Podcasts about artists books

Professor Jennifer Jenkins, Director of the Duke Center for the Study of the Public Domain at Duke University, joins WGN Radio's Dave Plier, filling in for Bob Sirott, to talk about public domain works and the films, music and books that enter free use on January 1, 2024 including Disney's Mickey Mouse from ‘Steamboat Willie'.

Professor Jennifer Jenkins, Director of the Duke Center for the Study of the Public Domain at Duke University, joins WGN Radio's Dave Plier, filling in for Bob Sirott, to talk about public domain works and the films, music and books that enter free use on January 1, 2024 including Disney's Mickey Mouse from ‘Steamboat Willie'.

On February 11, 2021, the Library of Congress announced they had received a private donation, known as the Aramont Library, containing rare books by important authors and artists. In addition, the Aramont Foundation donated a $1 million endowment to fund virtual public programming beginning in 2021.The Aramont Library began in the early 1980s and contains 1,700 volumes, comprised of literary first editions, illustrated books, exhibition bindings, finely bound author collections, and books by some of the most influential artists of the 19thand 20th centuries. It also includes rich examples from the livre d'artist movement of the 20th century.In this episode, I interview Gordon Hollis, owner of Golden Legend Inc. and curator of the Aramont Library.Links for this episode:The Aramont Library at the Library of CongressGordon Hollis: Golden Legend Inc.Gordon compiled a list of reference works related to the French illustrated book, the livre d'artiste: “There are two general categories for these reference works. The first is a bibliography that lists selected important books in the field.”The Art of the French illustrated book 1700-1914. Two vols.  Gordon N. Ray, 1982The Artist & the book 1860-1960 in Western Europe and the United States. Eleanor M. Garvey. Boston: Museum of Fine Arts and Harvard College, 1961 The Artist and the Book in France.  The 20th Century Livre d'artiste.  W.J. Strachan: NY: Wittenborn, 1969A Century of Artists Books. Riva Castleman.1995 The Arts of the French Book 1900-1965. Eleanor Garvey & Peter A. Wick.  Dallas: SMU Press, 1967 Les peintres et le Livre 1867-1957. Geneva: Nicolas Rauch, 1957“Secondly, many artists have a catalog raisonné (or critical catalog) compiled, which is a comprehensive, annotated listing of all the known artwork either in a particular medium or all media. For example, I use the following. These comprehensive catalogs are published for the illustrated books of Miro, Matisse, Braque, Bonnard, and dozens of other artists.”Pablo Picasso the Illustrated Book catalogue raisonné: Sebastian Goeppert, Herma Goeppert-Frank, et all.  Geneva: Patrick Cramer, 1983Picasso as a book artist. Abraham Horodisch. London: Faber & Faber, 1962  Support the show (https://paypal.me/TheBookshopPodcast?locale.x=en_US)

Anyone can make an artist's book! Claire Brach teaches simple yet elegant techniques for combining papers, boards, and ephemera into bound art. She encourages her students to bring maps, papers collected on holidays, lightweight fabrics, magazine images, in fact almost anything to incorporate into their books. Claire is providing threads, boards, a range of papers and other elements for her students to use and share. Listen to Claire describing what you can expect in her 3-day workshop at Arts Muster this October, 2019. --- Send in a voice message: https://anchor.fm/arts-muster-australia/message

Lecture 631 (10 June 2019) Full title: "Despite Hostile Terrain: Witness to Racism in the Artists’ Books of Primrose Press"

Karen Ruane: Contemporary Hand Embroidery & Connections With Cloth Karen Ruane is our guest today on the Stitchery Stories embroidery podcast. Karen shares her life as a contemporary hand embroidery artist who specialises in teaching and building supportive communities via online embroidery courses. Listen as Karen shares her embroidery journey from Cross Stitch, through leisure classes and onto a degree when her children had flown the nest. Karen's main focus is teaching through her online embroidery courses, as well as some limited workshops in London. A key element of her online embroidery classes is the duration and levels of personal interaction, which helps build a very engaged and supportive online community with her students. Susan Weeks chats with Karen about: Artists Books created to store, display and protect small embroidery samples The challenge of keeping up with your students when running longer term workshops The logistics of running online embroidery workshops Building strong community support in an online group Making friends for life online AND meeting up In Real Life From one Cross Stitch kit... Look at what's happened! In-depth research into the role of the family and motherhood and the relationship with cloth Using her embroidery as a way of staying connected with her grandmas and kids Being inspired by her students and feeling connected to them through embroidery Loving hand embroidery and embellishments How many wraps of the needle to make a bullion knot??? The temptation to hide mistakes and the pressure to be perfect on social media The value of showing mistakes as part of the online embroidery courses so students gain valuable learning Allowing your personality to shine through video and students having the feeling of being in the room too, in that moment. The massive elephant in the room.... The self imposed pressure of feeding your blog on a daily basis For this episode... View Show Notes, Links & Photographs at https://www.stitcherystories.com/karenruane Follow the Stitchery Stories Instagram channel at: https://www.instagram.com/stitcherystories_podcast/ Visit: http://karenannruane.typepad.com/karen_ruane/ Look: https://www.instagram.com/karenruane/ Like: https://www.facebook.com/karenruaneembroidery/ Learn: http:http://karenruane.bigcartel.com/product/create-and-embellish Learn: http://karenruane.bigcartel.com/product/artist-books-2-month-subscription  

On November 2013 Emily Carr University Library, READ Books and Unit/Pitt Projects brought Arnaud Desjardin to Vancouver. During his residency he worked in the library and presented an artist talk, led a workshop at READ, exhibited at Unit/Pitt Projects and launched his "Book on Books on Artists’ Books" at Satellite Gallery. Desjardin is a French artist, curator and publisher currently based in London. He describes his ongoing publication project The Everyday Press as a “channel for collaborations with artists, curators, writers and academics to produce acts of publication to be considered as art works.

Richard Minsky is a celebrated American book artist,  bookbinder and scholar who at age 13 got his first printing press. In 1968, he graduated cum laude in economics from Brooklyn College, was then awarded a fellowship at Brown University, got his Master's degree in economics, and then pursued a Ph.D. at The New School for Social Research;  two years later he chucked it all for bookbinding, art and music. He studied bookbinding under master bookbinder Daniel Gibson Knowlton  In 1974, Minsky founded the Center for Book Arts in New York, an organization dedicated to interpreting the book as an art object using traditional book arts practices. I met with Richard and his graphic novelist partner Barbara Slate at their house in the Hudson Valley for libation and conversation. My objective was to pry artists books apart from these traditional book arts moorings. Listen to how successful I was. Image: Richard Minsky twirling The Philosophy of Umbrellas by Robert Louis Stevenson.

Katie Galuska, a master’s student in art education and Center for Regional Studies and Center for Southwest Research Preservation fellow discusses “Artists’ Books and Preservation.” She is introduced by Claire-Lise Benaud, associate director of the Center for Southwest Research.

Philip Zimmermann has been making artists’ books under the imprint Spaceheater Editions since 1979 and making books since 1974. He now teaches at the University of Arizona but taught for 24 years at Purchase College, State University of New York. His work may be found in The Joan Flasch Artist Book Archive at the School of the Art Institute of Chicago, the Special Collection at Yale University, The Fogg Museum at Harvard. The Museum of Modern Art, the Victoria & Albert Museum and shown and collected by many other institutions and libraries. He is the author of Options for Color Separation, High Tension, Nature Abhors and Shelter, among many other books. He has been the recipient of National Endowment for the Arts Individual Fellowship, two New York Foundation for the Arts Fellowships, a Lila Auchincloss Foundation Fellowship and a Mid-Atlantic Individual Artist Fellowship through the NEA.