Lucy Baxandall is a papermaker, book artist and installation artist. She studied for her MFA in Interdisciplinary Book and Paper Arts from Columbia College Chicago and now works out of Kingsgate Workshops Trust in West Hampstead. She teaches papermaking at the London Centre for Book Arts, and will teach at Morley College in 2014-5. She also runs workshops for groups and individuals at her studio. In her work she substitutes paper for rock, and subjects a seemingly fragile material to miniaturised, but quite violent geological forces. Using particular fibres and beating techniques to form the paper, a skin-like membrane results which, when manipulated and disturbed, fights back.
Using extracts from poems, photographs, and film, Tara will talk about her work as a poet and researcher in 2013, when she was given the task of responding creatively to the arrival of the Bloodaxe Books Archive, purchased by Newcastle University. The project was an AHRC funded Cultural Engagement scheme, and led to the larger ‘Poetics of the Archive’ research project, currently being undertaken at Newcastle.
Egidija Ciricaite is a London based artist, with a special interest in book as a cultural object and experimental publishing in the context of history of the book and contemporary cross-disciplinary developments. She has exhibited in the UK, Europe and the USA. Her works are included into a number of public and private collections, including Tate’s Special Collection and Boston Museum of Fine Art. www.egidija.com
Nicola Dale’s practice is concerned with what knowledge looks like. She visualises the acquisition of knowledge – how she captures, processes and understands what she reads. She imagines what a particular piece of knowledge might look like and creates a physical form from this abstract idea. Nicola is based in Manchester and specialises in working with paper. www.nicoladale.com
Michael is a London-based freelance writer whose work has appeared in Art Monthly, Slashseconds, Frieze, Artivist, 3AM, The Blue Notebook, Geschichte etc. He is currently writing a revisionist history of the Artist’s Book due to be published in Colin Sackett’s Uniformbooks series this autumn. As ‘Rechurch Idler’ he contributed 28 texts to the publishing project Kaleid Editions. His quasi-sculptural practice often involves the modification of secondhand books, or ‘bookmorphing’, ie Suspect Package acquired by the National Art Library, V&A in 2002. His presentation will focus on the issues of decay and indigestibility.
Altea Grau Vidal
Altea Grau Vidal is an artist and a PhD candidate based at Chelsea College of Arts (University of the Arts of London). Her practice based research re evaluates of the notion of the double page spread as a unique space for art. She approaches the page as a space of thinking, as an apparatus for a possible conscious making, a place were its intrinsic connotations, the surface and the materiality create an ‘extended space’.
Anna is a part-time senior lecturer in writing. She also works as a National Adviser for the Arts Council of Wales and is an Artistic Assessor for Arts Council England and Trustee at The Cornwall Film Festival.
Specialising in arts journalism, Anna was also Deputy Editor of Pluk: Photography and an editor at André Deutsch publishing and Simon & Schuster publishing. Her books include Voices for Peace (Scribner, 2001: London; New York), Bit on the Side: Work, Sex, Love, Loss and Own Goals (Parthian, 2007), a book about literary drinkers (Barnes and Noble, 2002) and Pick me up, a poetry chapbook (Atlantic Press, 2014).
Christina Mitrentse is an international multidisciplinary London based artist, freelance curator and educator. She is known for constructing provocative narratives and poetic ensembles of idiosyncratic institutions through manifold processes of vintage book-sculpture, drawing, screen-printing, and productions of site-specific installations. She is the founder of Bibliographic Data Flow,an-ongoing systematic methodology and autonomous Reference Library, performed as an interactive Meta-Library designed to provoke changes in the material book while de-institusionalising it in the process. Mitrentse’s Artworks represented by Nadine Front Gallery, Brussels; Emma Hill, The Eagle Gallery, London; The Residence Gallery, London; Hang-Up Pictures, London; Saatchi Gallery; Lola Nokolaou Gallery, Greece.
Kristen Mueller is a writer and bookmaker based in Berlin. In January she launched a small press, & So which has published two books and print editions – Language to Cover a Page (co-published with Motto Books) and Partially Removing the Remove of Literature.
Emily Orley is an artist, researcher and lecturer whose work reflects on, and engages with place-writing, installation and live art. For the workshop she will present a performance lecture that experiments with the idea of viewing a piece of paper as a place. She will explore a page taken from a jumbled set of memoirs that she found written by her grandfather who died over thirty years ago. www.emilyorley.com
After studying architecture and graphic design, Linda Toigo began to experiment with book design and book structures. She approaches alteration as a celebration of books, paying homage to their volumetric qualities and the cultural value inscribed within their pages. This destructive act, performed with an arsenal of scalpel blades, fire, wire and paints, alters existing visual and written material, extracting it from its original context and endowing it with new meanings. What we are left with is an assemblage of layers adding dark, ironic and often surreal themes for the viewer to discover.
Adam lectures in the History of the Book at Balliol College, Oxford. He works on the literature and culture of England in the 16th and 17th centuries, and in particular the intersection of the literary and the material, the archival and the canonical. He has recently co-edited Book Destruction from the Medieval to the Contemporary for Palgrave, and a special edition of the Journal of Medieval and Early Modern Studies on ‘Renaissance Collage’, exploring knives, scissors and glue as tools of reading. His current book project examines the inventive materiality of early modern texts, and the remarkable things readers did to books in the name of reading (cutting, pasting, annotating, burning).
Angie Butler is an artist with a multi-disciplinary approach to making, producing artists’ books and printed matter with letterpress printing and hand typed text. She is currently undertaking PhD. study at the Centre for Fine Print Research (CFPR) at The University of The West of England, Bristol; investigating letterpress printing as a contemporary process within book arts practice.
Angie’s work is held in both UK, and international private and public collections including: Tate Britain London, Winchester School Of Art, The University Of Southampton, UCA: Farnham, The University Of The West Of England Bristol, University Of Northampton, Bath Spa University Bath, Limfjord Centret, NW Jutland Denmark, Miniature Book Archive Milan Italy, Barratt Galleries, NSW Australia, Jaffe Centre For Book Arts, Florida USA, Idaho Centre for the Book USA, Iraqi National Art Library Baghdad Iraq, Taiwan International Visual Arts Centre Taipei City, Taiwan.
Jane Partner is a Fellow Commoner and College Teaching Associate at Trinity Hall and a College Teaching Associate at St John’s College in Cambridge. Her graduate training spanned both English literature (University of Cambridge) and the History of Art (Courtauld Institute, University of London) and she now teaches and researches in both fields. Her research interests include: material texts and the idea of inscription, encompassing both the physical manifestations of literary texts and the use of text in visual art; the history of the body and of subjectivity; and the history of visual perception as articulated by texts and images. Jane is also a visual artist, carrying out practice based research into the areas of textuality and embodiment.
Kaja is a PhD candidate at Durham researching 21st century notions of creativity, authorship and plagiarism, as well as how contemporary attitudes to originality are formed in the context of current digitisation and new media ecology. She has published ‘From Cut-up technique to the aesthetics of ‘cut-and-paste: contesting contemporary limits of (mis)appropriation’ in Genuine Copies, ed. Russell Cobb, Palgrave Macmillan (2013) and ‘How to make a modern novel: Jeff Noon and contemporary aesthetics of uncreativity’, in 21st Century British Fiction, eds. Tony Venezia and Bianca Legget, Gylphi (forthcoming 2014).
MC Hyland holds MFAs in Poetry and Book Arts from the University of Alabama and is currently working toward a PhD in English Literature at New York University. A former Director of Adult and Artist Programs at the Minnesota Center for Book Arts, she is the author of several poetry chapbooks and the poetry collection Neveragainland (Lowbrow Press 2010) and the co-editor, with Jeff Peterson, of DoubleCross Press. Her current research focuses on walking as a utopian practice in Romantic and post-WWII poetics.