Artist book, approx. 26 pages, including 12 pages of text with numerous redactions, on Craneâ€™s cotton wove, five photographs printed on transparent pink vellum, bound in pink wool melton with an an embroidered label and brass hardware, 8 x 6.5 inches, Edition of 7, with one 1 artistâ€™s proof. $500
Artist book, 24 pages, pamphlet bound, containing instructions for creating art historical styles of coffee rings. Cover Mi Teintes Canson Pearl with real coffee rings, and applied label, endpaper Zerkall Green Laid, ink jet printing on Craneâ€™s natural white cotton wove paper, 7.25 x 4.75 inches, Edition of 71 with 4 artistâ€™s proofs. $40
Artistâ€™s book, 16 pages, pamphlet bound, with text from Plotinusâ€™s classic treatise â€śOn the Beautifulâ€ť and collage from predominatly 19th & 18th Century sources with ink, pencil, and watercolor on handmade paper. The cover is made from Cave two-sided handmade paper with applied letterpress-printed text from Plotinus and a fragment of a 19th Century engraving, 7 x 5.25 inches, unique. $500
Collage on glass, ink and watercolor on fragments of 19th Century imagery and text, in an early 20th Century wooden box. Unique, 12 pages, 5.6 x 4.4 x 4 inches. $800
Collage on five found pages floated in a shallow wood framed shadow box, 30.5 x 15.50 inches, $1950
Gouache, ink, and pencil on found postcard, 3.5 x 5.25 inches. $400
Artist’s book, 208 pages, Letterpress, ink and flash on handmade linen and cotton paper from Dieu DonnĂ© Papermill
5.25 x 8.5 inches. $600
My work usually begins as a dialogue with something that already exists: pages taken from old books, stained papers from other eras; or, in the case of my sculptures, found objects. I find blank white paper to be quite blank; I prefer to have something to respond to. My work often has a deliberate tension between and considered abstract elements and personal, or conflicting psychological elements. In addition, I enjoy playing with pedagogical formats, instructions, tools, charts and diagrams, where the object or image’s implied function is immediately subverted by the context of its presentation.
Sarah Stengle makes sculptures, works on paper and artists’ books. Her works on paper often include images, or pages taken from old encyclopedias or engineering books arranged in orderly compositions. Recently she has turned to working with watercolor and pencil directly over found imagery, text or book pages. She has recently published a definitive manual on producing art historically correct Coffee Rings, and is currently producing Useless Tools, a series of sculptural objects purporting to be apotropaic hand tools, along with a corresponding artist’s book which addresses their proper use in depth. She is part of the Glass Book Project, founded by Nick Kline of Rutgers University and Helga Luest of Witness Justice, in Washington DC. The project address difficult subjects, such as self inflicted injury or the aftermath of domestic violence through the medium of glass books. She is teaching Glass Books at Rutgers Newark, NJ campus.
Ms. Stengle lives in Princeton, New Jersey and maintains a studio nearby in Trenton. She studied metal-smithing at Carnegie-Mellon University, and got her MFA in at the School of visual arts in 1988 in sculpture. She has exhibited regularly and her work is included in the collections of the Fogg Art Museum at Harvard, the Brooklyn Museum of Art, and the Pierpont Morgan Library among others.