Gary Frost: Explorer of Book Structure & Action

Exhibition Checklist

Gary  Frost


“Gary Frost: The Book Binder”
(1978) portrait from life by Lee Goodie, pencil and watercolor on painted canvas, framed

“medieval Idaho binding”
(1997) hand spun fax thread and cord, hand made apper, hand hewn boards, tawed goat, with elk bone folder made by Jim Croft

“Student Guide”
(1997) in Millennial transfer tape binding

binding types
(1988) archival long-stitch; limp vellum; BookLab limited edition binding, for the Book Club of California, 1988, “Isadora Duncan & Gordon Craig, The Prose & Poetry of Action,” by Cynthia Splatt

cut-away models
(1983) Cut-away of wooden board binding with cross section, 1983, 17 x 25.5; Model of lacing paths in wooden board, 13 x 24

Dry Frio Bindery series
Dry Frio Bindery production set: Utopian Ethiopian, Millennial transfer tape, Post-Digital sewn boards bindings; Dry Frio Bindery Post-Digital binding kit

early binding series, 1962 – 1965
Small Town Sketch Book, 12.5 x 16; Spring Flood – Illinois Side, 14 x 21; Spiritual Ethos – Room #20, 14 x 21

examples of drawings
illustration of four openings, 13 x 16 in; illustration of laced strap binding, 13 x 16 in; illustration of collection maintenance book repair, 13 x 16 in; illustration of historical clasps, 13 x 16 in; drawing, pen and ink, diagram of binding anatomy to illustrate a terminology in Spanish; diagram “Relations of North Eastern African binding to Other Structures”

Exploration of Early Binding Structures
(1973) 1973 GBW exhibit: exhibit binding, “Glueless bindings on 5 thongs with oak boards, Japanese paper”, 19 X 27, this was an early attempt to sew a book with endstraps in the place of kettle stitches and to lace on the boards by going under, not over, the board edge; GBW Jouranl, 1973, XI/2, opened to Betsy Eldridge review and illust., pp. 23-2; Drawing showing various lacing paths, 1978, 20 x 28

Future of the Book series
manufactured books, Otabind examples, transfer tape examples; desk-top books, “Three Bookbindings,” Austin, 1993, opened to title page; BookLab shelf replacement copy; book arts, print out of BookLab webSite entrance

limp paper case binding series
plaque showing materials and structure of paper binding, 1979, 75.5 x 19.5; paper binding, 1984, covered in glue sized kozo sheet produced by Tim Barrett 16.5 x 23.5 [this is a paper cover version of the Clarkson limp vellum cover binding]; Italian limp paper cover binding, 1703, 16 x 22.5 [paper covered binding followed vellum work and was structurally abbreviated compared with the earlier work]; conservation rebinding, paper cover [a cased, not laced case, binding using attributes of the historical paper binding]

model of Richenbach binding
(1976) on “Vocabularius Latino-Teutonicus,” 1477, (Newberry Library) [Richenbach was the first binder to sign his work, but definitely not the first to use the false (unsewn) cords seen in this model]

Moses David binding (reproduction)
(1978) from “Hand bookbinding today, an International Art,” San Francisco Museum of Modern Art, 1978

Support for the Center for Book Arts’ visual arts programming 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.

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