The Book

Seven artists/different visions organized by Norman B. Colp.

Norman B. Colp, the curator, said of the exhibit: “Traditionally, a book has been a bound volume containing information that is printed on paper. The information, for convince, has been clustered into specific categories. By mutual agreement, these categories have been kept identical from place to place so that one can walk into any library and readily find a specific book. The most difficult problem was locating a volume that was “oversized,” i.e., was physically larger than the rest and therefore couldn’t fit on a shelf with the others.

This exhibit presents to us works that do not fit the conventional idea of books. Yet they have the characteristics of books. They are ‘book art.'”

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 Checklist:

Housework, 1977
Barton Lidice Benes
Rubber stamps on dishtowels.

Leftovers, 1980
Barton Lidice Benes
Rubber stamps on paper bags. Artist’s proof for a limited edition of 3.

Snacks, 1980
Barton Lidice Benes
10 plates with rubber stamping and a plastic fork.

TV Talk, 1980
Barton Lidice Benes
Wooden spool, paper and cotton interfacing with rubber stamps.

Blind Man’s Bluff, 1979
Phyllis Bilick
Black and white photographs (of Tuillerie Gardens, France) on oaktag, double fold with photographs on both sides.

Book on a Stick, 1980
Phyllis Bilick
Wooden dowel spine with folded paper.

Walls, Stairs, Banisters, 1978
Phyllis Bilick
Clothbound accordion book, matted color photographs (of Project Studios 1).

Walls, Stairs, Banisters II, 1978
Phyllis Bilick
Clothbound accordion book, matted color photographs (of Project Studios 1).

Elvis Book and Blue Suede Shoe Box, 1978
Mindell Dubansky
Book–cotton embroidery cover with black and white photographs. Box–blue suede, mother-of-pearl buttons and golden thread.

Iris Album, 1978
Mindell Dubansky
Canson Mi-Tienes paper inside, John Koller paper. Cover watercolor by MD on Roma, Oasis goat skin spine.

Skull of Adam by Stanley Moss, 1979
Mindell Dubansky
Silver and gold thread, woven strips of handmade paper by Douglas Howell, Strathmore charcoal paper.

Water Lily Book (and box), 1978
Mindell Dubansky
Handmade linen paper by Antonia Weil, made from the same cloth as cover, linen binding with cotton embroidery.

Wood engravings — a portfolio, 1978
Mindell Dubansky
Richard de Bas handmade paper cover, Stonehenge inside paper, engravings by MD.

Your Ideal Love Mate – a TV scroll, 1980
Mindell Dubansky
Bookcloth and linen box, decorative paper handles, mylar, mixed media scroll.

April Diary, 1979
Hedi Kyle
Laminations of various oriental and domestic papers, reversed writing, images with watercolor and color pencils. From the collection of Richard Minsky, New York, NY.

Breeze, 1980
Hedi Kyle
Tracing vellum, stencils and cutouts, oriental binding.

Cabbage Book No. 1, 1980
Hedi Kyle
Tracing paper, stencils, cutouts.

Fan Book, 1979
Hedi Kyle
Concertina fold construction, fans folded out of various Japanese papers.

Goethe’s Poem, 1980
Hedi Kyle
Oriental and domestic papers, pressed flowers, stencils, reversed and normal writing. From the collection of Renate Alvarez, Pasadena, CA.

Ulla’s Birthday Book, 1980
Hedi Kyle
Tracing vellum stencils, inserted slips of mylar with red and black writing, oriental binding.

Minsky in London by Richard Minsky, 1980
Richard Minsky
Edited with an introduction by Pamela Moore. Ninety photographs by Richard Minsky; includes 45 RPM record. New York and London. Letterpress.

Empire State Meltdown, 1979
Harvey Dolph Redding
Color Xerox monoprints sewn on rag paper with rubber stamping.

Magnetic Postcard Books, 1980
Harvey Dolph Redding
Color Xerox monoprints, offset litho printing, rubber stamping, heat stamped vinyl with magnet and chain binding.

Meltdown, 1979
Harvey Dolph Redding
(In collaboration with Bruce Schnabel). Color Xerox monoprints on black and white Xerox mounted on rag paper, sewn binding, cover of Nigerian goatskin.

Ne Pas Employer Comme Appariel de Sauvetage, 1980
Harvey Dolph Redding
Color and black and white Xerox on paper and plastic vinyl cover with plastic heat stamped binding.

Probe Detail, 1979
Harvey Dolph Redding
Monoprints from color Xerox, black and white copies and rag paper, collage, rubber stamping, machine sewn.

Scenic View of New York City, 1979
Harvey Dolph Redding
Color Xerox, sewn on rice paper with rubber stamping.

A Bug Book, Pictural Insect Specimens, 1979
Bruce Schnabel
Original gouache paintings color Xeroxed on Wooky Hole paper, dry-mounted on Roma (Fabriano) paper with subtle ink graphics. Title page tooled with black foil with dry-mounted Xerox cartouche. Nigerian goatskin binding, Nigerian goat and reverse Nigerian goat only, damp-scribed. Red silk embroidered headbands.

Guide General de Beaubourg, 1980
Bruce Schnabel
Tooled drawings with gold and colored foils on Roma (Fabriano) paper. Title page is a color Xerox print of stenciled letters. Nigerian goatskin binding, tooled with color foil, reverse Nigerian goatskin onlays tooled with color foils. Silk embroidered headbands.

Lisa, 1979
Bruce Schnabel
A series of 12 original monoprints from color Xerox and black and white Xerox postcards by Harvey Redding, dry-mounted on Roma (Fabriano) paper. Title page tooled with color foil and rubber stamped. Nigerian goatskin binding. Reverse Nigerian goatskin onlay tooled with color foil.

Navaho Blanket Journal I, 1977
Bruce Schnabel
Nigerian goatskin binding; goatskin inlay and onlay, embroidered silk headbands. Collection of Susan Jacobs.

Notes from the Etymologist’s Journal, III, 1979
Bruce Schnabel
Original gouache paintings and collage color Xeroxed on T. H. Saunders Wooky Hole mouldmade paper. Title page tooled with black foil. Binding is Nigerian goatskin with dyed Nigerian goatskin onlay, blind tooled. Glass seed beads sewn through perforations in leather-covered boards. Turquoise silk embroidered headbands.

Still Life Box, 1976
Bruce Schnabel
Nigerian goatskin folding box, onlay/inlay tinted and dyed Nigerian goatskin cover designed by Harvey Redding. Lined with Roma (Fabriano) paper.

Exhibition Views

An offset printed broadside with 8 sections of black text
An offset printed broadside, advertising an exhibition of works by book artists. The broadside is printed in black and gray, with the lines "The Book: Seven Artists" and "The Book: Different Visions" alternatingly printed in seven lines, grouped into seven paragraphs. The colophon lists the dates and location of the exhibition: "September 15-October 18, 1980, Newark Public Library, 5 Washington Street, Newark, NJ, 3rd Floor, Printing Hall." One of Two.
An offset printed broadside with 8 sections of black text
An offset printed broadside, advertising an exhibition of works by book artists. The broadside is printed in black and gray, with the lines "The Book: Seven Artists" and "The Book: Different Visions" alternatingly printed in seven lines, grouped into seven paragraphs. The colophon lists the dates and location of the exhibition: "September 15-October 18, 1980, Newark Public Library, 5 Washington Street, Newark, NJ, 3rd Floor, Printing Hall." Two of Two.
1/2
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