Book #89

I have been going to almost every protest held here in Pittsburgh, particularly the climate crisis strikes. On October 23 there was a conference about shale gas (fracking) addressed by POTUS and a protest. Many of the speakers were indigenous people from protest groups in other states. They came a long way. Unfortunately not so many people came who had only a short distance to come.

As I stood there, with all of these wonderful, articulate people, and not enough response, I lost hope. Five minutes after I returned home I wrote the words that became #89:

Who will mourn the earth
Where is the wake for the animals
What is the prayer for the birds
Who will sit shiva for the bees
And who will say Kaddish for us

 

The words stay in my head and I repeat them again and again, a prayer for someone who never prays.

Book Cover-

When a close relative dies we are supposed to tear our clothing. In practice, the undertaker pins a black ribbon on our clothing and slashes it.

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We sit shiva, mourning, for up to a week.

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We say Kaddish, a prayer to remember who we have lost.

 

I have been lazy and remiss

in posting about my books. I told about Maurie’s book, No. 87, but neglected 85 and 86, which are fold books and 88 and 89, both accordion books. The fold books begin with square pieces of card stock folded into four squares. I actually made four different books but they are so similar I’m counting them as two. Three of the books are images of reflections, one is a staircase.

Light art board covered with hand decorated paper

Art board covered with hand decorated papers

Reflections in Pittsburgh, New York and Japan

Reflections in Pittsburgh, New York and Japan

Text on bottom of carousel

Text on bottom of carousel

Stairway carousel fold book. Pictures taken at our book exchange party since I no longer own it.

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The two accordion books are quite different. The first one, which I made shortly after I returned from Japan contains photos of Mt. Fuji, mostly taken from the workshop. The cover is one of the prints of Mt. Fuji I made in the workshop.

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I will tell about the second accordion book in my next post. Soon, I promise.

May 11, Temples and shopping

I have been to most of the temples, shrines and gardens in Kyoto. While the family went to Fushimi Inari, which entails a lot of climbing, I went to Kamiji Kakimoto, an elegant paper store where I had made an amazing purchase on a previous trip. I bought a small roll of paper, not too expensive and easy to carry home. Only recently I began to use it for bookbinding and decided I needed more of this amazing stuff. Before I left Pittsburgh Karen Gerhart told me it was a special Kyoto paper. It is indeed special, strong and light; great for tabbing sheets together. I will be going to paper stores in Tokyo as part of the workshop I’m taking, so I only bought one other paper roll and an interesting manuscript book, intended for calligraphy but I think I will find another use for it.

I had a long walk from the subway to the store and passed antique shops, furniture shops and some other craft places. After making my purchase I had lunch in a non-fast-food place, no English, not even the prices, and I chose my lunch from the models outside the door. It had a large piece of shrimp tempura, two tempura string beans and lots of rice with possibly egg, cheese and something else. It was good, but remains a mystery.

Met the family at Konchi in Garden, a sub temple of Nanzenji. They had a great time climbing at Fushimi Inari. Charna and Robin bought fox masks, the fox being the guiding spirit for Inari shrines.

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We went into the Nanzenji grounds, looked at some of the buildings and did lots of people watching. Finally took a taxi back toward Nishiki Market, walked around looking at shops, found the canal at Pontocho, then headed for Sou Sou, where Robin wanted to do more shopping.

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On the way we came upon this wonderful Rube Goldberg machine for making bean paste cakes. I wanted to stay there all night.

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How does a book happen

Or, how did my latest book get to the light of day. It took a long time.

Most of my books begin with a theme, an idea or an image. Then I look for a structure that fits the content, and finally design the book, deciding how the book is folded or sewn together and the paper, board, physical structure, the typefaces, the look and feel. Often I spend weeks or months with an idea and finally bring it to fruition. For many years I have toyed with the idea of making a popup book. I’ve taken three workshops and spent hours looking at popup books. Slowly I am trying to put it together with some feminist ideas that constantly float in my head. I haven’t gotten there, but I am slowly approaching.

The book described in the previous post began with a trip to Washington DC where I saw work from Burning Man at the Renwick Gallery. 

So this is a fold book, kind of a pop-up book. It is made of two folded papers nested together between hard covers. One sheet has the same images on both sides, the other, a piece of vellum, has only the question: What Would the World be Like. When you pull the covers apart the pages pop open in a kind of explosion, as Debbie termed it.

On a second trip to DC I returned to the Renwick and made more photos of the sculpture. 

This time the message would call attention to the power of man’s gaze at women. The sculptor is a man, and this is his interpretation of a safe woman. But women will never be safe until they are equal and will never be free of a man’s gaze until they can equally return that gaze. 

Although I like the images better from this second trip my continued dissatisfaction resulted in another search for an interesting structure. Debbie posted a picture from Instagram that intrigued me until I made a mockup and found it didn’t work.

After much pondering and my usual overthinking I went back to the structure I used for the heads in Scotland and the House music book. This accordion structure allows the book to stand up opened and show all of it’s pages, which separate and turn as the book is opened; another kind of popup book.

In addition to my photos of the sculpture I added a photo of a man using a large digital camera at a jazz concert. I changed what appears in his viewfinder and reflected in his glasses. I put a poem by Maya Angelou, Still I Rise, on the backs of the photos and added a quote from Margaret Atwood about the male gaze.

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Once I figured all that out then I started putting it together. The paper is two sheets, 22 inches long, glued together. Boards for the covers have a handmade paper glued to them. The inside cover has a quote about the male gaze from Margaret Atwood. Inside back cover has a statement about female objectification. And there’s lots of cutting and glueing.

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In the meantime it’s occurred to me that when I get to book number 100 it will be a compilation of all of these blog posts.

Two more books

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When I returned from the workshop in Scotland last year I made this book using photos of an installation by Sophie Cave in the Kelvingrove Museum in Glasgow. Structure of the book is based on a design created, I believe, by Hedi Kyle and known as a panel book. It is a simple accordion with a panel cut in each page so images rotate forward as the book is opened.

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Covers are a light mat board with possibly handmade paper with botanic inclusions and a side strip of tan paper. Accordion is made of eight pieces of 100# Accent Opaque cover tabbed together. For the inside cover I enlarged two of the heads. Book is 8 5/8″ by 5 5/8″ and opens to 44 inches.

My book-making group liked this so much they asked me to teach it. This time I wanted an image over the entire page with the interest popping on the panel. I had some colorful, but unfocused images I shot of the puppet parade at First Night and used them for the background. Serendipitously, Eli took us to a House (music) festival at Millennium Park as I was thinking about this project. I took photos of people dancing, cut them out of their backgrounds in Photoshop, made silhouettes and put them on the panels, creating my House book.

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Although the book is simple there are many opportunities for errors, and I made all of them. So the letters on the cover were cut from pages I printed and couldn’t use. Then they were machine stitched to handmade paper I picked up years ago in the Himalayan store, possibly from Nepal. This time I used a thin book board that remained flat where the mat board curled.

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I wanted something on the back of each panel and found a poem about House music online. Additionally I added the entire poem on the inside of the front cover and a discussion about the origin of the poem inside the back cover. The book is 9 inches high by six inches wide and opens to 40 inches. Two pieces of Stonehenge Student make up the accordion with only one tab needed.

 

 

 

 

No. 78 again

I had an entire post written and it disappeared when I published. I am not happy. I’m also seldom happy with my finished books. There is always something I forgot or should have done better. I decided to try this one again. Content is the same. I made two changes in the structure going from a finished size of 5×8 inches to 5×7. Using a 30-inch wide Stonehenge print paper I was able to make the accordion with only 3 tabs instead of the tabs on each folded spread. Binding paper remains the same, but the curl is made with gold thread instead of rattail.

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IMG_0038The curl has been infinitely frustrating to me. Fitting, since frustrations with curls is the point of the book. But I wanted the curl on the cover to look like the one printed under Never Shirley.

Book No. 78

IMG_0030 (2)Never Shirley is the story of my childhood desire to have curls like Shirley Temple. My hair was dark, almost black, coarse and completely unmanageable. Like many young girls I wanted something I couldn’t have: blond curls.

The book is a tabbed accordion-fold with covers of shiny bubbly paper, a stitched rat-tail curl and a flower barrette.

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