Wednesday, January 1, 2025

Erik Ruin, Hard Rain: A Letter From Cassiodorous, silkscreen, 2024, ed. 20

front and back of the work's envelope
                                            

This is a powerful work in which one side illustrates the text of a letter sent in 538 AD by the Roman statesman Cassiodourous. In the letter he vividly describes his experience of an eclipse and then comments upon the changing climate of the period, "The seasons seem to be all jumbled together....we have had a winter without storms, a spring without mildness and a summer without heat." All of this seems very familiar to us in the present moment, and coupled with the reference to Bob Dylan's "A Hard Rain's a-Gonna Fall" (1963), both serve to reinforce our own concerns and alarm at our rapidly changing environment, and the urgency to do something about it. This work eloquently translates into visual form these existential threats that the global community currently faces.


Erik Ruin describes himself on his website as "...a Michigan-raised, Philadelphia-based printmaker, shadow puppeteer, paper-cut artist, etc., who has been lauded by the New York Times for his "spell-binding cut-paper animations." His work oscillates between the poles of apocalyptic anxieties and utopian yearnings, with an emphasis on empathy, transcendence and obsessive detail. He frequently works collaboratively with musicians, theater performers, other artists and activist campaigns. He is a founding member of the international Justseeds Artists' Cooperative".

8 double-sided pages, individually 8.5" x 5", unfolded 3ft 4".





on the reverse side is the text of the letter which is written back to front but can be read through the paper from the front side of the accordion

R. Clarke-Davis, untitled (2024), street haunting...(2024), cadence (2024), Kiddie Viddie Press, Baltimore

Three new works by R. Clarke-Davis that continue his examination of everyday life and its particulars. Untitled makes reference to Clarke-Davis' approach to image-making with his inclusion of the following text, "a book of wander: trying to remember what i saw before i saw was put away," all of this set amongst photographs taken mostly from the streets, with the added play on the words 'wander' and 'wonder.'

street haunting a book of wander: virginia woolfing along the N line, the photographs in this snake book were all taken at night so there are no people around which imbues them with a sense of quietness and mystery. I must admit I'm totally missing the Virginia Woolf reference, and I'm assuming the 'haunting' in the title also represents the potentially disquieting activity of taking photographs under the disguise of darkness.

a commonplace book: cadence, according to the Mirriam Webster's online dictionary a cadence is "a rhythm, or a flow of words or music, in a sequence that is regular (or steady as it were)." This definition would seem very apt for this long panoramic color photograph of different colored stones on a darkened brown sand. There's a real beauty to this image and the rhythm of the stones on the sand works really well as they play out across the length of the accordion format. 

untitled, 2024
16 pages, individually 4" x 3.5", when unfolded 4ft 8"


                                         



_______________________________________________________

street haunting: a book of wander: 
virginia woolfing along the N line, 2024
16 pages, individually 5" x 4" and unfolded 5ft 4"


reverse side

back cover

_______________________________________________________

cadence, 2024
18 single-sided pages, individually 4" x 4", and unfolded 6ft
                                          




title and Kiddie Viddy Press publishing information

Tuesday, December 31, 2024

Richard Roberts, Mechanical Reproduction in the Age of Digitisation, screenprint & letterpress, self-published, UK, 2019, ed. 100

front cover

Roberts describes this book using a term for a folded book that I had not heard before, he calls it a “Boustrophedon fold book”. The Boustrophedon fold book also has another name and that is "snake book", with both relying on the same construction method of making cuts in a single prepared sheet and folding different sections, which creates at least one two-page spread opening up diagonally to the main folded book (snake-like!). See the black and white graphic on the front of this book that illustrates a sheet of paper with these types of cuts.

About this book and its theme Roberts includes an introduction:

"This publication was conceived and made by Richard Roberts. It consists of screenprinted images composed from cast-off pieces of laser-cut acrylic using the 'work and turn' printing technique. Translucent inks were randomly changed during the printing of the edition to create multiple colour variations.

Das Kunstwerk Im Zeitalter Seiner Technischen Reproduzierbarkeit (The Work of Art in the Age of Mechanical Reproduction), written by Walter Benjamin in 1935, proposed that the 'aura' of a work of art was diminished by mechanical reproduction due to its ubiquitous nature.

In this era of digital communication it seems like the physical printed book has gained an 'aura' of its own."

I would agree with Roberts that in our digital environment the printed book, almost by definition has an auratic presence uniquely its own compared to its digital equivalent. This screenprinted and letterpress book also testifies to the handwork and craft involved in such a production, and combined with the experience of feeling the ink on the paper it offers us both a visual and sensory experience not available from any digital alternatives. This is the kind of 'aura' I can support!

12 pages, individually 5.5" x 5.5" and when unfolded 3ft 8"




reverse side



back cover



2 accordion postcards (France & Austria), no date and 1961

I've just come across these two rather unique variations on the touristic postcard strip that typically feature photographs of a particular geographic location. The first card is undated and illustrated with images from Versailles, and the other was mailed in 1961 in Austria and features views of the geography around the city of Mariazell in the Southeast of Austria. 

Both postcards 5.5" x 3.5".


google translation



google translation

postmarked 1961 and mailed in Austria

Monday, December 30, 2024

Den DuVall, CONTENTS: drawings 2018-2023 of newspapers, bulletins, & pamphlets 1963-1990, Shandaken Projects, Catskill, 2024, ed. 50

front cover

 
      wraparound cover

Created and published during a residency at Shandaken Projects in Catskill, New York, CONTENTS "...is a collection of details from recent graphite and colored pencil drawings by Ben DuVall. The drawings are the result of an ongoing research project into the graphic vocabulary of 20th century protest and mutual aid movements, with a specific focus on print ephemera, publications, and journalistic accounts. This 15-foot-long, accordion fold artists' book is the first to collect and reproduce these drawings at full scale, mainly highlighting material from the UK and North America from the 1960s through the 1990s". [publisher's note]

Comprised of fourteen double-page spreads that give you just enough information to begin making sense of the spreads, but not enough to get a full understanding of what's going on. The dot matrix print effect to the drawing style also lent for me a sentimental air to these pages as I noticed an undercurrent of political images & reporting from British print sources with one reference to the early anti-nuclear demonstrations at the Atomic Weapons Research Establishment at Aldermaston in the UK.

This artists' book represents a smart repositioning of drawings generated from one genre of printed matter and then folded back into another printed matter context that foregrounds both the original context as well as the new and expanded printed matter accordion site.

30 pages, individual 9.5" x 6" and when unfolded 15 feet.







back cover

Saturday, December 28, 2024

Sarah Matthews, The Negro Is Still Not Free, letterpress, 2022

front cover

Sarah Matthews writes that this accordion was "... inspired by the words of Dr. Martin Luther King Jr:'s celebrated I Have a Dream speech from August 28, 1963, this work was created to support the Youth Art & Self Empowerment Project in Philadelphia, PA. Their mission is to, 'provide space for incarcerated young people to express themselves creatively and to develop as leaders both within and beyond the prison walls'".

This 'snake book' (with one hidden fold section) is a powerful statement by this young African-American artist that highlights the continued discrimination faced by black and brown communities in the USA. Additionally, I can't help but see the influence of another black letterpress artist, Amos Kennedy Jr., in Matthews work, and like him her work has a social and political edge that seeks to engage and activate the viewer to go out and act!

For more info about Sarah Matthews see: I AM Sarah Matthews. Artist.

12 pages, individual pages 6" x 6", and when extended 2ft. 







back cover