FRIDAY, OCTOBER 2, 2009
10:30 am
Empirical Experience: The Artist, Information, and the Book
Moderator: Bernard Yenelouis is a New York based educator, curator and an artist. A faculty member at the School of the International Center of Photography since 1998, he has served as a grants panelist for CEC Artslink, a Fellow at Virginia Center for the Creative Arts, and a Resident Artist of New York’s historic Camera Club. His writings have been published in Bomb, The Art Book, and Artwurl. His work has been exhibited at Luxe Gallery, Monya Rowe Gallery, Camera Club of New York, Momenta Art, Bridge Art Fair Miami, and Art 101. His second solo exhibition at Kristi Engle Gallery in Los Angeles is scheduled for 2010. He recently curated Now You See It, Now You Don’t: Illusion and Disappearance in Photography at the Camera Club. Yenelouis’s blog is One Way Street.
Jacqueline Hassink is a Dutch born, New York-based conceptual artist whose photographic imagery concerns globalization and economic power. She is a visiting lecturer on Visual and Environmental Studies at Harvard University as well as a visiting professor at the Program of Higher Education in photography at the Ecole d’Arts Appliqué in Vevey, Switzerland; the Wits University in Johannesburg; at the Kanazawa College postgraduate program in fine arts in Kanazawa, Japan; and the International Center of Photography in New York. She received the Prix No Limit d’Arles at the Rencontres de la Photographie in Arles, France (2002). Her project The Table of Power (1993-1995) examined the boardroom tables of Europe’s forty largest multinational corporations, incorporating photography, a questionnaire, and drawings. Her publications include The Table of Power (2000), Mindscapes (2003), The Power Book (2007), Domains of Influence: Arab Women Business Leaders in a New Economy (2008), and Car Girls (2009). Hassink is represented by the Amador Gallery in New York.
William E. Jones is a Los Angeles-based artist and filmmaker. He currently teaches film history at Art Center College of Design. His work includes the two feature length experimental films Massillon (1991) and Finished (1997), as well as several short videos. His feature length documentary Is It Really So Strange? (2004) examined a group of Southern California Latinos infatuated with English musical band the Smiths. Jones was the subject of retrospective at the Tate Modern (2005) and his work Tearoom was included in the Whitney Biennial (2008). His publications include Is It Really So Strange? (2006), Tearoom (2008), Selections from The Anatomy of Melancholy by Robert Burton (2008) and Heliogabalus (2009). He is represented by David Kordansky Gallery in Los Angeles and his work is currently on view at the Nordic Pavilion at the 53rd Venice Biennale. Jones also worked in the adult video industry under the name Hudson Wilcox.
2:00 pm
Furthering the Critical Dialogue
Moderator: Tony White is the Head of the Fine Arts Library at Indiana University, and the Director of the Specialization in Art Librarianship. He is an adjunct Assistant professor in the History of Art Department, and in the School of Library and Information Science. White recently stepped off the editorial board of the Journal of Artists Books to accept a position with the College Art Association as Field Editor for Artist's Books and Books for Artists. White has curated exhibitions on contemporary artist's books at Yale University, the Center for Book Arts in Manhattan, and at the Columbia College Center for Book and Paper Arts. He is a founding member and on the board of directors for the College Book Art Association (CBAA).
Clifton Meador is an artist whose work combines photography, writing, printmaking, and design to explore how history, narrative, and place shape the space of the book. He has received many grants and fellowships, most notably two New York Foundation for the Arts Fellowships and a Fulbright Scholar Award to the Republic of Georgia. His work is featured in many collections including the Museum of Modern Art Library in New York, the Victoria and Albert Museum in London, and the Yale Art of the Book collection. He is currently an Associate Professor and Director of the Interdisciplinary MFA in Book and Paper at Columbia College Chicago. He has also taught design as Associate Professor at SUNY New Paltz, served as director of Nexus Press 1985–1988, and has collaborated in producing many artists’ books.
Sarah Hulsey is a linguist and book artist living in Cambridge, Massachusetts. She is a lecturer in the Linguistics program at Northeastern University in Boston and an adjunct professor in the Book Arts program at Montserrat College of Art in Beverly, MA. Her current work investigates relationships between structures found in natural language and structures found in artists' books. She holds a Ph.D. in Linguistics from MIT.
Michelle Strizever received a B.A. in English and art history from Bryn Mawr College, and is a doctoral candidate in English at the University of Pennsylvania. Her dissertation, Visible Texture: Artists’ Books, 1960-2010, considers materiality, textuality and illegibility in the genre. She is a member of the College Book Art Association’s Criticism Task Force. Her interest in books and the archive comes from her background in book and paper preservation and her love of libraries.
4:00 pm
Is Print Really Dead? Artists (Still) Making Books
Moderator: Carol Rusk is the Benjamin and Irma Weiss Librarian at the Whitney Museum of American Art where she oversees the Library’s collections of research material on American artists of the 20th and 21st centuries. A primary focus of the Library is artists’ books. The collection ranges from the earliest examples to multiples by artists participating in the Book Fair.
The Holster is a loosely organized collective of artists and designers that participate in publishing-related projects initiated by Gary Fogelson, Phil Lubliner and Soner Ön.
Paul Shiek is a photographer and founder of TBW, a collective of artists who explore the artists’ book as a manifestation of their photographic practice.
Stacy Wakefield and her twin sister Amber Gayle founded Evil Twin Publications in 1995. Since then, Evil Twin has produced projects ranging from cheap zines to elaborate limited edition artists’ books emphasizing collaboration and hand-crafted details.
For a detailed description of the Conference sessions, see here
10:30 am
Empirical Experience: The Artist, Information, and the Book
Moderator: Bernard Yenelouis is a New York based educator, curator and an artist. A faculty member at the School of the International Center of Photography since 1998, he has served as a grants panelist for CEC Artslink, a Fellow at Virginia Center for the Creative Arts, and a Resident Artist of New York’s historic Camera Club. His writings have been published in Bomb, The Art Book, and Artwurl. His work has been exhibited at Luxe Gallery, Monya Rowe Gallery, Camera Club of New York, Momenta Art, Bridge Art Fair Miami, and Art 101. His second solo exhibition at Kristi Engle Gallery in Los Angeles is scheduled for 2010. He recently curated Now You See It, Now You Don’t: Illusion and Disappearance in Photography at the Camera Club. Yenelouis’s blog is One Way Street.
Jacqueline Hassink is a Dutch born, New York-based conceptual artist whose photographic imagery concerns globalization and economic power. She is a visiting lecturer on Visual and Environmental Studies at Harvard University as well as a visiting professor at the Program of Higher Education in photography at the Ecole d’Arts Appliqué in Vevey, Switzerland; the Wits University in Johannesburg; at the Kanazawa College postgraduate program in fine arts in Kanazawa, Japan; and the International Center of Photography in New York. She received the Prix No Limit d’Arles at the Rencontres de la Photographie in Arles, France (2002). Her project The Table of Power (1993-1995) examined the boardroom tables of Europe’s forty largest multinational corporations, incorporating photography, a questionnaire, and drawings. Her publications include The Table of Power (2000), Mindscapes (2003), The Power Book (2007), Domains of Influence: Arab Women Business Leaders in a New Economy (2008), and Car Girls (2009). Hassink is represented by the Amador Gallery in New York.
William E. Jones is a Los Angeles-based artist and filmmaker. He currently teaches film history at Art Center College of Design. His work includes the two feature length experimental films Massillon (1991) and Finished (1997), as well as several short videos. His feature length documentary Is It Really So Strange? (2004) examined a group of Southern California Latinos infatuated with English musical band the Smiths. Jones was the subject of retrospective at the Tate Modern (2005) and his work Tearoom was included in the Whitney Biennial (2008). His publications include Is It Really So Strange? (2006), Tearoom (2008), Selections from The Anatomy of Melancholy by Robert Burton (2008) and Heliogabalus (2009). He is represented by David Kordansky Gallery in Los Angeles and his work is currently on view at the Nordic Pavilion at the 53rd Venice Biennale. Jones also worked in the adult video industry under the name Hudson Wilcox.
2:00 pm
Furthering the Critical Dialogue
Moderator: Tony White is the Head of the Fine Arts Library at Indiana University, and the Director of the Specialization in Art Librarianship. He is an adjunct Assistant professor in the History of Art Department, and in the School of Library and Information Science. White recently stepped off the editorial board of the Journal of Artists Books to accept a position with the College Art Association as Field Editor for Artist's Books and Books for Artists. White has curated exhibitions on contemporary artist's books at Yale University, the Center for Book Arts in Manhattan, and at the Columbia College Center for Book and Paper Arts. He is a founding member and on the board of directors for the College Book Art Association (CBAA).
Clifton Meador is an artist whose work combines photography, writing, printmaking, and design to explore how history, narrative, and place shape the space of the book. He has received many grants and fellowships, most notably two New York Foundation for the Arts Fellowships and a Fulbright Scholar Award to the Republic of Georgia. His work is featured in many collections including the Museum of Modern Art Library in New York, the Victoria and Albert Museum in London, and the Yale Art of the Book collection. He is currently an Associate Professor and Director of the Interdisciplinary MFA in Book and Paper at Columbia College Chicago. He has also taught design as Associate Professor at SUNY New Paltz, served as director of Nexus Press 1985–1988, and has collaborated in producing many artists’ books.
Sarah Hulsey is a linguist and book artist living in Cambridge, Massachusetts. She is a lecturer in the Linguistics program at Northeastern University in Boston and an adjunct professor in the Book Arts program at Montserrat College of Art in Beverly, MA. Her current work investigates relationships between structures found in natural language and structures found in artists' books. She holds a Ph.D. in Linguistics from MIT.
Michelle Strizever received a B.A. in English and art history from Bryn Mawr College, and is a doctoral candidate in English at the University of Pennsylvania. Her dissertation, Visible Texture: Artists’ Books, 1960-2010, considers materiality, textuality and illegibility in the genre. She is a member of the College Book Art Association’s Criticism Task Force. Her interest in books and the archive comes from her background in book and paper preservation and her love of libraries.
4:00 pm
Is Print Really Dead? Artists (Still) Making Books
Moderator: Carol Rusk is the Benjamin and Irma Weiss Librarian at the Whitney Museum of American Art where she oversees the Library’s collections of research material on American artists of the 20th and 21st centuries. A primary focus of the Library is artists’ books. The collection ranges from the earliest examples to multiples by artists participating in the Book Fair.
The Holster is a loosely organized collective of artists and designers that participate in publishing-related projects initiated by Gary Fogelson, Phil Lubliner and Soner Ön.
Paul Shiek is a photographer and founder of TBW, a collective of artists who explore the artists’ book as a manifestation of their photographic practice.
Stacy Wakefield and her twin sister Amber Gayle founded Evil Twin Publications in 1995. Since then, Evil Twin has produced projects ranging from cheap zines to elaborate limited edition artists’ books emphasizing collaboration and hand-crafted details.
For a detailed description of the Conference sessions, see here