Arabic Type: Between Heritage and Modernity

On March 5, 7 & 19 The Center for Book Arts held a three-part series dedicated to Arabic type design, the heritage of Arabic letterforms in the context of current technologies, contemporary Arabic branding design, and the history of Arab graphic design. The series brings together renowned and award winning designers working with Arabic type, both from the US and the Middle East. The series was curated and moderated by Dr. Nadine Chahine.

NOTE: all presentations were conducted in English.

Dr. Nadine Chahine is an award-winning Lebanese type designer and principal at ArabicType Ltd. She has an MA in Typeface Design from the University of Reading, UK, and a PhD from Leiden University, The Netherlands. She has numerous awards including two Awards for Excellence in Type Design from the Type Directors Club in New York in 2008 and 2011. Her typefaces include: Frutiger Arabic, Neue Helvetica Arabic, Univers Next Arabic, Palatino Arabic, and Koufiya. Nadine’s work has been featured in the 5th edition of Megg’s History of Graphic Design and in 2012 she was selected by Fast Company as one of its 100 Most Creative People in Business. In 2016 her work was showcased in the 4th edition of First Choice which highlights the work of the 250 top global designers. In 2017, Nadine was selected by Creative Review to their Creative Leaders 50.

Panel topics include Modernity in Arabic Type Design; Contemporary Arabic Graphic Design; and Technology & Heritage.

Modernity in Arabic Type Design

March 5, 2020 at The Center for Book Arts

This panel featured Dr. Nadine Chahine who discussed Modernity in Arabic Type Design; Wael Morcos, led a talk entitled Right to Left: A Practice; and Thomas Jockin, who presented Two Decades of Type Directors Club Award-Winning Arabic Typefaces.

Between Heritage and Modernity: Modernity in Arabic Type Design

The first panel discussion of the 2020 History of Art Series will be on Modernity in Arabic Type Design. The evening will feature Wael Morcos, with a talk entitled Right to Left: A Practice, Dr. Nadine Chahine discussing Modernity in Arabic Type Design, and Thomas Jockin, who will be presenting Two Decades of Type Directors Club Award-Winning Arabic Typefaces.

Posted by The Center for Book Arts on Thursday, March 5, 2020

Wael Morcos is a graphic designer and type designer from Beirut, Lebanon. Upon receiving his BA in Graphic Design from Notre Dame University (Lebanon), he spent three years developing identities and Arabic-Latin bilingual typefaces, in addition to working in print and exhibition design. Wael received his MFA from RISD in 2013, after which he moved to New York and worked with several studios in the city before founding Morcos Key. Wael has been featured in Print Magazine’s 15 under 30, was named a Young Gun by the Art Directors Club and an Ascender by the Type Directors Club.
Thomas Jockin is the founder of TypeThursday. TypeThursday is a global superfamily that converges monthly to help one another improve our letterforms over drinks. The monthly events around the world start with social time and drinks. Followed by a moderated group critique of in-progress projects that focus on letterform design and/or usage. The audience may recieve, give, or simply listen to feedback. 
Jockin is an adjunct lecturer at City University of New York Queens College, City College and State University of New York Fashion Institute of Technology. He is also a practicing typeface designer. Previous clients include Google, Express, Footlocker, and Michael Kors. Thomas‘s fonts are available on Google Fonts, Adobe Fonts, and other distributors for you to use.

Resources & Citations:

Contemporary Arabic Graphic Design

March 7, 2020 at the Center for Book Arts

This panel featured Tala Safié, who presented, “Haza al Massa” (or “Tonight”), a documentation of the golden years of Lebanese cinema through posters, zines, press books, and film ephemera; Bahia Shehab who discussed, From Calligraphers to Type designers: Arabic Script in Transition; and Tarek Atrissi, who discussed Branding with Arabic Typography.

Between Heritage and Modernity: Contemporary Arabic Graphic Design

The Center for Book Arts is hosting a series of 3 seminars dedicated to Arabic type design and typography, curated by Dr. Nadine Chahine, taking place on March 5, 7, and 19.The theme of the series revolves around concepts of modernity in Arabic type design, the heritage of Arabic letterforms in the context of current technologies, contemporary Arabic branding design, and the history of Arab graphic design. The series brings together renowned and award winning designers working with Arabic type, both from the US and the Middle East.This History of Art seminar will be on Contemporary Arabic Graphic Design. The afternoon will feature Tarek Atrissi, who will be discussing Branding with Arabic Typography; Tala Safié will be presenting, "Haza al Massa" (or "Tonight"), a documentation of the golden years of Lebanese cinema through posters, zines, press books, and film ephemera; and Bahia Shehab, who will be giving a discussion entitled, From Calligraphers to Type designers: Arabic Script in Transition.

Posted by The Center for Book Arts on Saturday, March 7, 2020

Lebanese-Dutch Tarek Atrissi established in 2000 his design studio, Tarek Atrissi Design (, with offices in Barcelona and The Netherlands. The studio’s cross cultural design approach has gained an international reputation and produced projects that left a significant influence on the contemporary graphic design landscape in the Middle East. His awards includes TDC New York, the Adobe Design Achievement Awards, and the Design for Asia Award, among others. 
Tarek Atrissi holds a BA in Graphic Design with distinction from the American University of Beirut; a Masters of Arts in Interactive Multimedia from the Utrecht School of the Arts in Holland; and an MFA in Design entrepreneurship from the School of Visual Arts in New York. He holds a postgraduate degree in Typeface Design from the type@cooper program of the Cooper Union. Atrissi founded – an Arabic Type Foundry specializing in multilingual typeface design. He has been on the judging panel of many international design competitions, including the Tehran Typeface Design competition in Iran, The Taiwan International Student Design Competition, The TDC competition in New York, and 100/100 Poster design competition in Egypt. He is board member at Creative Industries Fund NL in the Netherlands: the Dutch cultural fund for architecture, design and digital culture.
Tala Safié is a graphic designer from Beirut based in New York. She currently works as a designer for AIGA Eye on Design, and as an art director for the New York Times.
Bahia Shehab is Professor of design and founder of the graphic design program at The American University in Cairo. Her work has been exhibited in museums, galleries and streets around the world. She has received a number of international recognitions and awards, which include the BBC 100 Women list (2013), a TED Senior fellowship (2016), and a Prince Claus Award (2016). She is the first Arab woman to receive the UNESCO-Sharjah Prize for Arab Culture. Her publications include “A Thousand Times NO: The Visual History of Lam-Alif” (Khatt 2010), “At The Corner of a Dream” (Gingko Library 2019) and a co-authored book “A History of Arab Graphic Design” (AUC Press 2020). 

Resources & Citations:
A Thousand Times No

Technology and Heritage

March 19, 2020 Webinar

This panel featured Mamoun Sakkal, who discussed Calligraphy, Type, Image: My Journey into Arabic Script; Stephen Coles who presented A Brief Typographic Trip Around the World with Letterform Archive (with commentary from Dr. Chahine and Dr. Sakkal; and Erich Scheichelbauer who presented Technology and the Arabic Script with Dr. Chahine.

Stephen Coles is an Editorial Director & Associate Curator at Letterform Archive in San Francisco. He also publishes Fonts In Use and Typographica and wrote the book The Anatomy of Type.
Dr. Mamoun Sakkal is founder and principal of Sakkal Design in Bothell, Washington. Providing graphic design and communication solutions to major national and international corporations, his firm has focused on Arabic calligraphy and typography since the 1990’s and received several awards for calligraphy, graphics, and type design including awards of excellence from ADC, TDC, Granshan, and IRCICA in Istanbul. His work is widely published in typography and calligraphy books and annuals including Communication Arts, Hroof Arabiyya, Letter Arts Review, LogoLounge, and Yearbook of Type among others. Dr. Sakkal was commissioned to design the corporate Arabic typefaces for Burj Khalifa and Armani Hotel in Dubai. He is the Arabic language consultant for Microsoft and several of his Arabic fonts are now widely used as Windows system fonts. He holds a PhD from the University of Washington in Seattle, and his clients include Adobe, Amazon, Apple, Google, Linotype, Microsoft, Monotype, and National Geographic. 
A trained photographer, Rainer Erich (‘Eric’) Scheichelbauer (b. 1977 in Vienna, Austria) holds both a philosophy and a Dutch studies degree. He creates typefaces, works as a digital punchcutter for other type designers, and gives type design workshops on a regular basis. Since he has joined the Glyphs team in 2012, he has been writing articles, tutorials, and Python scripts, as well as the blog and the handbook. He lives and works in Vienna, where he runs his type studio Schriftlabor.

Resources & Citations:

Mamoun Sakkal
Sakkal type design work:
Shilia new release:
Sakkal graphic design, type design, artwork:
Sakkal art and typography prints on demand:
Sakkal Kitab typeface in Kindle e-books:  then-> Kindle e-Books  then-> Foreign Languages  then-> Arabic

Stephen Coles
Low resolution presentation:
High resolution presentation:
A video about Letterform Archive and how to join:
Coming soon: material related to global scripts. Sign up to be notified:
That material will also go on the Online Archive:
An excellent primer for learning about the Arabic script, how to write it, and how to design and use Arabic type:
Resources on Writing Systems: http://www.worldswritingsystems.org
Links to some of the work shown:

Rainer Erich Scheichelbauer
Glyphs (font editor)
Creating an Arabic font in Glyphs:

“I open my eyes and see myself under a tree laden with fruit that I cannot name.”

On view at the Center for Book Arts Monday through Saturday, 11am till 5pm, January 17 through March 28, 2020.

Draw / Cut / Rotate 17, Hadieh Shafie (2019)

Storytelling is a central component of societal development across centuries and cultures. Whether used as a tool to recall history, preserve identity, or to transmit morals, it is a means for understanding and sharing human experiences. Oral traditions and the written word are perhaps the most obvious modes of communication associated with storytelling, however visual artists have equally engaged with it throughout history, and continue to do so today.
Curated by Lila Nazemian, “I open my eyes and see myself under a tree laden with fruit that I cannot name” is an exhibition entitled after a line in Sinan Antoon’s latest novel, The Book of Collateral Damage, featured alongside Hadieh Shafie and Zarina, whose works are deeply embedded within narrative mediums. Through the use of paper, printing methods and orality, each artist produces works that function as allegories for sharing stories of home and of their lived experiences.
During the course of the exhibition, public programs such as artist talks between Shafie, Antoon and Nazemian will take place, in addition to poetry recitations accompanied by live music from Iran, Iraq and South Asia.

Opening Reception: Jan 16, 6:30pm
Artist Talk with Hadieh Shafie and Sinan Antoon: Jan 30, 6:30pm
Master Class with Hadieh Shafie: Feb 1 & 2, 11-5pm

Warren Lehrer: Books, Animation, Performance, Collaboration

On view at the Center for Book Arts Foyer Gallery: January 17 through March 28, 2020.

Warren Lehrer: Books, Animation, Performance, Collaboration explores Warren Lehrer’s approach to visualizing poetry and prose in multi-branched projects through books, typography, animation, performance, and collaboration. The centerpiece is Lehrer’s newest book/project, Five Oceans in a Teaspoon, a collaboration with poet/investigative journalist Dennis J Bernstein (Paper Crown Press, 2019). In addition to copies of the Five Oceans in a Teaspoon book, the exhibit includes 27 prints of individual poems and a reel of a dozen animations. The exhibit also features some of Lehrer’s previous books and animations/films/performances that branch from them, including: Globalization: Preventing the Sameness of the World andclips from 1001 Voices: Symphony for a New America—offshoots of Crossing the BLVD (W.W. Norton) co-authored with Judith Sloan; and animations and films used in Lehrer’s performances of his illuminated novel A LIFE IN BOOKS: The Rise and Fall of Bleu Mobley (Goff Books). Lehrer and Bernstein’s first book/play FRENCH FRIES (1984, VSW), and other solo and collaborative bookworks provide further context.

Opening Reception: Jan 16, 6:30pm
Artist Presentation: March 26, 6:30pm

Warren Lehrer is a writer, designer and book artist known as a “pioneer of visual literature and design authorship.” His books and multimedia projects capture the shape of thought and reunite oral and pictorial traditions of storytelling in books, animations and performance. Awards include: The Brendan Gill Prize, IPPY Outstanding Book of the Year Award, Innovative Use of Archives Award, International Book Award for Best New Fiction, three AIGA Book Awards, Media That Matters Award, grants and fellowships from NEA, NYSCA, NYFA, QCA, Rockefeller, Ford, Greenwall Foundations. He is a 2016 Honoree of the Center for Book Arts and a 2019 Ladislv Sutnar Prize laureate. His work is in many collections including MoMA, Getty Museum, Georges Pompidou Centre, Tate Gallery. A frequent lecturer and performer, Lehrer is the Leff Distinguished Professor at SUNY Purchase, a founding faculty member of SVA’s Designer As Author MFA program, and co-founder of EarSay, a non-profit arts organization in Queens, NY.

The Private Life of Rag Dolls

On view at the Center for Book Arts Print Shop Gallery: January 17 through March 28, 2020.

Faride Mereb is a Venezuelan artist, designer, researcher, and founder of publishing house Letra Muerta. Established in 2014, Letra Muerta focuses on archival books, Latin American literature and vindicating the value of the printed book. With The Private Life of Rag Dolls, she is presenting the publisher’s 8th publication. 

The Private life of Rag Dolls is based on the book, Once Upon a Rag Doll, by Aquiles Nazoa (1920-1976), one of Venezuela’s most prominent writers, humorists, and journalists. The exhibition will feature artist Faride Mereb’s research findings and photographs made during a visit to the author’s family in Caracas, as well as photographs of the original dolls and reinterpretations of the original characters. A new English version will be featured, which uses new fonts, format, and photographs, printed and produced by Javier Aizpurua, the same master printer who worked on the first edition of the book. 

“At that time, the capital of Venezuela was the place where you could find the stagnation of the State, the European ways of the Belle Epoque and some features of the American culture recently brought in by the exploitation of oil.” The time elapsed between the first publication of this book and the present reissue shows the consequences of the policies undertaken that ruined a rich State, which is vividly represented by these dolls, their inner rags, and the Venezuelan population.

Faride Mereb es una artista, venezolana, diseñadora, investigadora, y fundadora de Ediciones Letra Muerta. Iniciando en 2014, Letra Muerta se enfoca en libros de archivo, literatura Latino Americana y la reivindicación del valor del libro impreso. Vida privada de las muñecas de trapo es el octavo título presentado bajo el sello editorial. 

Este libro fue publicado por primera vez en 1975 por Aquiles Nazoa (1920-1976), autor, humorista y periodista venezolano muy prominente, cuyo trabajo cruza las fronteras entre los diferentes géneros literarios. Vida privada de las muñecas de trapo es un híbrido entre historias cortas e imágenes de las muñecas que fueron hechas por Ariadna, una mujer de El Guarataro, un vecindario humilde donde vivía el autor y su familia. Estas imágenes se intercalan con fotos de archivo tomadas por Godofredo Romero en aquella época. Esta nueva edición, presenta una selección minuciosa de fotos digitalizadas al visitar la casa del autor en Caracas, que además de incluir los personajes originales, también plantea nuevas interpretaciones. El libro ha sido traducido al inglés, una edición revisada que usa nuevas fuentes, formato y fotos, pero con la constante de la producción e impresión a cargo de Javier Aizpurua, el mismo maestro impresor que llevó a cabo el proyecto en los años 70.

“En ese tiempo, la capital venezolana era un lugar que buscaba combinar el sopor del latifundio, los modos parisinos de la Belle Époque y los trazos todavía incipientes de la cultura norteamericana introducida por la explotación petrolera”. El inciso entre la primera edición y esta, evidencia las consecuencias del deterioro de un país llevado a las ruinas, siendo representado en las mismas muñecas, sus vestidos, y sobre todo en la población venezolana. 

Opening Reception: Jan 16, 6:30pm
Story Time & Fun: A Party for Kids!: Feb 6, 12pm
The Production of The Private Life of Rag Dolls: Feb 20, 6:30pm

Remembering Walter Hamady: Selections from The Perishable Press

On view in the Bindery Studio Gallery Monday through Saturday, 11am till 5pm, January 16 through March 28, 2020.

Born in 1940 in Flint, Michigan, Walter Hamady was a book artist, educator, publisher, and poet known for his tactile and witty approach to bookmaking and collage. As the founder of the influential Perishable Press Limited and professor emeritus at the University of Wisconsin, Madison, Hamady was a leader in the field for decades. He acquired a love for printed materials early in his childhood, citing his mother’s extensive book and magazine collection as an original inspiration. He received his BFA from Wayne State University (1964) and his MFA from Cranbrook Academy of Art (1966). In 1964, while working towards his MFA, Hamady launched the Perishable Press. Through the press, he published 131 volumes, including works of his own and those of many contemporaries. He joined the faculty at the University of Wisconsin, Madison in 1966, and he became an influential voice in the art department until his retirement in 1996.Hamady received grants from the National Endowment for the Arts for his work at Perishable Press (1976, 1978, and 1980) and a fellowship from the John Simon Guggenheim Memorial Fund in 1969. His work has been collected by institutions including the Victoria and Albert Museum in London and the New York Public Library.

Remembering Walter Hamady: Selections from the Perishable Press celebrates the life and career of Walter Hamady. As a pioneer of bookbinding, printmaking and collage, Hamady created the Perishable Press as a space for experimentation and innovation in the field of book arts. By collaborating with other poets, writers and artists, Hamady brought others into the realm of bookmaking, expanding the reach of the medium. In this exhibition, we present a survey of his work over the span of four decades and numerous collaborations, with poets like Robert Creeley, Rosmarie Waldrop, George Oppen, and others.

Opening Reception: Jan 16, 6:30pm
Experimental Collage Masterclass with Book Artist-in-Residence, Linda Zeb Hang: Feb 22, 12pm
Lecture on Walter Hamady with Ruth Lingen: March 12, 6:30pm

Out of Sight, Beyond Touch

بیرون از دید، ورای لمس

On view at the Center for Book Arts Main Gallery April 17 through June 27.

(Persian translation below)

Throughout history, there have been many discourses on the relationship between the senses of touch and sight, the eye and hand. The fields of art, psychology, philosophy, and cognitive science have all shed light on how these senses influence human understanding and perception of their bodies, objects, and the environment around them. In light of these fields of inquiry, researcher Mark Paterson has argued that “within an academic climate that celebrates visual cultures, and the popular media’s infatuation with visuality, touch remains largely neglected, forgotten” (The Senses of Touch 2007, 1).

Curated by Maryam Ghoreishi, Out of Sight, Beyond Touch not only investigates the sense of sight, but also of touch. Through the artworks of Amina Ahmed, Bahman Mohammadi, Masoumeh Mohtadi, and Shirin Salehi, each of these senses— either acting alone or working together— reminds the visitor of the vital role of discovery and understanding that sight and touch play together in determining tactile sensations. Visitors’ interactions with each artwork imply the concept of mystery via confrontations with unfamiliar objects or situations. While some works are covered and may only be touched, some can only be viewed, not touched: each concealing a different approach, resulting in the process of discovery. Touch-Untouch is also designed with a reading section containing multiple books in English, Farsi, and Spanish, with a sculpture by Ramyar Vala.

These books have been used either by the artists in the exhibition as conceptual sources or by the curator in her research, thus revealing the research and construction process. In accompaniment to the exhibition, a master class and a workshop/seminar by Shirin Salehi will explore the relationship between the concepts of silence and mystery, as well as a book-making workshop by Amina Ahmed in which she will bind all of the slips of paper class’s collective experience of her work into a book.

Opening Reception: Thursday, April 16
Artist Talk with Shirin Salehi, moderated by Maryam Ghoreishi: Thursday, April 23 6:30pm
Master Class by Shirin Salehi: Friday-Sunday, April 24-April 26
Interactive Artist Talk with Amina Ahmed: Thursday, June 25, 6:30pm

در طول تاریخ، گفتمان‌های متعددی در حوزه‌های علوم شناختی، روان‌شناسی، هنر، و فلسفه درباره‌ی حس لامسه و بینایی، دست و چشم، رابطه‌ی این دو، و تأثیرشان در درک و دریافت ما از بدن خودمان، اشیاء و به طور کلی محیط پیرامون‌مان ارائه شده است. در پرتوِ این تحقیقات، البته، مارک پترسُن معتقد است که “بها دادن به فرهنگِ تصویری در فضای آکادمیک و شیفتگیِ رسانه‌های عامه با تصویر، حس لامسه را به شکل گسترده‌ای به حاشیه رانده و به فراموشی سپرده است.” (حس لامسه، ۲۰۰۷، ۱)

در نمایشگاهِ بیرون از دید، ورای لمس، که توسط مریم قریشی گردآوری شده‌است، نه فقط حس بینایی بلکه حس لامسه، رابطه‌شان با هم‌دیگر، و نقشِ مهمی که این دو—چه به تنهایی و چه در رابطه‌ای تنگاتنگ با هم—در جریان کشف و شناخت دارند به مخاطب یادآوری می‌شود. در این نمایشگاه آثار امینه احمد، شیرین صالحی، بهمن محمدی، و معصومه مهتدی ارائه می‌شود و چیدمان آثار به شکلی‌ست که رابطه‌ای رفت و برگشتی بین حس لامسه و بینایی را در مخاطب به جریان می‌اندازد. تعامل مخاطب با هر اثر، به عبارتی مواجهه‌ی او با شئ یا وضعیتی ناآشنا، اشاره‌ای ضمنی به مفهوم رمز و راز دارد. مواجهه با بعضی آثار محدود به تجربه‌ی لامسه و با بعضی صرفاً دیداری‌ست که منجر به شکل‌گیریِ مسیرِ متفاوتی از کشف می‌شود. در بیرون از دید، ورای لمس، همچنین، با ارائه‌ی مجسمه‌ای از رامیار والا، اتاق مطالعه‌ای طراحی شده‌است که کتاب‌های متفاوتی به زبان‌های انگلیسی، فارسی، و اسپانیایی را در خود جای داده است.

این کتاب‌ها توسط هنرمندان یا گردآورنده در جریان تحقیق و ساخت کارها استفاده شده است که مسیر شکل‌گیریِ آثار و البته گردآوریِ این نمایشگاه را نشان می‌دهد. هم‌زمان با بیرون از دید، ورای لمس، کلاس و کارگاهی توسط شیرین صالحی برگزار می‌شود که به رابطه‌ی مفاهیمِ سکوت و رمز و راز می‌پردازد. در ادامه، کارگاهِ کتاب‌سازیِ امینه احمد خواهد بود که از تمام نوشته‌ها و طراحی‌های جمع‌آوری شده در طول نمایشگاه، که پاسخ‌های مخاطب به اثرش هستند، کتابی ساخته می‌شود.

افتتاحیه: پنجشنبه، ۱۶ آوریل، ۲۰۲۰

سخنی با شیرین صالحی به گردانندگیِ مریم قریشی: پنجشنبه، ۲۳ آوریل، ساعت ۶:۳۰ 

کلاس تخصصی توسط شیرین صالحی: جمعه ۲۴ آوریل تا یکشنبه ۲۶ آوریلسخنرانی-کارگاه توسط امینه احمد: پنجشنبه، ۲۵ ژوئن، ساعت ۶:۳۰

Support for the Center for Book Arts’ Visual Arts Program is provided, in part, by the New York State Council on the Arts, with the support of Andrew Cuomo and the New York State Legislature, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Summer Reading

On view at the Center for Book Arts Main Gallery July 17 through September 26.

Opening in July—the high season of leisure reading and scholastic book challenges—The Center for Book Arts presents Summer Reading, an exhibition of works by contemporary artists who take creative approaches to the book, text, and language. The book, in this exhibition, is complemented or subverted, with artists investigating the tradition of artist’s books as an artistic structure, storytelling in visual art, the narrative possibilities of language, the communicative potential of storylines, and the object-ness of material in circulation.

In including prints, sculptures, and works on paper that explore the design and aesthetics of language, this exhibition celebrates the relationship between reading and making. Summer Reading extends beyond the gallery walls to include featured reading lists culled by the artist participants and associated lending lists for all ages, developed with our local partner libraries.

Curated by Ann Tarantino and Lindsey Landfried.

Opening Reception: July 16, 6:30pm

Support for the Center for Book Arts’ Visual Arts Program is provided, in part, by the New York State Council on the Arts, with the support of Andrew Cuomo and the New York State Legislature, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

New Book Art: Work from the 2019 Artists in Residence

On view at the Center for Book Arts Foyer and Studio Galleries April 17 through June 27.

The 2019 Scholars and Worksace Residents will be exhibiting work produced over the course of their one year residency at the Center for Book Arts.

2019 Scholarship for Advanced Studies in the Book Arts Residents:
Slavko Djuric
Keith Graham
Christina Martinelli
Jennifer Grimyser

2019 Workspace Residents:
Adama Delphine Fawundu
Jihyun Hong
Kathleen Ma
Laura Nova
Kevin Umana

Opening Reception: April 16, 6:30pm
Scholar Residents Artist Talk: May 7, 6:30pm
Workspace Residents Artist Talk: May 28, 6:30pm

Support for the Center for Book Arts’ Visual Arts Program is provided, in part, by the New York State Council on the Arts, with the support of Andrew Cuomo and the New York State Legislature, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

The GenderFail Archive Project

On view at the Center for Book Arts External Galleries July 17 through September 26.

The Genderfail Archive Project is a reading room that engages with the slowing down, digesting and reimagining of how archives are shared in public spaces. With the resurgence of small press publishing and artist publishing practices it is important to define and expand the possibilities of the archive. GenderFail Archive Project reading rooms are a response to the lack of imagination and criticality in many reading rooms at intuitions, galleries and other art focused spaces. The main goal of the GenderFail Archive Project is to connect people to zines, art books and artists books that GenderFail founder Be Oakley has collected over many years. The GenderFail Archive highlights contemporary publishing from the perspective of a contemporary artist publisher. 

For our Featured Artist Project at the Center for Books Arts, The GenderFail Archive Project will show its full collection of over 1,000 art books, artist books and zines for the first time. GenderFail will also be showing our GenderFail Archive Project Bookcases, which are collaborative sculptures made with artists that reimagine how books can be displayed in reading room installations. GenderFail will be showing work by artists C.Klockner, Hallie McNeil, Evan Gaibicka, Jordan Loeppky-Kolesnik, Raul de Lara and Grace Whiteside, as well as a new sculpture by Adam Liam Rose. The GenderFail Archive Project has installed reading rooms within various institutions such as MoMA PS1, The International Center of Photography, The Studio Museum of Harlem, EFA Project Space and many others. 

Started in 2015, GenderFail is an imperfect programming and publishing platform that highlights intersectional queer subjectivity. Our projects look at various forms of failure – from personal, public, and political perspectives – as a boundless form of creative potential. GenderFail is fueled by the messiness of collaboration, education, and community to push our goals of failing forward. We have been a part of projects, programming and exhibitions including The Studio Museum in Harlem (Radical Reading Room, 2019), Williams College Museum of Art (Queer Zines, 2019), MoMA PS1 (Past and Future Fictions, 2018), The International Center of Photography (Queering the Collection, 2018), among many others. Our publications can be found in the library collections at the Whitney Museum of American Art, the Museum of Modern Art, the Metropolitan Museum of Art, the Center for Book Arts, Tate Museum Zine Library, among others.

Support for the Center for Book Arts’ Visual Arts Program is provided, in part, by the New York State Council on the Arts, with the support of Andrew Cuomo and the New York State Legislature, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Americans Looking In

On view at the Center for Book Arts Main Gallery October 9 through December 12.

The Americans, by Robert Frank, was a highly influential book in post-war American photography. The photographs were notable for their distanced view of both high and low strata of American society and the book as a whole created a complicated portrait of the period, interpreted as skeptical of contemporary values and evocative of ubiquitous loneliness. 

Both curators of this exhibition have reflected on what it means to be “American.” Having multicultural backgrounds and being raised in the States has given them both moments of confusion and frustration, and has led them to wonder what this country has to do with personal identity. When forming this exhibition, the curators presented themselves, artists, editors, leaders and everyday-people with the question – “What is American culture today, and what does an American look like?”

They ask the viewer to consider the question with them starting through the eyes of the artists in this exhibition, leading to self reflection upon exiting the space.

Curated by Emilie Ahern and Sherri Littlefield

Opening Reception: October 8, 6:30pm

Support for the Center for Book Arts’ Visual Arts Program is provided, in part, by the New York State Council on the Arts, with the support of Andrew Cuomo and the New York State Legislature, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.