NIGEL BEALE NOTA BENE BOOKS

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Claire Van Vliet is the owner of the Janus Press founded in 1955 located, since 1966, in Newark, Vermont. Janus Press has to date produced approximately 100 publications — books, pamphlets, and broadsides- , many of them designed, illustrated, type-set, printed (sometimes on paper made by the artist), and bound by Van Vliet herself  in a well-equipped studio, printshop, bindery of her own design.

Born in Ottawa, Canada, she has lived in the United States since 1947. After graduating with an MFA degree from Claremont Graduate School (1954), Van Vliet traveled in Europe, apprenticing herself for a time as a hand typesetter. During these travels she taught herself etching while working as a craft instructor at the United States European Headquarters in Germany.  For the remainder of the ’50s and early 1960s she taught printmaking, typography and drawing at the Philadelphia Museum School (now The University of the Arts) and worked as a type compositor for John Anderson, first at The Lanston Monotype Company in Philadelphia, and then at his own Pickering Press in New Jersey. In 1965 to ‘66 she was hired by the Art Department of the University of Wisconsin, Madison as a Visiting Lecturer in Printmaking.

Primarily a publisher of first edition poetry (including the work of Seamus Heaney), Van Vliet pioneered the use of colored paper pulps for book illustration, and more recently has developed a variety of distinctive non-adhesive book structures. Museums that collect Van Vliet’s  work include The National Gallery in Washington, DC; the Victoria and Albert Museum, The Library of Congress and the Smithsonian Institute. In addition to her many honors, in 1993 the University of the Arts in Philadelphia named Van Vliet an honorary Doctor of Fine Arts. We met in her studio recently to talk about artist books and a long, outstanding career. Please listen here:

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His December, 1941 portrait of a bulldoggish Winston Churchill, symbolizing Britain’s wartime resolve, brought Karsh international attention.  Among the most widely reproduced portraits in the history of photography, ‘Churchill’ was also one of the first to carry the famous "Karsh of Ottawa" copyright.

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JMV

Born in Los Angeles in 1946, Robert Bringhurst is an award winning Canadian poet, typographer and author. Perhaps best known for  The Elements of Typographic Style – a reference book of typefaces, glyphs and the visual and geometric arrangement of type, he is also a respected translator of poetic works from Haida into English.  He lives on Quadra Island, near Campbell River, B.C.

We met recently in Ottawa to talk about his definition of the book as articulated in The Surface of Meaning, and of typography and the services it ideally offers its readers, including:

Invite the reader into the text

Reveal the tenor and meaning of the text

Clarify the structure and the order of the text

Link the text with other existing elements

Induce a state of energetic repose, which is the ideal condition for reading

Please listen to our conversation here:

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Rosemary Furtak has been librarian at the Walker Art Center in Minneapolis for 25 year. She is co-curator of ‘Text Messages’, an exhibit on artist’s books currently showing (until April 2009) at the Center. We talk here about her early championing of the artist book genre (her definition being: "a book that refuses to behave like a book (like the 35,000 books that sit in the stacks"), the line between books and art, and words and art, and librarians and curators…and how to go about collecting artist books. We talk too about the challenges of cataloguing artist Ed Ruscha’s 26 Gasoline Stations,about the prolific and surprising Dieter Roth, inexpensive materials and Richard Tuttle, and Lawrence Weiner, his Statements and his art making process. The works of these four are highlighted in the exhibition.

Please listen here:

Copyright © 2009 by Nigel Beale. www.nigelbeale.com

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David Carruthers, owner/proprietor of St. Armand Papers in Montreal takes us through the process of how he produces paper that is used in the letterpress 

printing of books. We talk here ( please see bottom of this post) about pure fibre rags,

old jute coffee bags, cover stock, denim  

and blue paper, beaters

vat-like

structures

and machines that take 95% of the moisture out of pulp

and flatten it so that it can been stored in sheets that look and feel like blotting

paper, 

and then treated with substances such as potato starch, clay and/or chalk, depending upon the end use of the paper. We also talk about opacity, smooth laid paper, end leafs, machine grain and bookmarks. 

Subscribe to Nigel Beale’s Biblio File Podcast here.

Please listen here:

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