Hedi Kyle & Her Influence: 1977-1993

A survey of works influenced by Kyle’s work.

Hedi Kyle has had a profound influence on contemporary book artists since the late 70s. Although devoted to her career as a book conservator, she is widely appreciated for her innovative constructions and unconventional methods for designing, fabricating, and transforming the architecture of the book. Her works have also affected the way readers interact with books by loosening the strict linearity of most book formats and by altering expectations about the content that can be found within.

This exhibition is a survey of works created by artists who have benefited from Ms. Kyle’s uncommon ability to adapt and modify book forms to reveal a refreshing integration of art and technique. Yet each artist has articulated his or her own personal sensibility in their work, as we see their own visual or linguistic wondrous world unfold. All the works in this exhibition in some way challenge established notions about this cultural object that has played such a significant role in our intellectual history. Books have been liberated from conventional expectations, yet they still reflect the intrinsic characteristics of books found throughout history. These books are both old and new at once, wise and naive, disciplined and reasoned, yet all the while enticing us with their sensuous pleasures.

This exhibition is a survey of works created by artists who have benefited from Ms. Kyle’s uncommon ability to adapt and modify book forms to reveal a refreshing integration of art and technique.

Exhibition Checklist:

Siri  Beckman

  • A Small Victory
    (1991) Offset printed monotypes with letterpress printed Baskervill Type on Mohawk Superfine. Handbound, hard case.
  • In Away
    (1992) Monotype illustrations with Italian Old Style type printed letterpress on Rives BFK. Standard hard case, handbound.

Denise  Carbone

  • Absents of Orgasm/Every Woman’s Cry for Sexual Whatever, The
    (1992) Etched book on Rives BFK with vellum condom cover. Double needle sewing – two up with no pack, black silk suture thread.
  • Unsafe Sex Journal Nov/Dec 1991
    (1992) Lambskin condoms, vellum cover, rubber stanp. Tab accordion binding.

MJ  Connors

  • Denominations of Worship
    Offset. Mohawk cover and text papers. Adhesive binding. Interactive: packet or “offerings” are untied, folded open.
  • Evidence of Attendants
    (1991) Offset on Mohawk cover stock. Hand-sewn Concertina. Each comes with a pull-out information card.

Syd  Crow

  • Serious Conflicts
    Wood, leather, glass, and various materials. Hinged coptic-style binding. A sculptural book that can be taken apart.

K. Nelson  Harper

Tacky Churches
(1993) Three-color offset lithography on Gilbert Esse archival paper. Concertina construction bound in cloth covered boards.

Craig  Keller-Anderson

  • Restless
    (1993) Hand lithography on black Arches. Caterpillar stitched on wood boards.

Mary Jane  Kidd

  • Book of the Snake Plant, The
    (1991) Collage, photocopy, and Prismacolor. Accordion fold structure with pop-ups.
  • Pyramids
    (1989) Collage and Prismacolor. Accordion structure with fold-outs.

Kimberly  Knox

  • Bound and Ready
    (1993) Printed offset and bound with wire stitching.
  • Their Nightmare
    (1991) Printed offset with spiral binding.

Hedi  Kyle

  • April Diary
    (1979) Laminations of various oriental and domestic papers, reversed writing, images with watercolor and color pencils. From the collection of Richard Minsky, New York, NY.
  • Beach Bum
    (1982) Mexican barkpaper, vellum, wood, and hand-stitching. Concertina construction. From the collection of Barbara Mauriello, Hoboken, NJ.
  • Big Time Savings
    (1992) Kraft and copy papers, original and photocopied advertising sections, yellow plastic button, paper bead, rubber place-mat covers. Concertina construction with additional sewings.
  • Bird Catch
    (1992) Folded set-up sheets inserted into a concertina construction.
  • Con-Cod
    (1993) Photocopied images on yellow typing paper. Concertina-codex.
  • Dos A Dos
    (1993) Color xerograph folding book. Printed by Booklab in Austin, TX.
  • El Paraiso De La Fantasia
    (1993) Plastic rods, waxed cloth, Tom Leech’s handmade paper, paste boards, dyed linen, color photographs, machine sewing and hole punch. Piano hinge construction.
  • From A to Z
    (1990) Photocopied cover papers, four-color offset printing. Concertina flag construction.
  • Goethe’s Poem
    (1980) Oriental and domestic papers, pressed flowers, stencils, reversed and normal writing. From the collection of Renate Alvarez, Pasadena, CA.
  • Karussell
    (1993) Printed pages, dyed cloth, machine sewing, folded handmade paper extensions. Roundabout construction.
  • Lattice Leaves
    (1990) Oatmeal paper, cut-outs accentuated with cray-pas colors. Concertina construction.
  • Listen to the Sound
    (1982) Twinrocker paper, cloth, cut-outs, stenciled images, watercolor.
  • Lucinda
    (1993) Canson vellum, handwriting in mirror image, rubber stamping. Concertina construction. From the collection of Ursula & Paul Warshol, New York, NY.
  • Morgenroete
    (1991) Japanese paper, cut-outs and stencils. From the collection of J. Menningen, Philadelphia, PA.
  • Northern Liberties Panorama
    (1989) Notebook pages and photographs photocopied on library board. Hand colored. Concertina construction with additional sewings.
  • Path
    (1992) Set-up sheets altered with cut-outs and collages. Concertina construction.
  • Pennant Zero
    (1989) Various handmade and commercial papers. Writing, watercolor, cut-outs. Concertina flag construction. From the collection of J. Menningen, Philadelphia, PA.
  • Petaluma
    (1993) Starched fabric, handwritings with color markers, handmade papers by Winifred Lutz and Tim Barrett, various Japanese handmade papers and board in a stilted construction.
  • Restoration Papers
    (1986) Historical book papers, slotted and laced to pages. Non-adhesive attachment of Barrett paper covers. From the collection of Renate Alvarez, Pasadena, CA.
  • Spun Paper
    (1980) Handmade paper from Nepal, twisted and spun Japanese papers, balsa wood, marbled paper. From the collection of Ursula Warshol, New York, NY.
  • Working Models
    1977-1993. Selection of models in different stages of completion. Some serve to develop ideas, others are used for demonstration purposes in workshops.
  • Yellow Palimpsest
    (1993) Advertising sections, Chinese Joss papers, decals, yellow pad pages. Japanese paper covered boards with a non-adhesive binding.

Karen Lefkowitz

  • Adventures of Charles & Sir
    (1991) Paper
  • As Advertised
    (1991) Mohawk Superfine. Accordion construction.

Matthew Liddle

  • Big Alphabet Accordion
    (1993) Printed with ink stencils. Accordion fold structure bound into paste paper covered boards.
  • Forest Tunnel
    Ink, birch bark, board, and Canson paste paper. Bellows/tunnel construction with hinged cover.

Barbara Mauriello

  • More Gaudy Nights
    (1988) Mixed media; gouache, crayon paintings, gold tooling, and collage with a concertina binding. Housed in a box.

Jeanette McGrath

  • Paper Napkins: After Dinner with Hedi Kyle From the 3-Dimensional Doodle Collection of Jeanette McGrath
    (1993) Pinhole photos, photocopy on copier paper. Leporello binding.

Vanessa Milio

  • as a child
    (1992) Offset lithography on commercial stock and German etching papers. Hedi Kyle’s accordion construction.
  • Choice is Ours, The
    (1992) Woodcrates, acrylic, oils, handstamped type, leather.

Sam Minor II

  • Tacky Churches
    (1993) Three-color offset lithography on Gilbert Esse archival paper. Concertina construction bound in cloth covered boards.

Wilber Schilling

  • Assumed Risk Activity
    (1992) Letterpress on mylar with acrylic printed pages. Concertina construction.
  • Mass-Transit
    Gelatin-silver prints. Handmade cotton paper cover on boards. Concertina/flag book construction.

Andrea Silver

  • Class of ’62
    (1992) Peeled-back yearbook cover revealing original bookboard. Accordion fold of Okawara papers with spiral binding. Images are photocopied onto Okawara.

Julie A.  Snell

  • Finger Book One
    (1993) Tyvek, Gum wrapper, elastic. Continuous concertina with pamphlet sewing.
  • Finger Book Two
    (1993) Paper, board, elastic. Japanese handmade paper. Continuous triangular concertina.

Lori  Spencer

  • Nothing/Abundance
    (1990) Offset lithography on Mohawk Superfine. Accordion construction with sewn-in signatures and removable spine.

Claire  Van Vliet

  • Aunt Sally’s Lament by Margaret Kaufman
    (1988) Letterpress on Fabriano, Barcham Green, Twinrocker and MacGregor handmade papers. Designed by Van Vliet based on a structure developed by Hedi Kyle and made with Linda Wray. Box covered in quilting cloths made by Judi Conant, Guildhall, Vermont.
  • Designating Duet by Sandra McPherson
    (1989) Fabriano Strathmore and MacGregor-Vinzani papers. Concertina construction with Chaika slipped-in-spine. Housed in a box.

Mirah von Wicht

  • The Coffee Bean Book
    (1993) Binders board, paper. Western and walnut dried paper by Tim Barrett.
  • Permanence
    (1992) Tim Barrett’s cover-weight Ingres. One single folio and four sheets folded into rick rack then glued onto a compensation concertina.

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.

Exhibition Views

tan book cover with black photograph of a flag book
Hedi Kyle & Her Influence (1993) CBA
tan inside front cover with black photos of artworks
Hedi Kyle & Her Influence (1993) CBA
checklist
Hedi Kyle & Her Influence (1993) CBA
checklist
Hedi Kyle & Her Influence (1993) CBA
tan inside back cover with black photos of artworks
Hedi Kyle & Her Influence (1993) CBA
tan inside back cover with black photos of artworks
Hedi Kyle & Her Influence (1993) CBA
back cover
Hedi Kyle & Her Influence (1993) CBA
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