New Book Art: Work from the 2019 Artists in Residence


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


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.

Walt Whitman’s Words: Inspiring Artists Today

On view at the Center for Book Arts Monday through Saturday, 11am till 5pm, October 3 through December 14, 2019.

Portraits of Walt Whitman by Barbara Henry

2019 is the 200th birthday year of Walt Whitman (1819-1892), who is known today as one of the most influential poets of the nineteenth century. In addition to his work as a poet, Whitman is also remembered as a book designer and printer, essayist and journalist. Calling himself “the Bard of Democracy”, Whitman broke the mold in his prolific writings – calling for equality, inclusivity and a more humanist world for all to live in.

Installation view of Walt Whitman’s Words: Inspiring Artists Today at the Center for Book Arts through December 14, 2019. ©Center for Book Arts 2019

The Center for Book Arts is marking this bi-centennial by looking at how Whitman’s writings have influenced contemporary artists working in the book arts. The exhibition follows several themes Whitman focused on in his writings, providing the connective tissue that links these works together. Geography, history, identity and immigration are a few themes that emerge from the works of art on view. Whitman’s fascination with Ancient Egypt, photography as a branding tool, and his notion of the world as he imagined it are all evident in the art on view. These diverse objects range from books, drawings, photographs, sketches, broadsides and a scroll.

Installation view of Walt Whitman’s Words: Inspiring Artists Today at the Center for Book Arts through December 14, 2019. ©Center for Book Arts 2019

Artists Included: Isabel Baraona, Vanessa Cruz, Sasha Chavchavadze, Allen Crawford, Marianne Dages, Devon Damonte, Brian Dettmer, Teresa Drilling, Daphne Fitzpatrick, Evelyn Eller, Sophie Koko Gate, Anne Gilman, Donald Glaister, Sam Gordon, Sheila Goloborotko, Joan C. Gratz, Barbara Henry, Bridget Henry, Meg Hitchcock, Timothy Hull and Paul Mpagi Sepuya, Sam Ita, Saskia Jetten, Stefan Killen, Richard Kostelanetz, Kathy Kuehn, Karen Kunc, Lisa LaBracio, Sophia Le Fraga, Angela Lorenz, Russell Maret, Barry McCallion, Deanna Morse, Mark McMurray, Susan Newmark, Ilse Schreiber-Noll, Leisa ReFalo, Brian Selznick, Clarissa Sligh, Peter Spagnuolo, Elisabeth Tonnard, Walt Whitman, Rutherford Witthus, Marilyn Zornado

Join us for one of these related events:
+ Oct 24Roundtable Discussion with Susan Newmark, Anne Gilman, Sasha Chavchavadze, and curator Deirdre Lawrence @ 6:30pm
+ Nov 4Free Letterpress Workshop with instructor Roni Gross @ 6:30pm
+ Dec 12Photography Discussion with Marianne Dages, Daphne Fitzpatrick, Stefan Killen, and curator Deirdre Lawrence @ 6:30pm

The Traveling Artist: Journals by Lydia Rubio

Wooden box with the word Journey stenciled on it
Miami Geneva (external view of box) by Lydia Rubio, 2000

The Center for Book Arts presents The Traveling Artist: Journals by Lydia Rubio.

This exhibition features artistic documentation of artist Lydia Rubio’s travel narratives across linguistic and geographic landscapes. The works record the artist’s experiences across a variation of calligraphic, drawing and poetic compositions. This exhibition includes multiple series of work including The Genius Loci Book, The Journal of a Trip to the Island, and Travel Journals. Travel Journals are a result of an early appreciation for words and calligraphy.

Her first journal, on view in this exhibition, was about the artist’s return to her homeland of Cuba after nearly 4 decades. Join us to hear Lydia Rubio talk about her life and work on December 5, 2019 at the Center for Book Arts. The exhibition opens on Thursday, October 3 and runs through December 14, 2019.

Miami Geneva, Terre Rouge (one of fourteen drawings) by Lydia Rubio, 2000

Clarissa Sligh: Witnessing Through Artist’s Books

page spread from Reading Dick and Jane with Me by Clarissa Sligh
Reading Dick and Jane With Me by Clarissa Sligh, published by Visual Studies Workshop in 1989.

The Center for Book arts is pleased to present the solo project Witnessing Through Artist’s Books by Clarissa Sligh.

Clarissa Sligh engages with the book format to document, deconstruct and redress the structural oppression witnessed throughout her lifetime. Sourcing from U.S. history and her lived experiences growing up in the Jim Crow South, Sligh’s artist’s books utilize text and photography to explore and interrogate the human condition under our normative societal roles and structures. She collages poetry and prose, photographs and drawings, journal excerpts and visual textures to evoke simultaneous intimacy as both spectator and spectacle.

This exhibition will be on view at 28 w 27 street, NYC from October 3 through December 14, 2019. Sligh will be presenting an artist’s talk at the Center on November 7 at 6:30pm. Please RSVP as space for this lecture is filling up.

My hands holding The White Man’s Bible by Clarissa Sligh, 2016.

Clarissa Sligh is a visual and conceptual artist, lecturer, and essayist based in Asheville, North Carolina. For over 40 years, Sligh has used photography and text with other media to explore cultural, personal and political concepts of memory, history, and place: themes that have roots in her own experiences. When she was 15 years old she became the lead plaintiff in the 1955 school desegregation case in Virginia (Clarissa Thompson et. al. vs. Arlington County School Board). Recent projects based on “transforming hate” (2008–present) include installations and artist books. Sligh has received awards including an International Center of Photography Annual Infinity Award, Anonymous Was a Woman (2001), and National Endowment for the Arts (1988). She has been a New York Foundation Fellow in Artists’ Books (2005) and in Photography (2000 and 1988). Sligh’s works are in public collections including The Museum of Modern Art, New York, the George Eastman House, Rochester, NY, and The Museum of Fine Arts, Houston.

Poetry is not a Luxury


July 19 through September 20, 2019

Homeland Insecurity, Zeina Barakeh 2019

Poetry Is Not a Luxury considers how book arts have contributed to the recording of oppositional subjectivities in the U.S. The exhibition is titled after Audre Lorde’s 1977 essay on the intersections of creativity and activism that were not only essential to her own work but to a diverse group of feminist thinkers at the time. Recognizing that both creative work and activism are driven by subjectivity, Lorde argues that for women poetry is not a luxury but a vital necessity, as it provides a framework through which survival and the desire for change can be articulated, conceptualized, and transformed into meaningful action.

Poetry is Not a Luxury features artists who approach book arts in a similar way, namely as experimental media that foreground subjectivity and lend to intimate aesthetic experiences with the aim of drawing attention to sociopolitical issues. Since the mid twentieth century, artist books, broadsides, mail art, and zines have been essential to artists seeking to bring greater awareness to ongoing marginalization and oppression (e.g. incarceration, gentrification, immigration, and war), arguably due to the widely recognizable and accessible nature of these art forms.

Featured artists:
Aurora De Armendi with Adriana Mendez Rodenas; Zeina Barakeh; Janine Biunno; Ana Paula Cordeiro; Joyce Dallal; Nancy Genn; Gelare Khoshgozaran; Brenda Louie; Nancy Morejon with Ronaldo Estevez Jordan and Marciel Ruiz; Katherine Ng; Miné Okubo; Martha Rosler; Zeinab Saab; Jacqueline Reem Salloum; Patricia Sarrafian Ward; Jana Sim; Sable Elyse Smith; Patricia Tavenner; Christine Wong Yap; and Helen Zughaib.

Opening Reception: July 18, 2019, 6:30pm
Artist & Curator Talk: August 22, 2019 
Book Launch + Reading with Helen Zughaib: September 4, 2019
Poetry Reading with Mizna: September 5, 2019

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 Reverse of Landscape: Catalina De La Cruz

JULY 19 – SEPTEMBER 21, 2019

Installation view of The Reverse of Landscape: Catalina De la Cruz on view at the Center for Book arts July 19 through September 21, 2019.

Through a series of photographic works identified as a “Photochemical Book”, Catalina De La Cruz explores the desert of Chile and Peru as spaces with imposed limitations, in which natural and manmade structures struggle to survive. Through chromatic, graphic, architectural, spatial, and referential inquiries on the landscapes, the artist books–which have been produced using 19th century photochemical printing–are used to interrogate the visual, material, and conceptual narratives within the photographs, to create new visual contemporary poetics.

“I have developed my work from the photographic, specializing in chemical photography from the 19th century, digital photography, its displacement to large-scale videographic support and creating the photochemical book format as sequential work. From these different devices, I explore the discursivity of photography as an image of the real working in an expanded field, addressing issues about the territory and its intervention – occupation. The notion of immersiveness in the work has been the axis, through the scale and the story.”

“He desarrollado mi obra desde lo fotográfico, especializándome en fotografía química del s.XIX, fotografía digital, su desplazamiento al soporte videográfico de gran escala y creando el formato de libro fotoquímico como obra secuencial. Desde estos diferentes dispositivos, exploro la discursividad de la fotografía en tanto imagen de lo real trabajando en un campo expandido, abordando problemáticas sobre el territorio y su intervención – ocupación. La noción de inmersividad en la obra ha sido el eje, por medio de la escala y el relato.”

Artist Talk with Catalina De la Cruz, September 12, 6:30 pm

Catalina De la Cruz (Santiago de Chile, 1979). Master in Visual Arts.

She has done solo, two person and collective exhibitions in Chile, in the National Museum of Fine Arts, Contemporary Art Museum, Espora and Moro Gallery, Pinacoteca de Concepción and Palacio de La Moneda Cultural Center, among others. In addition to exhibitions, presentations, and workshops in Spain, Peru, Brazil, and the United States. Her works are in private collections in Chile, France, and the United States, where there are also two artist’s photochemical books, in the New York Public Library. She has been a beneficiary of the National Art Fund and has collaborated with the Centro de La Imagen in Lima, Peru and the International Photography Festival of Valparaíso, Chile.

For 13 years she has been managing her own photochemical research space in Santiago, Chile, where work production workshops are taught in photochemical processes from the nineteenth century, from a contemporary approach. TEF.


In 2016 she created the project and workshop: “Photochemical Book”, an unpublished editorial format based on precursory photography techniques.

Catalina De la Cruz (Santiago de Chile, 1979). Magíster en Artes Visuales.

Ha realizado exposiciones individuales, bipersonales y colectivas en Chile, en el Museo Nacional de Bellas Artes, Museo de Arte Contemporáneo, Galería Espora y Moro, Pinacoteca de Concepción y Centro cultural Palacio la Moneda, entre otros. Además de exhibiciones, presentaciones y talleres en España, Perú, Brasil y Estados Unidos. Sus obras se encuentran en colecciones privadas en Chile, Francia y Estados Unidos, donde además se encuentran dos libros fotoquímicos de artista, en la New York Public Library. Ha sido becaria por el Fondo Nacional de Arte, y ha colaborado con el Centro de La Imagen en Lima, Perú y el Festival Internacional de Fotografía de Valparaíso, Chile.

Desde hace 13 años dirige su propio espacio de investigación fotoquímica en Santiago, Chile, donde se imparten talleres de producción de obra en procesos fotoquímicos del S.XIX, desde un enfoque contemporáneo. TEF. (

El 2016 crea el proyecto y Taller Libro Fotoquímico, formato editorial inédito a partir de técnicas precursoras de la Fotografía.

Translation by Scott Ridley


JULY 19 – SEPTEMBER 21, 2019

Installation view of Sanctuary at the Center for Book Arts in the Printshop Gallery July 19 through September 21, 2019

Since 1974, the Center for Book Arts has been committed to artistic expression and exploration of the structural and conceptual possibilities of the Book. This year we are reaffirming our commitment to provide opportunities for all to further their creative indulgence—as a site to share narratives; generate new discourses and ideas; and build creative communities bound by collaboration and respect.

The theme of this exhibition is centered in the artistic exploration of Sanctuary; how can the book arts be used as a tool to create and facilitate notions of inclusion and safety? How can the book be used to imagine new possibilities for Sanctuary? Artists delve into the conceptuality and physicality of safe space creation, in conjunction with the theoretical and applied practices of bookmaking.

Artists Talk will be September 19, at 6:30 pm


An Exhibition of Artists’ Books, Prints and Zines with a Social Conscience

April 18- June 29, 2019

Rising Together at the Center for Book Arts, 2019

A traveling exhibit organized by the College Book Art Association

Rising Together showcases the potential of the book arts to engage—through messaging, through critique, through action—and to speak truth to power in an era when such truth is dire. 

The work in Rising Together demonstrates how artist books give activism a visual voice, and can serve as powerful agents in effecting positive social change on issues encompassing social justice, power, politics, the environment and more. 

Rising Together is a traveling book arts exhibition organized by the College Book Art Association and hosted from 2018 – 2021 in conjunction with the Art Center College of Design, Center for Book Arts, Mills College, San Francisco Center for the Book, University of Iowa, University of Puget Sound, and the University of Utah.

Opening Reception: April 18, 2019, 6:30 pm

Curator Talk: May 9, 2019, 6:30 pm – Alison Karasyk will be in conversation with Rising Together’s artists. See more here.


APRIL 18 – JUNE 29, 2019

Governing Vessels by Milcah Bassel, 2018.

The 2018 Workspace Residents will be exhibiting the projects completed during their year-long Residency at the Center.

International Woman of Mystery II: Amru Sani, by Shelly Bahl; Governing Vessels, by Milcah Bassel; Force Field Series, by Charlotte Becket; The Inclining Dial, by Alix Pentecost Farren; Sunny Garden in Blue: Stories from the Caribbean to Brooklyn, by Bundith Phunsombatlert.