of their belongings, including various files, letters, genealogy records, and documents. These are things that can be seen as clutter or trash at this point in time. The juxtaposition of various documents reveals the true beauty of paper and history.

Photography credit: Sara Norman

Birgit Østergaard, Aarhus, Denmark

Eyes Wide Shut Sculpture

I started making my own paper in 1980 after an artist stay in San Cataldo, Italy, where I made paper at a local workshop. In the following years, I established a professional paper workshop and started my journey into a tradition of communication which crosses the historical and religious boundaries. Discovering the endless possibilities of a plain sheet of handmade paper my artistic expression changed towards three-­‐dimensional objects like books, sculptures and visual arts. I have thousands of paper samples produced by plants from seaweed to horse manure and use them as the primary material in my art, and after the closure of my workshop in 2008 I decided to gather some of the most interesting experiments in the book series PULP. I became and am still astonished at the rich options given through the handmade paper, and my artistic practice is deeply rooted in this beautiful craft.

Photography credit: Birgit Østergaard

Chris Perry, Ridgefield, CT

163 Ripples: ladder (fish) Book art Unique

I use hand-­‐made books to impart information without the use of words or images: the books themselves are the idea, the shape of the paper the information. I try to convey these ideas by selecting the number and size of the volumes, by how the filaments are employed and by where and what if anything happens inside the assembled mass. Frequently there are voids created within the stack of books, and these may be viewed with varying degrees of clarity with the use of a mirror reflecting the light back to the viewer. Other times the interior is so filled or the opening is too small to view what is occurring so that only by lifting blocks of pages can the interior be seen, just as not all sources or ends of water systems are always readily visible.

Photography credit: Chris Perry

Chris Perry, Ridgefield, CT

172 Ripples: meltwater Book art Unique

I use hand-­‐made books to impart information without the use of words or images: the books themselves are the idea, the shape of the paper the information. I try to convey these ideas by selecting the number and size of the volumes, by the way the filaments are employed and by where and what if anything happens inside the assembled mass. Frequently there are voids created within the stack of books and these may be viewed with varying degrees of clarity with the use of a mirror reflecting the light back to the viewer. Other times the interior is so filled or the opening is too small to view what is occurring that only by lifting blocks of pages can the interior be seen, just as not all sources or ends of water systems are always readily visible.

Photography credit: Chris Perry

Benjamin Rinehart, Appleton, WI

Team Ramey Pressure print, letterpress, laser & archival pigment print, embroidery thread, mylar, and vellum paper bound as a pop-­‐up book 10” x 10” x 2.5” (closed), 20" x 10" x 9.75" (open) Edition of 10

My images depict an autobiographical narrative critiquing relationships between people and personal identity. More specifically as a member of the Lesbian, Gay, Bisexual, Transgender or Questioning (LGBTQ) community, I use personal experience to raise awareness and speak about issues affecting under-­‐represented and marginalized people. Each piece is an expression of intimacy and is intended to have numerous readings beyond the initial view. My artwork is designed to communicate and help others by providing new insight into universal experiences, contributing to a wider dialog and forming a stronger sense of community and family.

Photography credit: Benjamin Rinehart

Coley Rupprecht, Palm Coast, FL

Geneva, Thomas, Eleanor Journals on wood mounts (audio component in interior) headphones below 12"x20"x3.5" One of a kind set of three

This piece explores objects that have no inherent value through the manipulation of journals. The journals are from estate sales. The only information given about the authors is that they are no longer living. The intimate records of their daily lives were discarded. Their families abandoned the personal objects, they hold emotional weight. They hold sentimental significance regardless of a personal connection to the reader. They are the last written records of the author’s existence.

Each journal’s content has been redacted in different ways, commonly used to dispose of personal information. The only thing left of the content is what can be made out of the recordings and what remains of the journal. There is no video or photo documentation during or prior to their destruction. The recordings pique the interest of the viewer but allow for no resolution. The destruction of the journals forces the viewer to experience longing for objects that are far removed from their own experiences.

Photography credit: Coley Rupprecht

Joe Sanders, Columbus, GA

pulp therapy Handmade paper 22’ x 5’ x 0" Each sheet unique

This recent body of work in pulp painting represents a more improvisational direction for my work, in which play and risk-­‐taking take on a much larger role. The forms and their relationship to one another grow out of an ongoing interest in natural science, and combine with organic pattern and expressive color sensibility. The modernist grid structure presents a non-­‐linear narrative that may be arranged and reconfigured like musical notes in a composition, while the individual works evoke a sense of an exploded book form through compositional reference to a bisected rectangle Photography credit: Sammie Saxon

Jaime Shafer, Fallon NV

Old Geiger Grade Artist Book: letterpress printed from handset metal type Edition of 52

Old Geiger Grade was inspired by Geiger Grade Road and the history of the Comstock. It places readers in the steep, dangerous terrain of the 1860s as they travel to Virginia City where they hope their fortunes might be found.

Photography credit: Jaime Shafer

Lynn Skordal, La Conner, WA

I Had This Dream Unique altered book

I live and work in La Conner, a historic little town in the Far Northwest on the banks of the Swinomish Channel, near the beautiful Salish Sea. After retiring from the practice of law in 2008, I began making artist’s books and small works on paper. Old-­‐style cut & paste collage has been and remains a favorite medium, and I frequently also incorporate sewing techniques, thread, fabric, metal, wood, and other materials into my pieces. For me, collage is about juxtaposition -­‐-­‐ in materials, methods and content -­‐-­‐ and there’s always a story with a little bit of mystery to it. I often mix historical images and popular culture, with a little dash of magical realism. The goal is always to startle, amuse or provoke. My work has appeared in book arts and collage exhibitions across the country, in magazines and on several book covers. I publish some of my personal collage work at regularpaper.blogspot.com and maintain a portfolio of book arts and mixed media works at lynnskordal.paspartout.com.

Photography credit: Lynn Skordal

Nikki Thompson, Sacramento, CA

Collapse Letterpress, silkscreen Edition of 20

While my art is mainly autobiographical, it touches an essence every person experiences. In Collapse five poems describe failed relationships using metaphors from engineering and construction. Each poem is an individual book sewn to an accordion structure that allows the book to open dramatically. The sumptuous wine red Shindanshi paper and dark red book cloth create a brooding mood of heartbreak.

Photography credit: Nikki Thompson

Donna Webb, Akron, OH

Water Book, watercolor, porcelain

Water molecules are mysterious and compelling forms. They are everywhere on our planet, on our bodies, in our atmosphere and perhaps on other planets as well and yet they remain mysterious. How do they drive our biology, our weather and our geology? We don’t know exactly what they look like. Because they are smaller than most molecules our understanding of them comes from diagrams and models that represent them as all being exactly alike. What if they vary? What if water molecules like most other forms in the universe have been formed by a process of repetition and variation? In that case all of our forms and processes would be driven at the most elementary level by variations among the water molecule forms.

Photography credit: Donna Webb

Invited Artists.

Jurors for The Book as Art v.6: Pulp were invited to submit work for the exhibition.

Lisa Beth Robinson, Greenville, NC INVITATIONAL

Spaceship Handmade paper, French paper, letterpress, hand-­‐composed typographic constellations Poems by Landon Godfrey

Photography credit: Lisa Beth Robinson

Stephanie Smith, Decatur, GA INVITATIONAL

Hambidge Reflections Set of 5 unique artist books with gouache, ink, acrylic, letterpress

Photography credit: Stephanie Smith

Cynthia Nourse Thompson, Philadelphia, PA INVITATIONAL

Conceal

Letterpress printing and archival pigment print on handmade paper

Photography credit: Cynthia Thompson