SESSIONS
Craft and its Contexts
Jeffrey Abshear, Western Michigan University
From Aldus to Us: Hand Printed Books in Venice
Sara Langworthy, University of Iowa Printing within and without a text
Lance Hidy, Independent Artist, Merrimac, MA Digital Craft
Cross-disciplinary Collaboration
Tatiana Ginsberg (UC Santa Barbara) and Lee Running (Grinnell College),
Folded missives: communication beyond words
Anne Bahde and Michelle Burgess, San Diego State University Revelation and Re-valuation: A Dialogue Between Book Artist and Special Collections Librarian
David Bendernagel (University of Washington), Maggie Booth (Seattle Center for Book Arts), Jeremy Chen (Calvin College), and Lydia Diemer (Grinnell College), We Exist in a Land of Wandering and Lost We are its Explorers: ThePrintmakers Left, the Moving Crew, and the Promise of CollaborativeArtists’ Books
Old Systems, New Media
Megan Berner, Independent Artist, Reno, NV
Daydreaming: How a Book Becomes a Video
Johnny Carrera, Quercus Press, Waltham, MA Pictorial Webster’s and the Artist’s Book as Reference Book
Jessica C. White, University of Iowa My Pathetic Fallacy: Anthropomorphism and Narrative
Artists Books and Pedagogy I
Jody Williams, Minneapolis College of Art and Design
Documenting Time and Place with Collaborative Artists’ Books
Lisa Beth Robinson, East Carolina University Alternative Book Formats
Katherine McCanless Ruffin, Wellesley College Managing Entropy: Strategies for Teaching Letterpress Printing
Risk and Renewal in Letterpress
Betty Bright (Independent Scholar, Minneapolis, MN), Harry Reese (UC Santa Barbara), Inge Bruggeman (Oregon College of Arts and Craft)
Internationalizing the Book Arts
Anna Embree and Steve Miller, University of Alabama
Artist to Artist: The Alabama-Cuba Book Initiative
Barbara Tetenbaum, Oregon College of Arts and Craft 20 Years After the Wall: Hochschule für Grafik und Buchkunst (The Academy of Visual Arts) in Leipzig, Germany 2008
Oto Reifschneider, University of Brasilia, Brasilia, BRAZIL The Oeconomics of Brazilian bibliophily
Meditations on Loss
Diane Fine (SUNY-Plattsburgh) and Mario Laplante (San Francisco State University),
Offering: the Making of an Artist’s Book
Maria Pisano, Memory Press, Plainsboro, NJ Book as Witness: the Artist's Response
Doro Boehme, School of the Art Institute of Chicago Absence, Memory, and Identity in the Book Works of Sophie Calle and Roni Horn
Model Teaching: Artists’ Book Exemplars in the Classroom
Macy Chadwick (Academy of Art University, San Francisco), Julie Chen (Mills College), Betsy Davids (California College of the Arts), Alisa Golden (California College of the Arts), Michael Henninger (California State University, East Bay), Charles Hobson (San Francisco Art Institute), Nance O’Banion (California College of the Arts), Chris Rolik (Academy of Art University, San Francisco), Kathleen Walkup (Mills College)
Extreme Materialist Readings of Medieval Books
Pat Conner, West Virginia University
Understanding the Scribes of the Old English Exeter Book
Elaine Treharne, Florida State University The Architexture of a 12c High Status Manuscript
Cheryl Jacobsen, University of Iowa On Being a Contemporary Scribe Pursuing a Medieval Trade
Martha Rust, New York University John Lacy, 15c Book Artisan and Anchorite
Critique and the Artists Book
Elisabeth Long, University of Chicago
Figuring Absence: Using Theme-based Comparison to Look at Artists’ Books
Michelle Strizever, University of Pennsylvania Reading with ‘Deadd’cakeshum’: The Physical and Digital Versions of Johanna Drucker’s From A to Z
Susan Viguers, University of the Arts Point of View and the Artist’s Book
Museums and Histories
Sheelagh Bevan, Museum of Modern Art, New York, NY
Re-collecting the Multiplicity of Artists’ Books: How We Treat Artists & Photographs at MoMA Library
Jennifer Chisnell, Long Island University ‘A Story in the Act of Understanding Itself:’ Artists' Books as Metafiction
Melissa Tedone, University of Texas Radical Restructuring: The Book at the Intersection of Avant-garde Architecture, Art, and Literature in Revolutionary Russia
The Margins of Marginalia
Margot Ecke (University of Georgia), Laurie Whitehill Chong (Rhode Island School of Design), Jen Bervin (Independent Artist, New York, NY), Jordan Dalton (University of Georgia)
The Renaissance and the Book Arts
Simran Thadani, University of Pennsylvania
The Three-Dimensional Play-Text
Whitney Trettien, Massachusetts Institute of Technology ‘Earth like a changing-wheel’: Poetry Machines in Early Modern Books
Jeffrey Makala, University of South Carolina Connections Between Early Printed Books and Contemporary Book Art
Artists Books and Pedagogy II
Kitty Maryatt, Scripps College
Curators in Training: Practicum on Critical Thinking
Robert Blesse and Kate Govan, University of Nevado-Reno The State of College Book Arts Programs
Daniel Kelm, Garage Annex School, Easthampton, MA The Opportunity for Collaboration between Academic Book Programs and the Rest of Our World
Technologies of Form
Benjamin Gardener, Drake University
A Collection of Moments: Towards a New Vade Mecum
Charles Zarobila, John Carroll University Electrotyping and Book Arts
Gary Frost, University of Iowa The Future of the Print Book in a Context of Screen-based Reading
How Low-Quality Text Debases High-Quality Artists’ Books
Brandon Graham, Karol Shewmaker, and Matthew Aron, Columbia College, Chicago, IL
High Theory
Sarah Hulsey, Massachusetts Institute of Technology
Linguistic Theory and the Book Arts
Manuel Portela, University of Coimbra, Coimbra, PORTUGAL Codex Codes: The Syntax, Semantics, and Pragmatics of Bookscapes
Pei-Ju Wu, University of South Carolina A Book as a Rhizome that Travels: A to Z by Yoshitomo Nara+graf and Voyage by Nadim Karam
The Visual Culture of Books
David Berona, Plymouth State University
Contemporary Woodcut Novels: Telling Stories in Pictures
Julie Melby, Princeton University Between the Biblia Pauperum and the Graphic Novel: A Survey of Block Books, Plate Books, and Books from Stone
Amanda Nelsen, Independent Artist, Boston, MA Garbage Speaks: Materials and Social Conscience at Your Doorstep
Artists’ Books in the Liberal Arts Curriculum
Margaret Pezalla-Granlund (Carleton College), Ruth R. Rogers (Wellesley College), Suzy Taraba (Wesleyan College), Kristi Wermager (Carleton College)
Mediating the Literary Canon
Stacy Erickson, Manchester College
Satisfying Milton’s Readers: Paradise Lost in the Digital Age
Jessica Despain, Southern Illinois University-Edwardsville Hype and the Hyper-archived Nineteenth-Century Book
Kristan Gannaway, Texas Tech University Literacy and Textual Access in Emily Bronte’s Wuthering Heights
Scraps/Archives/Collage
Lisa Kohlmeier, La Sierra University
The Humble Book: The Importance of the Scrapbook in Documenting the Intellectual Life of Regina Anderson Andrews
Michael Chasar, University of Iowa Commonplacing, Clipping, Collage
Sarah McCoy, Drake University The Changing Landscape: Documentation of Current Events and Artists Books
The Content of the Form
Edwin Jager (University of Wisconsin-Osh Kosh) and John Smith (University of Wisconsin-Stevens Point),
Threshold: Content and Character in Artists’ Books
Cristina de Almeida, Western Washington University Mapping the Text: The Artist Book as a Tool for Rhetorical Interpretation
Emily Martin, University of Iowa Format as Content vs. Format as Gimmick
The Performed Book
Mark Mattes, University of Iowa
The Publication of the Blush in the Epistolary Body of Ignatius Sancho
Kate Wilson, New York University The Promptbook: Theatre’s Textual Artifact
Steve Wilson, Texas State University Sales Figures: Jack Kerouac’s The Subterraneans and the Marketplace
The New Old Media
John McVey, Montserrat College of Art
Codex/Code : Book and Procedure at the Center of Telegraphic Reading and Writing
Gregory Prickman, University of Iowa Social Networking and the Books Arts: A Futuristic Pre-History
Yung-Hsing Wu, University of Louisiana-Lafayette Kindling, Reading
