AUSTRALIAN BOOKBINDERS EXHIBITION ARTIST BOOKS SAT 2 9 M AY T O T U E 15 J U NE 2 0 10 GALLERY RED / SYDNEY COORDINATED BY AUSTRALIAN BOOKBINDERS INC MAJOR SPONSOR / AMAZING PAPER
Shop 11, 131-145 Glebe Point Road, Glebe NSW 2037 P 02 9692 0030 W www.galleryred.com.au Exhibition dates: Sat 29 May to Tue 15 June, 2010 Hours: Mon to Fri 10am-5pm / Sat 10am-3pm Opening: 6-8pm Fri 28 May, 2010 ABI COORDINATOR
Wayne Stock P 02 9810 1265 E email@example.com EXHIBITION & CATALOGUE PRODUCTION
Wayne Stock, Imogen Yang Assisted by Cali Andersen, Keith Chidzey, Isis Dunderdale EXHIBITION COMMITTEE
Keith Chidzey, Isis Dunderdale, Lisa Giles, Rosemarie JeffersPalmer, Lorraine Maclarty, Wendy Shortland, Wayne Stock MAJOR SPONSOR
Amazing Paper THGANK YOU
Cali Andersen, Kerry Blake, Julie Bookless, Chris Hutch, Denise Lau, Monica Oppen, NSW Guild of Craft Bookbinders, Reno Design, and others assisting with this exhibition. CREDITS
Catalogue design / Graham Rendoth, Ingrid Urh / R30011 Photography / Keith Chidzey, Imogen Yang, Wayne Stock Text editors / Wayne Stock, Imogen Yang Invitation design / Red Ant Media Cover image / Turbines of Time (detail) Artist / Diane Kelly Photograph / Cali Andersen Photographs on this page / Opening of Australian Bookbinders Exhibition 2009, Gallery Red
AUSTRALIAN BOOKBINDERS EXHIBITION ARTIST BOOKS
BE STIMULATED AND CHALLENGED
Artist Books are an intriguing and fairly recent development linking the seductive nature of a book with the creative expressiveness of the visual artist. Many artists have become attracted to using the book as a vehicle for their creative expression and the resulting works are indeed individual. They are sculptural, visual, textural and in some cases, a ‘book’ to be held and read. The creative story is often told with simple structures and unusual materials. The themes may be whimsical, profound, ambiguous or simply playful. A strong belief that Sydney be an annual venue for this art form has been the motivation for this current exhibition. It should stimulate and challenge the artists to strive for excellence, technically and conceptually, and push themselves to increase their skill and workmanship. The viewing audience also, we hope, will be stimulated and challenged by these works and accept the invitation to view, touch and read them. This exhibition and catalogue represents works by artists both local and interstate. We are greatly indebted to the Australian Bookbinders’ Exhibition, now in its 14th year, with its long-standing commitment to bookbinding and in recent years to artist books. Only with the support of ABE and with the willing sacrifice of people’s time, skills and resources has this exhibition been possible. We thank them all. Rosemarie Jeffers-Palmer Director / Amazing Paper Tutor / Artist Books, College of Fine Arts, Sydney 1
AUSTRALIAN BOOKBINDERS EXHIBITION ARTIST BOOKS
SUE ANDERSON T I T L E Empty Vessels M A T E R I A L S Black and white kozo paper, lead type;
6 small printed books, 3cmx4cm; 3 plastic parcels; 2 wrapped parcels Title is based on the proverb “Empty vessels make the most noise”. The work is self-reflexive.
KERRY BLAKE (STRUCTURE) RAE DESMOND JONES (TEXT) T I T L E Booksnail M A T E R I A L S Japanese silk cloth, shape boards and spine, bookcloth cap,
litho prints, Canson paper Based on a poem about a snail, and part of a suite of works experimenting with form.
KERRY BLAKE T I T L E Butterfly M A T E R I A L S Acetate marbled pages, bronze bookcloth, shaped boards and
spine, embroidery pins Experimental work using the form of a butterfly.
JULIE BOOKLESS T I T L E Act II - Next Day, Same Time, Same Place M A T E R I A L S Canson paper, balsa wood covers. Calligraphy - gouache
Text extracts from Waiting for Godot by Samuel Beckett. 8 concertina books and 1 single section book, exposed sewing.
JULIE BOOKLESS T I T L E Harry MATERIALS
Japanese handmade paper, acetate, photos and Zsa Zsa paper; sewn on tapes. Photography of condensation droplets on a take-away container. Exposed sewing.
JULIE BOOKLESS T I T L E Twigs MATERIALS
Embossed twig patterns on Hannah Muller & Arches paper, painted Japanese handmade paper, card covers; longstitch binding
KEITH CHIDZEY T I T L E Kellogg’s Recipes (or Constipation Cure) M A T E R I A L S Found book, board, bookbinding cloth, blocking, cornflakes
Starting with circa 1940’s recipe book, the text block was renovated and hard covers constructed, onlaid with actual Kellogg’s product.
KEITH CHIDZEY T I T L E Burn MATERIALS
Text block, photo-documentation of previous work, burnt pages. Organza, modified plinth and display stand, electricity Stemming from research into fire, the artist sought to create an OH&S-safe book on fire, achieving a facsimile of flames using a fan installed within a plinth and blown material to create the aesthetics of a book alight.
MARTIN CIELENS T I T L E My Compass Finds Compassion M A T E R I A L S Paper, board and bookcloth
A meditation on the relationship between the artist and his father, who became progressively deaf-blind with age. A man who seldom slowed and never really understood. Single signature, hardcover pamphlet. Edition of 5 copies.
VICTORIA COOPER & DOUG SPOWART T I T L E Australian Banquet, January 25/26, 1788 (Variant #4) M A T E R I A L S Unique state artist book consisting of 7 variants, double-
sided broadsheet, cyanotype on rice paper 37.6 x 78.4cm This work comments on the ‘turning of the page’ in Australian history that Australia Day represents. One day, 25 January 1788, Aboriginal people feasted on a banquet of bush tucker as they had done for thousands of years; the next day, a new paradigm arrived with the table setting of the First Fleet.
EDITH CSONTOS T I T L E Japanese Woodcuts M A T E R I A L S Japanese paper, digital printing
Cross-binding using Japanese paper and cross-spine design to match the content.
BARBARA DAVIDSON T I T L E Sydney After Chagall M A T E R I A L S Magnani Paper 300gsm
French simplicity binding, limited edition. Original prints, etching and collagraph, inspired by Chagall’s painting ‘Paris Through the Window’, 1913.
ISIS DUNDERDALE T I T L E Inchology M A T E R I A L S Paper, card, paint, inks, rub-ons, rubber stamps, ephemera
and twill. A simple concertina, designed to house a selection of ‘inchies’ - 1 inch square pieces.
LISA GILES T I T L E Hardware M A T E R I A L S Nordset paper, book cloth, card stock
Concertina fold, folded (Nordset) paper pages, book cloth.
GILLIAN HAND T I T L E Colour Study 1 - Brown M A T E R I A L S Paint, ink, embossing powders, handmade papers, original
images, adhesives Altered book using paint, folding, cut-outs, seaweed, collage, embossing, layering etc. A celebration of brown and orange.
GILLIAN HAND T I T L E Colour Study 2 - Rainbow M A T E R I A L S Hand-dyed cloth, handmade buttons, stitching thread, braid,
original images, altered text, paint, handmade and commercial papers, adhesives Altered book using collage, paint, papers, cut-outs - celebration of rainbow hues.
GILLIAN HAND T I T L E Fragments M A T E R I A L S Woodblock printed cover papers over cartridge paper book-
board, linen thread Coptic stitching, hand-printed cover paper using carved wood blocks and acrylic ink. Contents reflect the scratchings and fragments of an art student’s progress.
HELENE HASLAM T I T L E ABC MATERIALS
Leather, card, paper alphabet shapes Concertina fold into leather box with embossing.
HELENE HASLAM T I T L E ABC 123 M A T E R I A L S Handmade rag paper, suede
Section-sewn on tape, half-cylinder spine, pages embossed, cut-out shapes, fine-line detail.
ANNE-MAREE HUNTER T I T L E Untitled (Designer Pack) M A T E R I A L S Screen prints on foils and papers
Screen-printed designs reflect and pay homage to the colourful life and death of Australian wallpaper designer Florence Broadhurst; the simulated decorator’s samples and colour chart depict aspects of her personality and events in her life.
ANNE-MAREE HUNTER T I T L E Biscuit Books M A T E R I A L S Assorted papers, photographs, Arnott’s biscuit tin
Unique state. Contained within an Arnott’s biscuit tin are seven kinds of biscuits in the form of books, each incorporating individually folded paper pages and/or images and text. Each of the seven biscuits are editioned.
ANNE-MAREE HUNTER T I T L E Sunny Side Up M A T E R I A L S Letterpress printing, embossing
This fried-egg-shaped book with yolk in concertina form, contains words from an old country song - ‘Keep on the Sunny Side’ by AP Carter, 1928, that encourages a positive outlook to life. Edition of 12.
CHRIS HUTCH T I T L E Nesting M A T E R I A L S Two books - solar plate prints, rice paper, etching ink, book-
board, Thai handmade paper, photos, glue, thread The photographs document the making of an installation on the Finke River in central Australia, using pademelons, rocks, spinifex and branches. The concertina book/screen is made from solar plate prints of the installation.
ROSEMARIE JEFFERS-PALMER T I T L E The Beginning and The End M A T E R I A L S BFK paper, trace paper, coloured pencils, watercolours, linen
thread, leather, oriental handmade papers and commercial papers Coptic book. Series of original drawings showing the progression from a once fertile earth to a dead and crumbling one. For contemplation.
DIANE KELLY T I T L E Turbines of Time M A T E R I A L S Various papers, board, wooden sticks, hand-sculpted plaster
discs, zinc-plated eyelets Hand-sewn diary pages are pressed against verso and recto of a board divide, spheres rotate on the diametral axis: time is a continuum of sequences and series. 6
DENISE YI LIN LAU T I T L E Furisode Artistry M A T E R I A L S Cardboard, photo paper, watercolour paper, various papers
including chiyogami, patterned, textured and natural fibres, lace sticker embellishments. Inspired by the beauty and design of the furisode kimono. Seemingly formal covers hide a concertina-folded screen, which displays a young girlâ€™s transformation with each kimono pattern and colour scheme.
HELEN MALONE T I T L E TimeTravel M A T E R I A L S Digital prints on Fabriano Artistico paper, cover of Fabriano
Roma paper and leather A quest for landscapes of history, myth and imagination through a search for portals to the past, and the experience of the sense of place.
HELEN MALONE T I T L E Lost in a million dead end streets M A T E R I A L S Digital prints of drawings and lettering, Fabriano Tiziano paper,
black silk, ink The structure and format reflect being lost and going around in circles. The goal of the journey is not to arrive but to be always lost, searching, learning, never reaching the end destination.
MONICA OPPEN T I T L E Dark Forest M A T E R I A L S Offset printing, photopolymer printing, hand painting
This book is about broken narratives, relationships, the emotional and the personal.
MONICA OPPEN & PETER LYSSIOTIS T I T L E The River M A T E R I A L S Digital printing
The flow of life, the flow of water, the personal in the impersonal space of the city.
YORI PRICE T I T L E Solitude M A T E R I A L S Embossed BFK 280gsm paper, Japanese Washi
Solitude, represented by the main element of the colour white - meaning sacred ambience, innocence and delicacy. Conceived in one small box which further represents its sacrosanct nature.
JANE SCHAUER T I T L E Laughing or Screaming ? M A T E R I A L S Bark tapa cloth, paper, cardboard
Covered in bark tapa cloth, the earth colours and tribal patterns of this book open to reveal two concertina pages; original linocut prints, showing zebras looking through a fence.
SUSAN SHAW T I T L E Shakespeareâ€™s Incomplete Works M A T E R I A L S Collagraph prints, text page fragments, box board.
Constructed from collagraph prints and text from an old Shakespeare collection belonging to the artistâ€™s great-great grandfather. Original book text used as binding, with words extracted written across the prints - the pages a house of cards, with no particular order.
WENDY SHORTLAND T I T L E Grunge Journal M A T E R I A L S Kraft paper, Canson paper, ephemera, fabric, lace, ribbon,
thread, mat board Created fast and furious on the sewing machine, using only paper and ephemera from a personal stash. Blank spaces are intended for drawings and writings, and pockets for the collection of further ephemera. 7
GARY SMITH T I T L E Tattoo M A T E R I A L S Card, paper, ink, watercolour, glitter
GARY SMITH T I T L E Homeland M A T E R I A L S Train tickets, thread, beads, plastic
GARY SMITH T I T L E Dragonia M A T E R I A L S Board, paper, bookcloth, beads, mixed media
TRICIA SMOUT T I T L E Serenity 足M A T E R I A L S Photographs, printed quotations and symbols, card
Flag book. Meditation and reflection on the beauty of nature; a tranquil interlude in the hectic pace of modern life. Words and symbols signifying serenity, peace and tranquillity in different cultures, and quotations emphasising the need to have patience and adopt a slower pace.
TRICIA SMOUT T I T L E Gold - the Search for the Impossible M A T E R I A L S Hand-lettered metallic card and printed paper
Circular concertina book. Throughout history, the search for gold has often proved impossible, both physically and philosophically. The circle, with its non-existent beginning and end, seems an appropriate format.
TRICIA SMOUT T I T L E Number Patterns M A T E R I A L S Printed images, paper and card
Concertina/star book. On one side each numeral is repeated as a multiple of itself to create a circular pattern. On the other side, each number is represented in words as a plane shape, with the requisite number of sides.
JACK STAHEL T I T L E Organic Windows M A T E R I A L S Card, paint, coloured pencil, coloured linen thread
Windows in the cover open to reveal glimpses of rock and plant-like forms hidden within. Opening the pages allows each to be viewed as complete drawings. Oriental spine stitching continues the irregularity and colour of the interior.
JACK STAHEL T I T L E Labyrinth M A T E R I A L S Hand-cut and coloured card pages, bookcloth
Tunnel book. The viewer is drawn into a labyrinth of linear patterns, as they visually travel through the tunnel.
JACK STAHEL T I T L E Anenome M A T E R I A L S Painted card, board, bookcloth
Flag book. Multi-coloured flags increase their complexity as the book is opened and closed. Can be viewed as a flat book to turn pages and ‘read’ or as a piece of sculpture when open.
ELIZABETH TRILLIA T I T L E The Word Prevents Silence from Speaking M A T E R I A L S Shibori-dyed cotton and silk, feathers, beads, paper, linen
thread Title derived from Eugene Ionesco, ‘Le mot empeche le silence de parler’ (Journal en Miettes, Paris: Mercute de France 1969). Oriental side-stitched fabric book in calico pouch, using hand-dyed and sewn indigo cotton and silk.
ELIZABETH TRILLIA T I T L E Lifeletters M A T E R I A L S Bookboard and cloth, papers, linen thread
Longstitch with hardcover, in the format of a posted letter. Alphabetised epithets expressing essential qualities of a life combine with love letters, suggestive of a life’s journey. Texts for these letters are from two poems: i) ‘Ithaka’ by CP Kavafy / (ii) ‘Erat Hora’ by Ezra Pound.
ELIZABETH TRILLIA T I T L E Pellicola: Naked or Nude? M A T E R I A L S Copper shim, suede, acetate, mirror, paper
Reminiscent of an old-fashioned camera, this accordion-fold book looks at the female self from naked newborn to adult nude and questions where the line is drawn, how women are perceived by others, and the potential conflicts that ensue. 9
TERENCE UREN T I T L E Leaves of Irony M A T E R I A L S Weathered galvanised iron, plastic-coated copper wire, lead,
bookcloth, felt, synthetic turf Irony (adjective; Late Middle English): consisting of or containing iron. Too fragile to handle and destined to crumble. Fabricated with materials found in a Canberra rubbish bin; an escape from the rigours of fine binding.
DENISE VANDERLUGT T I T L E Thirteen Thread Circles with Turquoise M A T E R I A L S Parchment paper, matboard, sisal string, silk, cotton, rayon
and polyester threads Coiled medallions suspended in translucent paper, framed with matboard: a reflection of the threads that stitch life and artistic practices together. Machine-stitched concertina binding, with ends left untamed. 10
J P WILLIS & SARAH BODMAN T I T L E How do I love thee? M A T E R I A L S Laser cut, digital print, screenprint
Inspired by poet Elizabeth Barrett Browning’s ‘Sonnet 43’. An example of how far people in love will go to keep it. The pages reinterpret the sentiment of the sonnet, and notions of nature (and human nature) as something beautiful and safe. What lies beneath can be very sinister.
J P WILLIS & SARAH BODMAN T I T L E Upshot M A T E R I A L S Waterbased screenprint, watercolour hand tinting
A collaborative book based on the word ‘upshot’, printed as a series of responding pages - one by each artist alternatively. Each page is printed in colour with identifying text.
Culture in Covering Our extensive product range comprises woven and nonwoven materials in assorted colours, finishes and textures, which reflect the latest global fashions in coverings. • • • • •
ACID-FREE BOARDS (VARIETY OF THICKNESSES) • LINEN CALICO • DECORATIVE COVERINGS • ARBELAVE BUCKRAM BOOKCLOTH • EMBOSSED PAPER • MULL • FOAMBOARD SUEDE • BRUSHES • BONE FOLDERS • RECYCLED LEATHER NEEDLES... AND ALL YOUR OTHER BINDING REQUIREMENTS
Winterbottom Products Pty Ltd Sydney Unit 5, 16-18 Powers Road Seven Hills NSW 2147 Tel +61 (02) 9674 3200 Fax +61 (02) 9624 2031 Email firstname.lastname@example.org Melbourne 52 Koorong Road West Heidelberg VIC 3081 Tel +61 (03) 9459 0528 Fax +61 (03) 9458 4797 Contact: Graig Gilkes Mobile 0418 440 009 Email email@example.com www.winterbottom.net
Binders who use genuine ‘Oasis’ brand goatskin & ‘Fine Cut’ brass type and finishing tools are unlikely to have an excuse for faulty workmanship Available in Australia from
E S T A B L I S H E D
1 8 9 0
Box 25 , PO Box Mulgoa NSW 2745 Telephone & Fax: ( 02 ) 4773 8738 Email: firstname.lastname@example.org
creative solutions for modern minds Reno Design Book design, Branding Web sites, Annual reports Print management Design consultation
Graham Rendoth CREATIVE DIRECTOR PO Box 50 Broadway NSW 2007 T 61.2 9698 4388 F 61.2 9698 1118 E email@example.com
ABE ‘COLLECTORS’ CATALOGUES Limited quantities of some Australian Bookbinders Exhibition catalogues remain available. These collectors’ copies are excellent references to the art of Australian craft bookbinding. Prices: Plus Post. To order copies email firstname.lastname@example.org
1998 $20* Hardback
2005 $10* (290 x 130mm)
1998 $10* Soft cover
2008 $10* (280 x 210mm)
2008 $15* (280 x 210mm) This special 36 page publication brings together some of the best work of ABE shows since 1998.
2008/9 $15* (280 x 210mm) Artist Books
CALL SO LIMITED ON COPIES
2006 $10* (290 x 130mm)
CONTEMPORARY BOOKBINDING An exhibition of Australian Bookbinders Inc. is intended to be held late 2010. Contact Wayne Stock (02) 9810 1265 email email@example.com
2004 $10* (210 x 130mm)
AUSTRALIAN BOOKBINDERS EXHIBITION ARTIST BOOKS S AT 2 9 M AY T O T U E 15 J U N E 2 010 GALLERY RED / GLEBE NSW COORDINATED BY AUSTRALIAN BOOKBINDERS INC AMAZING PAPER
2009 $10* (280 x 210mm)
2010 $10* (280 x 210mm) Artist Books
Sue Anderson Kerry Blake Julie Bookless Keith Chidzey Martin Cielens Victoria Cooper & Doug Spowart Edith Csontos Barbara Davidson Isis Dunderdale Lisa Giles Gillian Hand Helene Haslam Anne-Maree Hunter Chris Hutch Rosemarie Jeffers-Palmer Diane Kelly Denise Yi Lin Lau Helen Malone Monica Oppen Peter Lyssiotis Yori Price Jane Schauer Susan Shaw Wendy Shortland Gary Smith Tricia Smout Jack Stahel Elizabeth Trillia Terence Uren Denise Vanderlugt J P Willis & Sarah Bodman
Published on May 8, 2012
Catalogue for an 'artist's books' exhibition by Australian Bookbinders Inc. Held at tgallery Red in Glebe, Sydney in May-June 2010. Includes...