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JAB31 – JAB35 on this page, keep scrolling down.


JAB31, spring 2012, offset printed on the Heidelberg GTO by Jenna Rodriguez and Claire Sammons under the direction of Brad Freeman at the Center for Book and Paper Arts / Columbia College Chicago. Rodriguez and Sammons were Print Production Fellows and graduate students in the MFA Book and Paper program at CCC. The paper is Mohawk Superfine.

• • • • •

Table of Contents

• Cover

– Mary Jo Pauly & JAB Design Group

• Inside Cover


• Collaboration, Cooperation & Shared Goals–An Anecdote

– Brad Freeman

• New York Art Book Fair:

Some Reflections on the Fair and the Field

– Thomas Hvid Kromann

• The Mailbox is in the Library:

Reading Under Judith Hoffberg's Umbrella

– Anthony Leslie

• Artists' Books in Australia

– Sarah Bodman

• Print Production Fellows in Action + Dick Higgens's Copy of the Spoerri Book

– JAB Design Group

• Anecdotology, Annotationism and Arborescence

– Alastair Brotchie

• Profoundly Wunderbar

– Karol Shewmaker

• Mindful Navigation

– Brandon Graham

• Can Documentary Photography Save Cities from Urban Blight?

– Claire Sammons and Jenna Rodriguez

• Consuming Destruction

– Sarah Bassnett

• The Artist's Book as Artist Book:

A Look into the Artist's Library

– Albert Coers

• Idea Designed Book

– M. Kasper

• Books Received

– Claire Sammons

• Artists' projects by Aaron Cohick, & this is where . . . and Kevin Riordan, Thingcrooklyexineverypasturesixdixlikencehimaroundhersthemaggerbykinkinkankanwithdownmindlookingated

• • • • •


Collaboration, Cooperation & Shared Goals

(about the making of the cover)


excerpt from the intro by BF:

A successful collaboration hinges on the positive and sympathetic relationship between artists and is exemplified by mutual respect and trust in each other’s ideas and abilities. The final object will not be the work of one or the other artist, but something new that neither alone would have created. The making of the cover for this JAB was a spontaneous and unexpected collaboration between Mary Jo Pauly (MJP) and myself. Over the past decade or so MJP has been mailing small packages to me jammed (but tidy) with cultural artifacts, photos, and her writing. We share an ironic and dark sense of humor that also includes the light and silly and the items she sends always, somehow, comment on the condition of the world—and since she’s from Minnesota, often the Midwest. A couple of months ago one of her gatherings arrived—the envelope bearing her familiar, tiny, and tightly composed writing, not just the regular address and return address but also little notes, the beginning of the communication, the material and message overflowing on to the outside of the envelope. Inside was a motley collection of stuff including a torn fragment of paper with her “Summer 1967” text and a photo of Skipper, her mom’s pet poodle whose adventures MJP had told me about.4 Soon after receiving this package and needing a cover for JAB31 I called her with a proposition to join “Summer 1967” and the photo of Skipper, happily incongruous, as the main elements for this cover. And, thinking of Skipper, I told her that I was thinking vaguely about rhinestones, maybe as part of the JAB31 title on the cover. She immediately said she could probably find some old rhinestone-enhanced dog collars stashed in a closet and that she could come up with a design. She did. Initially I thought the “JAB31” she created on the collars was too subdued as compared to the bold, graphic quality on previous covers and told her so. She said she liked subtle and I thought about the idea of the autonomy of the artist, and thus this spectacular and surprising cover.


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Mary Jo Pauly & JAB Design Group

JAB31 cover


Jenna Rodriguez & Claire Sammons–Print Production Fellows Extraordinaire

printing JAB31 cover, Feb. 28, 2012, 08:06:27

same day


inside back cover JAB31


Kevin Riordan



page 2–3


page 16–17


page 26–27, Dick Higgins' copy of Spoerri's Anecdoted Topography of Chance


JAB32, fall 2012, the Portugal JAB, offset printed on the Heidelberg GTO by Jenna Rodriguez, Claire Sammons, and Mirabelle Jones under the supervision of Brad Freeman at the Center for Book and Paper, Columbia College Chicago. The paper is Mohawk Superfine.

• • • • •

In JAB32 guest editors Catarina Figueirdo Cardoso and Isabel Baraona have assembled essays written expressly for JAB by the current best and most active Portuguese scholars, writers, artists, and publishers. These essays trace the history, ideas, people, and works that define Portuguese experimental publishing, art, and poetry from the latter half of the twentieth century up to now.
Experimental work is often defined, at least partially, as being in opposition to the larger cultural milieu. In the 1950s, 1960s and up to the early 1970s much of the innovative art and writing being produced in Portugal formed positions which contrasted the autocratic Estado Novo that had ruled the country and its far flung colonies for forty years. Some of this work, for instance the magazine KWY which is written about in these pages, was produced by artists who were in exile due to the repressive political and cultural conditions at home. These artists and writers actively engaged with the larger international art and poetry scenes which espoused ideas of cultural criticism and individual freedom that would not have been welcomed or sanctioned by the Estado Novo. Since the Carnation Revolution of 1974 the Portuguese cultural scene, in terms of new work that gives voice to a more diverse community of ideas, has grown and continues to flourish. –BF

• • • • •

Table of Contents

• Cover       

– Isabel Baraona

• JAB32: The Portugal JAB

– Brad Freeman

• In Portugal: Authors’ Editions, Small Presses, Independent Publishers, and Book Artists
– Catarina Figueiredo Cardoso and Isabel Baraona

• Artists' Books Not Found: An Absence in Portuguese Art Theory But Not in Portuguese Art Practice

– Catarina Figueiredo Cardoso and Isabel Baraona

• Visuality and Material Expressiveness in Portuguese Experimental Poetry
– Rui Torres

• Words and Painting Exchange Roles : Concretism, Experimentalism, and Fine Arts in Portugal                 – Eduardo Paz Barroso

• Alternativa Zero: The Memory of Being Contemporary in Portugal
– Eduardo Paz Barroso

• A Bibliography of Portuguese Experimental Poetry
– Rui Torres and Manuel Portela

• Portuguese Comics and Artists' Books

– Pedro Moura

• FRENESI: A Publisher of Artists’ Books                    
– Catarina Figueiredo Cardoso

• The Artists' Books Collection of the Calouste Gulbenkina Foundation Art Library
– Ana Barata

• The Library of the Serralves Foundation                   
– Sonia Oliveira

• INC.: Livros e Edições de Autor

– Filipa Valladares & Paulo Catrica

• Oficina do Cego
– Isabel Baraona

• Books Received
– Claire Sammons

• Artist’s book We Be by Isabel Baraona

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Isabel Baraona

JAB32 cover, 2012


André Lemos. Even Gravediggers Read Playboy Lisbon: Opuntia Books, 2006.

cover (left); page four (right), 8.3 × 5.8 in.

excerpt from "Portuguese Comics and Artists' Books" by Pedro Moura

 . . . To be as clear as possible, I am not claiming that comic books or graphic novels are artist’s books, nor am I claiming that some comic books are artists’ books, but I am claiming that the analytical and theoretical tools developed within comics scholarship and artist’s books scholarship share many elements and venues of inquiry, as well as that some objects may fall into a mixed category. In the present essay, I want to zero in on three specific instances of published objects that dovetail into that overlap of comic books/artists’ books. I believe that to see beyond the usual suspects, as well as to put aside more comfortable and expected categories, we can read some objects through both perspectives in illuminating ways, to mutual benefit.

Ana Hatherly-RevolutionDrawing.png

Ana Hatherly, Drawing (Revolution), 1975
India ink on paper, 27.2 × 25.4 in.
Fundação de Serralves - Museu de Arte
Contemporânea, Porto
Photography by Filipe Braga


"Words and Painting Exchange Roles:

        Concretism, Experimentalism, and Fine Arts in Portugal"              Eduardo Paz Barroso



"Alternativa Zero: The Memory of Being Contemporary in Portugal"

Eduardo Paz Barroso

Inside back_JAB32_5584.jpg

inside back cover JAB32

with Isabel Baraona's artist book We be and envelope


Isabel Baraona, We be, 2012


Isabel Baraona, We be, 2012


JAB33, spring 2013, 56 pages


Real printing by real women:
Jenna Rodriguez (Print Production Fellow) printing on the Heidelberg GTO, and on a Uni-1 Vandercook at the Center for Book and Paper Arts / Columbia College Chicago.

JAB33 was offset printed on the Heidelberg GTO 52 (one color) at the Center for Book and Paper Arts, Columbia College Chicago by Brad Freeman, Kate Morgan, Jenna Rodriguez, and Claire Sammons in March, 2013. The film was imageset at CBPA. Design by BF with commentary by Morgan and Sammons. The paper is Mohawk Superfine. The fonts are Stymie and Ehrhardt. Morgan, Rodriguez, and Sammons are Print Production Fellows and graduate students in the Interdisciplinary Arts MFA in Book and Paper at CCC.


• • • • •

Table of Contents

• JAB33  

– Brad Freeman

• Books Received  

– Kate Morgan & Claire Sammons

• Stochastic Poetics  

– Levi Sherman
• Immersion: a Conversation
– Tate Shaw with Emily McVarish, Jody Zellen, & Janet Zweig
• Interview with Kyle Schlesinger  

– M. Scott Craig   

• Interview with Aaron Cohick  

– Kyle Schlesinger  

• Interview with Phil Gallo  

– Kyle Schlesinger
• This is Not a Book: Melting Across Bounds  
– Gretchen E. Henderson
• What Is a Digital Artist Book Anyway?
– Alexander Mouton   

• The Shell: Incorporating Sound-Art Practices within Book Art
– Isobel Anderson   

• In a Shifting Landscape: Uncharted Territory
– Megan Berner
• Alberto Casiraghy & Edizioni Pulcinoelefante
– Karen Guancione

• Alberto Casiraghy: Thirty years of the Pulcinoelefante press    
– Elena Bertozzi

• Artists’ Books In an Argentine Prison:
The Possibility of Existing in a Different Way
– Natalia Silberleib   

• South Korean Adventure
– Susan Viguers

• Karol & Brandon at Blackie's

• The Power of Amazon Compels You!
– Karol Shewmaker

ROOM [an inserted artists' book]
– Karol Shewmaker & Brandon Graham

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JAB33 cover

photo–Brad Freeman, PPF–Jenna Rodriguez


inside front cover + TOC, JAB33

Back cover_JAB33.jpg

back cover, JAB33

JAB33_pages 2-3.jpg

page 2-3, JAB33


ROOM, inserted artists' book in JAB33

conceived and edited by Karol Shewmaker and Brandon Graham


JAB34 (fall, 2013, 48 pages) was offset printed on the Heidelberg GTO (eine farben) at the Center for Book and Paper, Columbia College Chicago in July, August, and September 2013. Kate Morgan, Jenna Rodriguez, and Brad Freeman printed the cover, text, and the inserted artist book by Paweł Jarodzki titled ART BOOKOVSKY.

The paper is Mohawk Superfine Ultrawhite smooth.

Body type is Harriet by Okay Type Foundry, Chicago.

Titles are Cholla Sans by Emigre.

Mast head/headers/page numbers are Stymie.

The poster of Jarosław Kozłowski’s Language/Język and Luiza Nader’s essay “Language, Reality, Irony: the Art Books of Jarosław Kozłowski” was printed at Jet in Downer’s Grove, Illinois.

The cover photo and design are by Maryna Tomaszewska.

The inside front cover design is by Rene Wawrzkiewicz.
All other design is by JAB AUTHORITY.


• • • • •

Maryna Tomaszewska guest edited JAB34 under the theme of independent publication arts in Poland. Tomaszewska is an artist who earned a PhD from the Warsaw Academy of Fine Arts where she is an assistant professor in the New Media Faculty. Among her many art projects she is also the founder, editor-in-chief, and publisher of the Worst Magazine Ever, which is one of the best current magazines.
The importance of understanding the historical context when examining a particular culture is crucial. World War II had a catastrophic effect on Poland and the Polish people with simultaneous invasions by Nazi Germany and the Soviet Union. Adolf Hitler was determined to annihilate the Polish intelligentsia and culture and enslave the rest of the population. The Soviets had a similar idea. Most of the Nazi death camps operated in Poland where ninety percent of the Jewish population were murdered, and the infrastructure of the country was basically destroyed by the end of the war. After the Soviets pushed the German army out of Poland they immediately set up a Communist government, even though Communists were a very small minority of the general population. The Communists stayed in power until 1989 when Poland finally became a republic again and despite the years of brutal repression Polish culture was not destroyed.

• • • • •

Table of Contents


• Interview with Maryna Tomaszewska
– Brad Freeman

• Publishing Subversion
– Piotr Rypson

• Interview with Paweł Jarodzki
– Maryna Tomaszewska

– Małgorzata Miśniakiewicz

• The Beauty of Statistical Errors:
Art books and self-publishing in the Polish book market
– Szymon Żydek

Miraż (Mirage), page spread
– Sebastian Cichocki and Łukasz Jastrubczak

• Text as a Tool of Dissent in the Work of Andrzej Partum
– Małgorzata Dawidek Gryglicka

• Fags Behind the Iron Curtain
– Karol Radziszewski

• Self Publishing as Emancipation
– Agata Szydłowska

– reviewed by: Isabel Baraona, Kathleen Boone, and Kate Morgan

• Paweł Jarodzki’s artist’s book ART BOOKOVSKY is inserted on page 44 of JAB34.

• Jarosław Kozłowski’s Language/Język (1972) is reproduced on the big inserted sheet on the inside cover of this JAB. Luiza Nader wrote the essay “Language, Reality, Irony: the Art Books of Jarosław Kozłowski” which appears on the verso of this sheet.

• The cover photo and design are by Maryna Tomaszewska.

• The inside front cover design is by Rene Wawrzkiewicz.

• JAB34 design - Brad Freeman

• • • • •

Piotr Rypson
excerpt from his essay “Publishing Subversion"

Publishing outside of the mainstream is present in numerous countries. There are, however, some peculiar moments in Polish history that place cultural and political independent publications in the very center of cultural activity in the 20th century.
At the end of the eighteenth century Poland was partitioned between three other countries—the Kingdom of Prussia, the Russian Empire, and the Habsburg Empire. During this time Polish writers and political activists continued to create culture and its dissemination with the help of émigré or illegal publishing. Books were smuggled through Prussian and Russian borders from one part of Polish territory to another. Special small formats in sixteen page signatures were produced to make book and pamphlet smuggling easier. Thus, throughout the 19th century and up to independence in 1918 the book or magazine were the basic containers and disseminating vehicles of national and cultural tradition.
When Poland regained its independence in 1918, avant-garde tendencies in art and literature, earlier suppressed by the turmoil of war, came to light almost immediately.

• • • • •

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Maryna Tomaszewska, JAB34 cover


Maryna Tomaszewska

various issues of Worst Magazine Ever


Paweł Jarodzki, Art Bookovsky, 2013

page 2-3


Paweł Jarodzki, Art Bookovsky, 2013

page 4-5


Piotr Rypson, "Publishing Subversion"


Piotr Rypson, "Publishing Subversion"


Karol Radziszewski, "Fags Behind the Iron Curtain"


JAB35, spring 2014, including six artists’ books, was offset printed on the Heidelberg GTO by Brad Freeman, Heather Buechler, and Levi Sherman at the Center for Book and Paper Arts, Columbia College Chicago. Buechler and Sherman are Print Production Fellows and graduate students in the Interdisciplinary Book and Paper MFA Program, Columbia College Chicago.
This typeface is Harriet—designed by Jackson Cavanaugh, Okay Type Foundry in Chicago. The titles and captions are Cholla, designed by Sibylle Hagmann and distributed by Emigre. The paper is Mohawk Superfine ultrawhite smooth, 28 lb. writing & 80 lb. cover.
Jen Kornder’s CELEBRITY FACIAL was printed in duotone—PMS 032 and 021 as well as PMS 5463 and black. SWITCHING PLACES was also printed in duotone—PMS 7531 and black. Isabel Baraona’s book was printed in tritone—PMS 7417, 2935, 101, with spot black for the scans of the letterpress cuts. Everything else was printed in CMYK or just black. The envelope design was a collaboration among HR Buechler, Levi Sherman, and Brad Freeman—letterpress printed (wood & polymer) by HB and LS at the CBPA.

• • • • •

Table of Contents

• Wire Dancers

– Philip Cabau

• An Artwork Shaped Like a Book

A Book Shaped Like a Work of Art
– Mário Moura

• Cover to Cover: A Report on the Biennial Conference of the College Book Art Association 2014
– Samuel Teixeira

• Booktrekking Through the Golden Age of Artists' Books–and Beyond
– Thomas Hvid Kromann

• Books Received
– Heather Buechler
– Levi Sherman
– Shelly Carter

• Jane & John Doe
– James Prez

• Artists' Books
– Isabel Baraona
– H.R. Buechler
– Jennifer Kornder
– Marlene MacCallum, Lisa Moore, Jessica Grant, and David Morrish
– Elham Shafei
– Levi Sherman

JAB35 design - BF

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HR Buechler, Levi Sherman & Brad Freeman

JAB35 envelope


Philip Cabau, "Wire Dancers"

Isabel Baraona, JAB resident artist

Center for Book and Paper Arts / Columbia College Chicago


Philip Cabau, "Wire Dancers"

H.R. Buechler (L) and Levi Sherman (R) – Print Production Fellows


Artists' Books included in JAB35

Jennifer Kornder, Celebrity Facial

Isabel Baraona, untitled

Elham Shafei, Elham (Inspiration)

Levi Sherman, Various Effects of Coffee on the Body


Marlene MacCallum, Switching Places

Lisa Moore, Cities and the Art of Narrative, and Haloes

Jessica Grant, The Great Indoors

David Morrish, Ephemeral


Marlene MacCallum, Switching Places

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