Tate Shaw designed JAB27. The typeface includes various versions of Archer including hairline, thin, book, and bold. The outside and inside covers were designed by Chris George–for more information about the design and production of the cover refer to page 4 in Brad Freeman's "Artistic Control and the Means of Production." The cover paper and pages 1, 2, 35, and 36 are Mohawk Superfine Softwhite. Pages 3 - 34 are Opus Dull 80# text. JAB27 was offset printed on the Heidelberg GTO at the Center for Book & Paper Arts.
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Editor's note by Tate Shaw:
JAB27 is intended to connect with the Photo–Bookworks Symposium at Visual Studies Workshop (VSW), Rochester, New York on July 1–3, 2010, an event that also recognizes the 40th Anniversary of Visual Studies Workshop, founded in 1969 by Nathan Lyons. This seems an appropriate time to reflect on photo–bookworks; VSW has consistently contributed to the fields of photography and artists’ books for forty years and there is currently an influx of self–published photo–books facilitated by print–on–demand services and desktop publishing.
In connection with the symposium and 40th anniversary, I looked to the photographic artists in VSW’s extended community who demonstrate that the book is an unsettled and complex form. In particular I was interested in artists describing the subjects and concepts of their own practice, or the practice of others, for essays with integrated visuals. Providing something of an historical framework is JAB editor–in–chief, and former VSW pressman, Brad Freeman’s interpretation of the culture of book production as seen through VSW Press. It is noteworthy that Freeman’s discussion uses the cover of this issue, designed by artist Chris George, to demonstrate various changes in technology and production.
For JAB27, Nathan Lyons contributes his intricate understanding of the potential for “visual thinking” and his own combinatorial photographic practice. Lyons has selected photographs, reprinted here in duotone on pages 8 - 15, that provide an overview of his epic, four–book–long photographic sequence. His concerns over a number of decades come together to unfold and liberally converse with one another throughout these page openings.
I recently published a paper suggesting the potential for visually and conceptually interfacing collections of predominately visual books by individuals who endeavor to enrich primary visual research (“Blurring the Library,” The Blue Notebook, Vol. 4, no. 1, 2009). Using his own books, artist François Deschamps accepted this challenge for an essay adapted from a guest lecture he gave in a VSW graduate seminar on October 15, 2009. Similarly, artist David Schulz contributes a visual/verbal survey of photo–bookworks and artists’ books that are conceptually interfaced. His contribution is adapted from an exhibition he curated, “Photo–Bookworks,” at the Sheehan Gallery, Whitman College, Walla Walla, Washington, March, 2010.
What follows is a series of book interpretations. The serious visual/verbal play of Kristen Merola’s Things I Wanted to Tell You is interpreted by writer/publisher Aaron Cohick. Merola is VSW’s Assistant Director and has been instrumental in every project based in the VSW community for the past decade. Cohick is making interesting contributions to the fields of visual poetics and artists’ books with his New Lights Press. CJ Mace, a dynamic first year graduate student in the Interdisciplinary MFA program at Columbia College Chicago, interprets the lush and polemical Sanctus Sonorensis by Phil Zimmermann. Finally, Chris Burnett contextualizes the enclosed artist's book Mood: Potential by artist Elisabeth Tonnard. The book by Tonnard is itself a significant contribution to this issue.
I would like to thank Brad Freeman for the opportunity to guest–edit and his support throughout; April Sheridan and Steve Woodall for their copyediting and commentary; Daniel Mellis for his production assistance; and thanks to all the practitioners and contributors represented here for their consummate work and willingness to experiment.