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CENTRAL BOOKING Magazine, June 2013
CB: As both an artist and a writer, the artist’s book is a seemingly perfect form for you. What is the history that links your written and visual work, and how did you come to make books?
SP: When I was in my 20s I moved to Paris and stayed there for 20 years. Although I majored in Biology and went to Medical School for three years, in Paris I made a 180 degree change and started to paint and to write. I wrote a novel which was just published last year, Hurry Along. Now I write mostly poems. A first book of poems has been published this year: The Every Day. My friend during those 20 years was a French poet, André du Bouchet. He made artists books with various painters including Giacometti, Villon, Dora Maar, and Tal Coat. When I came back to New York City I wanted to learn to make books myself. I went to the Center for Book Arts to learn book making and to Pratt Graphics to learn printmaking. My first book combining my poems and prints was made in 1987. I now print my books at the Grenfell Press working with Leslie Miller and Brad Ewing. I make my etchings at Manhattan Graphics Center.
CB: Color seems to set a tone throughout your books. Is color and tone a consideration in your writing?
SP: I am particularly obsessed with black and many of my poems deal with that color as do many of my artists books. Earth colors are perhaps my preferred colors after black but sometimes brighter colors crop up. Sky and weather are important subjects for my poems so that blue is often a color I use.
CENTRAL BOOKING Magazine, March 2013
An Interview with Donna Ruff
DR: Yes, I like my work to skirt the boundary between 2 and 3 dimensional space. I love the materiality of paper and I want the work to be experienced as sculptural. The play of positive/negative space is an important element, because it further confounds the reading of the work- which is the drawing, the mark or the space? Surface played against depth.
Drop by our table for artist’s books on such topics as architecture, literature, medical arts, environmentalism, feminism as well as explorations of language and the psyche. From the political to the playful, see a representation of the work of CENTRAL BOOKING artists that can be hung, displayed, worn or just fit on a shelf.
Unique one of a kind and editioned handmade books, 2D, 3D, pop-ups, bound, unbound available to fit any budget.
Codex International Book Fair
February 10 – 13, 2013
Craneway Pavillion
1414 Harbour Way South
Richmond, CA
codexfoundation.org
Exhibition Catalog
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Exhibition Catalog
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Alastair Noble
Now You See It…
Color and the Mind’s Eye
September 8th – October 23rd, 2011
Reception – Thursday, September 15th, 6-8pm
Panel Discussion Art: Color and Optics – Thursday, October 13th, 6:30pm
Curator: Maddy Rosenberg
The richness of a colorful world we take for granted and yet it is a trick of the brain, perception wins out over the reality of a black and white environment. This exhibition brings together a group of artists through the exploration of color who examine the eye, who play with sight, who have us wonder at what it is we are seeing, or who question the “how†as well as the “why.â€
Chuck Close, a modern Pointillist who builds images from mere scribbles of overlapping colors, takes the concept of the photographic dot into a new realm. Martha Hayden plays with our brain’s perception of color as space, with the variation on the eternal push/pull of the figure/ground question. The videos of Berlin artist Gerhard Mantz parade colors and shapes before us as they appear to morph from one plane to the next. Kate Temple takes her extensive studies of color theory, from Goethe onwards, to create atmospheric filterings through space, to see or not to see bare glimmers of landscape; David Ambrose layers color upon color until we see the glowing vibrations of transparencies ready to burst forth beyond the rectangle- or back into it. Yet the space in Nola Zirin’s paintings becomes a space of blue, as our eye winds around from deep space to the surface – or does it? But Sarah Stengle may be blue but blue still has its deeper meaning in a quest for what it does mean to be blue.
Katherine Jackson creates a lens for us to stand and look through, as it regards us noncommittally while Jo Yarrington’s sculptural piece models the eye through a lens lightly. Paul Tecklenberg turns optics on its head as the lens becomes a glass becomes a lens and Adrienne Klein, with echoes of Warhol, brings insight into the four-channel experience beyond the mere rods and cones of the title.
Master printer Ruth Lingen plays with the illusions of color on a daily basis while when working with Jessica Stockholder, color becomes a plaything. Peter Thomashow, a psychologist in his own right, lends his medical expertise to his playful assemblages. The book works of Julie Shaw Lutts explode from the boxes that contain them, this one dealing with a whimsical view of the science of optics. Kirsten Hoving may have a photographic historical outlook on the ocular, but W. David Powell manages with his witty collages of juxtapositions from historical textbooks to bring a contemporary perspective to the matter. Gareth Long takes his impulse from his library and gives us a reading on levels of perception.
All in all, these artists journey into the world, our world, colored by perception, psychology and the senses.
