JAB46-JAB47/48 | Jabartistsbooks

JAB46 – JAB47/48 on this page, keep scrolling down.

JAB46

JAB46, fall 2019, is a special issue–a history/homage catalog for two exhibitions at Columbia College Chicago for Anchor Graphics and the Center for Book and Paper Arts in the fall of 2019. Thanks to Duncan MacKenzie, Chair Art & Art History, for suggesting this history/homage catalog and for his continued support of JAB's mission.

• • • • •

LET’S DO IT!
THE CENTER FOR BOOK AND PAPER ARTS:

A HISTORY
by Jessica Cochran
(excerpt)

It has been commonly accepted that today’s field of artists’ books has a discursive legacy. As Johanna Drucker states in her book The Century of Artists’ Books.

If all the elements or activities which contribute to artists’ books as a field are described what emerges is a space made by their intersection, one which is a zone of activity, rather than a category into which to place works by evaluating whether they meet certain rigid criteria. There are many of these activities: fine printing, independent publishing, the craft tradition of book arts, politically motivated art activity and activist production, performance of both traditional and experimental varieties, concrete poetry, experimental music, computer and electronic arts, and last but not least, the tradition of the illustrated book, the livre d’artiste. (1)

In many ways, the Center for Book and Paper Arts began squarely inside of this “space” and at this “intersection,” with its roots in two distinct arts organizations in Chicago. First, Paper Press, (2) which facilitated hand papermaking workshops and exhibits; and second, Artists Book Works, (3) which served a growing book art community through programs in letterpress, binding, and conservation. But, the new entity into which these organizations eventually merged in 1994, the Center for Book and Paper Arts at Columbia College Chicago, was different. While it hosted events, workshops, and exhibitions for a community audience, it also offered something else: an M.F.A. degree. It was tendered as part of the Interdisciplinary Arts Department, home to an idiosyncratic curriculum which was a disciplinary confluence of visual, sound, movement, literary, and dramatic arts. At Columbia College Chicago until 2017, the Center for Book and Paper Arts fostered and featured book(ish) production described as chancy, non-traditional, and, according to one journalist, “hip.” (4) At times the intermedia meshing wasn’t always natural. As alumna Brandon Graham notes in this issue of JAB, “ . . . after spending some time in the program I understood that during the years I attended interdisciplinary was primarily defined as a book displayed as a projection or video.” This, he suggests was also due to a “general interest in/panic about what the future of the book might be in an increasingly digital world.” (5)

Endnotes

1. Johanna Drucker, The Century of Artists’ Books (New York: Granary Books, 2004): 2.
2. Paper Press was founded 1980, in Evanston, by Marilyn Sward, Sherry Healy, and Linda Sorkin Eisenberg.
3. Artists Book Works was founded 1982, in Chicago, by Barbara Lazarus Metz and Robert Loescher.
4. Kristen Brooke Schleifer, “A Closer Cook,” Chicago Artist News, October 1997, 4.
5. Brandon Graham, "In the Beginning was the Word"; and also "Image, Production, and an Election, Journal of Artists’ Books 46" (September 2019):XX.

• • • • •

When Does a Life’s Work Begin?
The History of Anchor Graphics,
a Not-for-Profit Fine Art Print Shop

by David Jones

(excerpt)

In 2015 the Anchor Graphics logo was unceremoniously scraped off the glass door of our professional print shop at Columbia College Chicago, signaling the end of a twenty-five year journey.
But let’s go back to the beginning of Anchor Graphics. When did the seeds get planted? Who were the people who inspired me to set out in this particular direction? While Anchor Graphics became operational in 1990, there were moments when seeds of the idea were germinated and years of tending that gave the idea focus and growth. How far back does one go to acknowledge the seemingly insignificant events that laid the foundation for one’s life?
( . . . )
After moving the lithography press, stones, rollers, and supplies, and building tables and setting up the shop, we realized quite quickly that we needed an etching press to make our shop more robust. I remembered a friend mentioning there was an artist who had an etching press she wanted to sell. I’d forgotten her name and whether the press was even available, but I remembered the town-- Marilyn and I had honeymooned near there in 1980. I called directory assistance in Eureka Springs, Arkansas and asked the operator if she knew a woman who had a studio with a large etching press in it. “Why yes” she said. “Here’s her number.” I called and the etching press was still for sale and hadn’t been used in a while. We agreed to terms to purchase the press, the large hotplate, and other equipment, to pick it all up and get it to Chicago. It was an American French Tool, one of the finest etching presses made, with a 40” × 70” press bed, and it weighed over 3000 lbs. It was in a third floor walkup studio space. The only way to remove it was by crane. We fundraised by calling friends and borrowing money from relatives. Roy Tijerina (who was used to moving and transporting heavy large sculptures) and I rented a truck and headed to Eureka Springs to pick up the press. Without Roy’s help that press would still be in Arkansas. We were able to find a crane operator who could move the press, but we would have to disassemble it for lifting. And, the press needed to come out of a third story studio which was located on the side of a steep hill. Plus we had to get the press out by Sunday, which was Easter, since a parade was scheduled to proceed through town, so we needed to be either off the road or come back the next day. The crane operator said he would help us out, but because it was a holiday it wouldn’t be cheap. The next morning we met at the gallery, took out a third story window, the crane pulled up behind our rented U-Haul truck, the crane was extended, we hooked the rollers, press bed and frame to the crane and within a matter of minutes all of the pieces were in the truck tied down and we were ready to hit the road. We just had to pay the operator. I was expecting a cost of of hundreds of dollars, especially in light of him saying, “It’s gonna cost ya.” He gave us an invoice of $75, I paid him in cash, plus a tip, and we trucked the press back to Chicago. With the equipment placed and tables built, it was time to open our doors. We opened Anchor Graphics at 935 N. Damen in late 1990.

• • • • •

Table of Contents

• Let's Do It!
The Center for Book and Paper Arts: A History
– Jessica Cochran

• When Does a Life's Work Begin?
The History of Anchor Graphics, a not-for-profit fine art print shop
– David Jones

• In the Beginning was the Word, and also Image, Production, and an Election
– Brandon Graham

• Paper Connections: An Essay on Handpapermaking Collaboration at the Center for Book and Paper, Including interviews with Artists Laura Anderson Barbata and Luis Romero
– Melissa Potter

• Some Great Photos of Print Production Fellows Printing JAB and other Stuff JAB Related
– Brad Freeman

• • • • •

FIVE ARTISTS’ BOOKS INCLUDED WITH JAB46

• Mirjana Ursulesku

Combination Atlas Map of Will County

• Mary Clare Butler and Alexander Moysaenko

Orison

• Brandon Graham and Brad Freeman

VERSUS

• Willa Goettling

Notes on Breadth / Notes on Longing

• Selena Ingram

Grime on the Stove Top

• • • • •

Order – click here

JAB46 cover

Ludington Building, 1104 S. Wabash, Chicago

Mission Statement, early draft

Marilyn Sward, Pakula Building, 1994

Intern Eric Salgado, Master Printer Chris Flynn, Director David Jones, Resident Artist Margo Humphrey

Anchor Graphics at Columbia College Chicago, 623 S Wabash, 2012

Kerry James Marshall, Brownie, 1995

Anchor Graphics

Melissa Jay Craig, book sculpture

Tenth Anniversary Exhibition, 2004

Center for Book and Paper

Chris Flynn preparing John Knudsen's etching plate Steel City

Anchor Graphics, 623 S Wabash, 2006

Sheroanawë Hakihiiwë and Elizabeth Gilder

working on Laura Anderson Barbata’s pulp painting for Julia Pastrana
Papermaking Studio, Center for Book & Paper, 1104 S Wabash Ave, 2012

Left to Right
Krista Franklin, Amy Rabas, Liz Isakson-Dado, Claire Sammons, Melissa Potter, Sheroanawë Hakihiiwë,
Elizabeth Gilder, Hannah King, Laura Anderson Barbata, Christopher Saclolo,
Papermaking Studio, Center for Book & Paper, 2012

Left to right
Luis Romero, Maggie Puckett, and Melissa Potter pulling paper
Taller de Artistas Gráficos Asociados Taga, Caracas, 2011

Don Widmer works with Sheroanawë Hakihiiwë

producing a limited edition in handmade paper and pulp painting
Papermaking Studio, Center for Book and Paper, 2011

Angela Davis Fegan, Amy Leners, Mary Clare Butler, Fata Morgana Press, Chicago, 2019

David Jones and Folleh Tamba, Art of Collaboration Graduate Class, Anchor Graphics, 2013

David Jones and Visual Arts student, Anchor Graphics

Resident artist Karl Wirsum working on his lithograph Gab Grab, Anchor Graphics, 2013

April Sheridan leads a tour of her exhibition Wood Type Evolved, 2011

(Tom Zimmerman arms crossed mouth open responding, and Allan Mellis arms akimbo observing–red shirt)

Center for Book and Paper Arts

JAB47/48

JAB47/48, spring (northern hemisphere) 2020, was offset printed on the Heidelberg GTO by BF at the Center for Book, Paper and Print. The paper is Mohawk Superfine, as per usual.

• • • • •

JAB47/48 is dedicated to the memory of Ruth Laxson.

• • • • •

Excerpt from the Intro

This double issue of JAB47/48 is the last issue of JAB. It’s time to quit. JAB has had a far longer run than expected at the outset of the project. A lot of the first JABs were given away, and some were sent to libraries with artist book collections.
Unexpected things happen and we adjust, we change, we adapt. For JAB what changed was the rising interest in writing about artist books from artists, collectors, educators, and librarians. Librarians expect that a periodical will be just that—something published periodically on a regular basis. And this new something was a printed journal that could be read, responded to, collected, and in the case of libraries made available to a wider audience, usually in an educational institution. After the first JAB was received librarians inquired as to when the next issue was coming out. And then a subscriber list started. The libraries dutifully re-subscribe each year and there have been some very loyal individuals who have supported JAB over the years. Without the subscribers JAB would not have continued. I thank you and sincerely appreciate your generous commitment.

From JAB1—“With the strength of many supple limbs the tree grows tall. We envision JAB to be a collective enterprise.”
JAB was a participatory project—sometimes collaborative and sometimes with more editorial input from the JAB editor. Over 400 writers and artists were involved in the first iteration which included JAB1 to JAB20—1994 to 2003. (JAB20 has an index of all the people involved during that time.) I cannot emphasize enough the collaborative nature of the journal—see the back of this issue for a list of student and alumni participation in producing JAB21 to JAB47/48, keeping in mind that this does not include the more than 1,000 artists and writers involved. I also cannot begin to list all the ways Johanna Drucker has contributed to JAB with writing, advice, contacts, and deep knowledge of artist books, experimental literature, etc. She has been an ongoing, consistent, and necessary part of the journal from its beginning to now.

• • • • •

Table of Contents

• Cover (outside)—Collaboration
– Jim Hajicek, Kathi Beste, and Brad Freeman

• Cover (inside)—Randomish Set-up Sheets
– Set-up sheets

• JAB 47/48: Farewell

– Brad Freeman

• On Reflection and Retrospect:

The Journal of Artists’ Books, 1994-2020

– Johanna Drucker

• The Smell of Books:

Freud’s Gardenia and Other Ephemeral Scents

– Debra Riley Parr

• Book Arts and Literary Work:

Ugly Duckling Presse
– Johanna Drucker

• Ideas Have No Smell
– Debra Riley Parr

• Uniqueness in Multiplicity: Artists’ Statement
– Ioannis Anastasiou and Majka Dokudowicz

• Artists’ Pages–A Collaboration
– Paria Izadmehr and Brad Freeman

• Darkness & Ice, Culture, & History:

Two Books by Ellie Ga
– Woody Leslie

• Narrative Through Collage:

Two Books by Amir Brito Cador
– Woody Leslie

• Ethan Jones: In Spite of Evidence Gazetteer 2017-2018
– Debra Riley Parr

• Visual Reading
– Woody Leslie

• Book Reviews
– Brad Freeman

• Student and Alumni Involvement with JAB: 2007–2020

• Coco/Cleo—Collaborative Cats—2020

• errata:
Label on envelope should read “Leah Mackin.”

• • • • •

JAB47/48 IS OUT OF PRINT

• • • • •

Excerpt from

"The Smell of Books:

Freud's Gardenia and Other Ephemeral Scents"

by Debra Riley Parr

The smell of books has become something of an obsession for a whole culture overwhelmingly engaged in daily digital interactions with text and image. (1) As the planet collapses under the anthropocenic weight of over-production, over-consumption, and attendant climate changes, the world’s forests are in danger and, given its impact on forests and on the planet, paper production may disappear leaving us to sniff our old printed texts. This acknowledgement of paper production’s impact on the environment is not to deny the drastic and often unseen effects on the climate caused by the energy-sucking server farms that support all things digital. As we contemplate the end of things, however, it’s easy to wax nostalgic about the smell of books. In the perfume world, a world noted for its capacity to prompt memories and emotional associations, this obsession with printed matter has manifested itself in over a hundred fragrances that take their inspiration from the materiality of books, paper, and ink. Perfumes such as Byredo’s M/MInk, with its sharp inky notes is inspired by a “block of solid ink purchased in Asia, a photograph showing a Japanese master practicing his daily calligraphy, and a large utopian formula drawn on Korean traditional paper.”

(2) Demeter’s Paperback captures the fragrance of libraries redolent with the smell of decaying paper. CB I Hate Perfume’s In the Library evokes leather bindings and cloth. The perfumer Christian Brosisus details the backstory of the fragrance, writing,

"The main note in this scent was copied from one of my favorite novels originally published in 1927. I happened to find a signed first edition in pristine condition many years ago in London. I was more than a little excited because there were only ever a hundred of these in the first place. It had a marvelous warm woody slightly sweet smell and I set about immediately to bottle it.” (3)

ENDNOTES
1. For more on the smell of paper and ink see my short essay in the Journal of Artists’ Books, #45 Spring 2019, “Smelling Paper and Ink: The Fragrance of the Medium,” 8-13.
2. From Byredo’s website: https://www.byredo.com/us_en/m-mink-eau-de-parfum. See also Byredo’s Bibliothèque for its scent of old leather-bound books on dark wooden shelves.
3. From CB I Hate Perfume’s website: https://cbihateperfume.com/shop/perfumes-a-to-z/306

• • • • •

Excerpt from "Narrative Through Collage:

Two Books by Amir Brito Cador"

by Woody Leslie

Brazilian artist Amir Brito Cador works with collage in the book form. He pulls material from a variety of thematically grouped different sources, and recontextualizes them through juxtaposition and sequence to create new narratives in his books. This style of work can clearly be seen in two of his recent books, A Técnica do Pincel, and Uma História da Leitura—both published by Andante Editions in 2017, and 2018 respectively. One book focuses on making images, the other on reading and writing.
A Técnica do Pincel (The Brush Technique) pulls images from advertisements, magazines, and artists such as Andy Warhol, Roy Lichtenstein, and Yves Klein, among others. The images are collaged together and superimposed with brushes, calling attention to the act of creation in all of these works. In Cador’s own words, “The book is a tribute to graphic arts professionals, who use the printing processes as a painter uses the brush.” The book is printed by risograph—an appropriate choice for a book about paint and print. The ink has a paint-like quality—thick, textured, and a little splotchy. Throughout the book, the reader keeps thinking about the act of mark making and reproduction, how brushes may or may not have been used to create the images.

• • • • •

Tia Blassingame, The 14 Negro Students of the Noyes Academy Canaan, New Hampshire, 2019

by BF

The 14 Negro Students of the Noyes Academy Canaan, New Hampshire tells the story of how in 1835 a mob tore down the schoolhouse of the Noyes Academy and chased the students of African descent out of town. This tragic story gains even more poignancy by describing significant parts of the lives of the black students, some of whom went on to become prominent members of the abolition movement. Some of the students were born free and some were born enslaved, yet despite the overwhelming odds against them they all became educated and became leaders in the movement and “their communities, and rally slave and free to achieve and stand against attacks on their human rights.”
Of the fourteen students, six of their names are listed, while the other eight are identified as unknown. Despite its size, one folded sheet of paper 7½” × 10,” this small publication carries a profound message that can be added to the larger genre of the slave narrative. Ultimately these stories of the horrors of (mostly unknown) people cruelly treated as property begs the question—Is it possible that one day all people will be able to not only accept but to celebrate the diversity that makes humanity such a rich and productive species?

• • • • •

Frank Hamrick
It was there all along
Old Fan Press, 2019
frankhamrick.com

by BF (excerpt of review)

The effects of the immeasurably huge amount of water that flows through Louisiana and into the Gulf of Mexico alternates between beneficial and tragic depending on the volume and human efforts to control it. This precarious balance between the necessity of water and its catastrophic dangers underlies many of Frank Hamrick’s photographs in his artist’s book It was there all along. Hamrick’s photographs share some of the characteristics of the odd and forboding Southern gothic photography exemplified by Ralph Eugene Meatyard, yet contain a somewhat wider social concern than Meatyard’s claustrophobic and spooky vignettes.

• • • • •

ARTISTS’ BOOKS INCLUDED WITH JAB47/48

• Mrs. Tutu Pays a Visit
– Anon

• Spells to Kill Your Boss
– Julia Arredondo

• Weights & Marks
– Aimee Beaudien

• Prance
– Seana Biondolillo

• algaravias
– Amir Brito Cador

• KOREA—JAPAN—1963
– Tom Freeman & Brad Freeman

• LITTLE GIRL NO ONE MISSED
– Brad Freeman

• JUST SAYING
– Matt Liddle

• Documentation
– Leah Mackin

• FOUR LONG AND TWO SHORT
– Emily McVarish

• OUTPORT NIGHT
– Clifton Meador

• GREEN AMERICANS
– Tate Shaw

• I write what I know . . .
– Robbin Ami Silverberg

• • • • •

STUDENT & ALUMNI INVOLVEMENT WITH JAB 2007–2020

JAB21—Spring 2007
• Elisabeth Long (MFA 2006)
essay “Editioning one-of-a-kind Multiples: Notes toward understanding Anselm Kiefer’s Books”

JAB22—Fall 2007
• Elisabeth Long (MFA 2006)
Designed and Letterpress Printed Cover
“Conference Overview & Responses”
• Elisabeth Long (MFA 2006) & Brad Freeman
inserted artists’ book Chicago Stock Yards Book

JAB23—Spring 2008
• Ken Gerleve (MFA 2008)
Graphic design of JAB23 (including cover)

JAB24—Fall 2008
• Elisabeth Long (MFA 2006)
essay “Poet as Maker”
• Daniel Mellis (MFA 2013)
essay - “A Handmade Scale for Books” and the inserted artwork/volvelle Handmade-o-Meter

JAB25—Spring 2009
• Brandon Graham (MFA 2007)
essay “Play Nice: Sally Alatalo’s Offset DoDa”
• Elisabeth Long (MFA 2006)
essay “JAB Critic’s Award: 2008 Pyramid Atlantic Book Arts Fair”

JAB26—Fall 2009
• April Sheridan (MFA 2005)
inserted artist’s book Fog Behind the Eye: An Essay on Reading

JAB27—Spring 2010
• CJ Mace (MFA 2010)
book review of Sanctus Sonorensis by Philip Zimmermann

JAB28—Fall 2010
• April Sheridan (MFA 2005)
Guest Editor and Graphic Design
• Brandon Graham (MFA 2007)
essay “Shifting Artist Book Distribution Models”

JAB29—Spring 2011
• Kathi Beste (MFA 2012)
Print Production Fellow & Graphic Design
• Kaitlin Kostus MFA (2012)
Print Production Fellow
• Jordan Knecht
intern from Hampshire College

JAB30—Fall 2011
• Jenna Rodriguez (MFA 2013)
Print Production Fellow
• Claire Sammons (MFA 2013)
Print Production Fellow and Book Reviews
• Karol Shewmaker (MFA 2007)
“Isabel Baraona: Four Recent Books” and Book Reviews

JAB31—Spring 2012
• Jenna Rodriguez (MFA 2013)
Print Production Fellow
• Claire Sammons (MFA 2013)
Print Production Fellow and Books Received
• Karol Shewmaker (MFA 2007)
essay “Profoundly Wunderbar”
• Brandon Graham (MFA 2007)
essay “Mindful Navigation”

JAB32—Fall 2012
• Jenna Rodriguez (MFA 2013)
Print Production Fellow
• Claire Sammons (MFA 2013)
Print Production Fellow and Book Reviews

JAB33—Spring 2013
• Jenna Rodriguez (MFA 2013)
Print Production Fellow
• Claire Sammons (MFA 2013)
Print Production Fellow
• Kate Morgan MFA (2014)
Print Production Fellow
• Karol Shewmaker (MFA 2007)
artist’s page The Power of Amazon Compels You!
• Karol Shewmaker (MFA 2007) and Brandon Graham (MFA 2007)
inserted artists’ book Room

JAB34—Fall 2013
• Heather Buechler (MFA 2015)
Print Production Fellow
• Kate Morgan (MFA 2014)
Print Production Fellow and Books Received
• Levi Sherman (MFA 2015)
Print Production Fellow

JAB35—Spring 2014
• Heather Buechler (MFA 2015)
Print Production Fellow, Books Received, designed and letterpress printed cover envelope, and artist book The Land, The Man, The Machine
• Levi Sherman (MFA 2015)
Print Production Fellow, Books Received, designed and letterpress printed cover envelope and artist book Various Effects of Coffee on the Body

JAB36—Fall 2014
• Levi Sherman (MFA 2015)
Print Production Fellow and Books Received
essay “Books and Conflict: Witnessing Reality and Representation”
• Mary Clare Butler (MFA 2016)
Print Production Fellow
• Woody Leslie (MFA 2017)
Print Production Fellow

JAB37—Spring 2015
• Mary Clare Butler (MFA 2016)
Print Production Fellow and Graphic Design of JAB37
• Woody Leslie (MFA 2017)
Print Production Fellow and essay “Documenting Documenting”

JAB38—Fall 2015
• Mary Clare Butler (MFA 2016)
Print Production Fellow, artist page, and book reviews
Designed Collaborative Cover with Woody Leslie
• Woody Leslie (MFA 2017)
Print Production Fellow and book reviews
Designed Collaborative Cover with Mary Clare Butler
“Interview with Michael Kasper”
• Ruby Figueroa (MFA 2017)
Print Production Fellow
• Isaac Fosl-van Wyke MFA (2016)
Print Production Fellow
• Jamie Weaver (MFA 2014)
essay “Stranger in Town”
• Jenna Rodriguez (MFA 2013)
inserted artist book titled Cayuga Nation

JAB39—Spring 2016
• Mary Clare Butler (MFA 2016)
Print Production Fellow and design of JAB39
• Woody Leslie MFA (2017)
Print Production Fellow
essay “Interview with Karen Hanmer”
• Ruby Figueroa (MFA 2017)
Print Production Fellow and book review
• Isaac Fosl-van Wyke MFA (2016)
Print Production Fellow and book review

JAB40—Fall 2016
• Ruby Figueroa (MFA 2017)
Print Production Fellow; design and text of JAB40 cover
• Willa Goettling (MFA 2018)
Print Production Fellow
• Woody Leslie (MFA 2017)
Print Production Fellow; design and text of JAB40 cover

JAB41—Spring 2017
• Ruby Figueroa (MFA 2017)
Print Production Fellow
• Willa Goettling (MFA 2019)
Print Production Fellow; book review of A Year of So by Karol Shewmaker (MFA 2008)
• River Kerstetter (MFA 2018)
Print Production Fellow; book review of Pyrolysis by Carley Gomez and Levi Sherman (MFA 2015)
• Charles Long (MFA 2018)
book review of breathe. by Levi Sherman MFA 2015
inserted artist’s book - Nancy Reagan is Killing Me
• Rebecca Hill (MFA 2019)
book review of Secret Inside Shadows by Julie Nauman-Mikulski
• Stephen DeSantis (MFA 2007)
inserted artist’s book - Accoutrement
• Levi Sherman (MFA 2015)
inserted artist’s book - breathe

JAB42—Fall 2017

JAB43—Spring 2018
• Willa Goettling (MFA 2019)
review of Pequenas Estorios by Isabel Baraona
• Rebecca Hill (MFA 2019)
reviews of Inland Sea by Mary Clare Butler (MFA 2016)
and The Blind Man 100th Anniversary Facsimile Edition, edited by Sophie Seita, published by Ugly Duckling Press
• Mirjana Ursulesku (MFA 2019)
post production

JAB44—Fall 2018
• Mirjana Ursulesku (MFA 2019)
binding JAB / HATCH artist book

JAB45 —Spring 2019
• Mirjana Ursulesku (MFA 2019)
post production binding
• April Sheridan (MFA 2005)
essay - “Call and Response: Teaching Artists’ Books at the Joan Flasch Artists’ Book Collection at the School of the Art Institute of Chicago” by Doro Boehme and April Sheridan

JAB46—Fall 2019
• Paria Izadmehr (MFA 2020)
post production binding
• Mary Clare Butler (MFA 2018)
inserted artist book titled orison; collaboration with Alexander Moysaenko
• Selena Ingram (MFA 2020)
inserted artist book titled Grime on the Stove Top
• Willa Goettling (MFA 2019)
inserted artist book titled Notes on Breadth / Notes on Longing
• Brandon Graham (MFA 2007)
inserted artist book titled VERSUS; collaboration with B. Freeman
essay “IN THE BEGINNING WAS THE WORD, AND ALSO IMAGE, PRODUCTION, AND AN ELECTION”
• Mirjana Ursulesku
inserted artist book Combination Atlas Map of Will County

JAB47/48—Spring/Fall 2020
• Paria Izadmehr (MFA 2020)
artist pages
• Woody Leslie (MFA 2017)
book reviews—“Visual Reading”
books by Ernie Stomach and Ward Tietz
“Two Books by Ellie Ga”
“Narrative Through Collage” - books by Amir Brito Cador
• Kathi Beste (MFA 2012)
prepress platemaking and post production binding
cover design collaboration with Jim Hajicek & Brad Freeman
• Julia Arredondo (MFA 2020)
SPELLS TO KILL YOUR BOSS–inserted artist’s book
post production binding

JAB Website / 2010 - 2020)
• Kathi Beste (MFA 2013)

no longer available
https://www.journalofartistsbooks.net/

The JAB47/48 cover is a collaboration among

Jim Hajicek, Kathi Beste, and BF.

Ruth Laxson, 1925–2019

photo by Laurie Whitehill, 2013

The cover of JAB20 was a response by Ruth Laxson to George W. Bush’s invasion of Iraq under false pretenses. On the cover appears one of her two-letter word poems that succinctly place responsibility for the troubles of the world on each and every one of us.
it is up to us if we go on as it is

See the interview with Laxson by Pattie Belle Hastings in JAB8 (fall, 1997).

Ruth Laxson, JAB20 cover, 2003