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Frederic W. Goudy Lecture and Workshop
- To: BOOK_ARTS-L@xxxxxxxxxxxxxxxx
- Subject: Frederic W. Goudy Lecture and Workshop
- From: Two Hands Press <TwoHandsPr@xxxxxxx>
- Date: Fri, 30 Oct 1998 18:58:52 EST
- Message-id: <199810302359.PAA22420@palimpsest.stanford.edu>
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FREDERIC W. GOUDY LECTURE ON THE BOOK ARTS
Outlaw poet, typographer, printer and publisher of
Cowboy Surrealists, Maverick Poets, and Pre-Socratic
Philosophers will give the Fall 1998 Goudy Lecture:
or...Fine Printing in the Real West
Saturday, November 21, 1998
Lecture is free and open to the public
Wood engraver, painter, printer, natural historian and
expressionist will give the Fall 1998 Goudy Workshop on
Saturday and Sunday, November 21=9622, 1998
10:00 a.m. =96 4:30 p.m.
Scripps College Press
Deadline for registration November 14
You are invited to join Peter Koch and Richard Wagener
for dinner in Wilbur Hall on Saturday, November 21, 1998
at 5:30 in the evening. Cost is $18.50.
There will be an exhibit of the works of Peter Koch and
Richard Wagener on view in the wing of Denison Library
at Scripps College from November 14 to December 18, 1998.
Included will be Personal by Robert Creeley with nine
linoleum cuts by Los Angeles painter John Millei and Zebra Noise
with a flatted seventh. This gorgeous book was written and
engraved by Richard Wagener. Richard printed the
wood engravings on a Hacker Test press at the Koch studio.
Zebra Noise was designed by Peter Koch in collaboration with
Richard and printed letterpress at the Koch studio. It is a
tour de force of contemporary wood engraving with an
intriguing and thoughtful text.
Peter Koch, Printer
=09 What I think
=09 when I think about
what I make
If the book has its origins in the word, as has been written,
then it is at the origins of language that the first seeds were planted.
In words and things. =93In the beginning was the Word,=94
we have been told. If the origin of language is poetry...and the origin
of poetry is magic, then magic words, words made flesh, are things.
Things and words were once interchangeable. If words can kill,
words can heal. Words are swords. Wordswords.
The printer brings to the design and scope of the printed surface
a consciousness of the materiality of signs: the sculptural aspect
of language, language as object.
Much of what I find that I must do comes to me in the form of desire.
The force of desire becomes an action translated and guided through
the tools in my studio. Metal type, engravings, the printing press,
ink and paper. The algebra of language, the geometry of image
All conspire towards the calculus of the object.
My thinking has led me to an examination of the metaphors of
book culture and the meaning of the book as object. I am, finally,
exploring the roots of my own obsession with books.
Richard Wagener: Wood Engraver
Wood engraving is the art of making prints by engraving with fine tools
the mirror-smooth surface of a meticulously prepared endgrain
woodblock, and art of the graphic impact of stark black and white
combined with the tonal and gestural delicacy possible at the tiny tip
of the engraver=92s burin.
Wood engraver Richard Wagener was born in a border town,
straddling two worlds, an experience that perhaps guides much of
his thinking. A different southwest has been installed in his perception,
a result of the time spent with his grandfather in the high desert of
California, listening to the dry Santa Ana winds and the arias of Puccini.
The Steinbeck log of a boating expedition with Ed Ricketts and
a fascination with the descriptive elements of science persuaded
Richard to earn a degree in Biology from the University of San Diego.
However, his attraction to art remained strong and he later acquired
an MFA in painting from Art Center College of Design in Los Angeles.
In 1980 he switched mediums. The painting of large abstract works on
canvas gave way to nely detailed engravings in wood to be used in
printmaking. Accompanying this change was a bridging of closely
held interests: the sensibilities of Maynard Dixon and abstract
expressionism, Bach and bluegrass, biology and drawing.
=97Simon Brett, wood engraver/illustrator, chairman of the Society
of Wood Engravers 1986-1992
Please make check payable to the Scripps College Press,
1030 Columbia Avenue, Claremont, CA 91711.
For further information, please contact Kitty Maryatt,
Director of the Scripps College Press at 909 607-3866