“paint or die but …
Title Quote: W.W. Story – The Unexpressed
Link: SHERMAN GALLERIES.
Born 1947, Sydney
“Janet Laurence’s work echoes architecture while retaining organic
qualities and a sense of instability and transience. Her work occupies
the liminal zones or meeting places of art, science, imagination and
memory. Profoundly aware of the interconnection of all life forms,
Laurence often produces work in response to specific sites or
environments using a diverse range of materials. Alchemical
transformation, history and perception are underlying themes.” -Sherman Galleries
Title Quote: Hazlitt - Essay Why Distant Objects Please.
writing in books
by Steve Leveen
“Les Standiford, teacher, author and booklover, wouldn’t dream of writing in the hardcover books in his library. “I won’t underline or even dog-ear pages. The books have become important to me as artifacts.”
Tom Morris, philosopher, author and booklover, wouldn’t dream of not writing in them. “I underline and write and dog-ear like crazy. A book should never be just read; it should be used.”
Do you write in the hardcover books you own? Few questions polarize serious readers as much as this one.
Les Standiford belongs to the group I call Preservationists. For them, the mere expression “writing in books” is akin to running fingernails down a chalkboard. Books are cherished objects, they say. Even if you intend to keep the book for your lifetime, eventually it will be passed on to others, so you shouldn’t contaminate it with your thoughts of the moment.
Preservationists are also quick to point out that besides being an affront to future readers, any writing in a book lowers its value dramatically.
Tom Morris belongs to the group I call Footprint Leavers. For them, books are like food to be heartily enjoyed, and if need be, consumed in the interest of a healthy diet. Writing in the margins and underlining are healthy interactions and make the book more valuable to them, which is their concern. There are plenty of unmarked books to go to posterity, they say; this one book will give its all to them.
Preservationists scoff at this. They may well take notes from a book, which they claim is more meaningful than merely underlining anyway. “Underlining is a fool’s way of absorbing knowledge,” says one accomplished Preservationist. Several others say that underlining can actually become a disservice to the underliner when, years later, he returns to the book and finds it difficult to read passages not underlined, or is forced to see the book the same way she did years ago, instead of with more mature eyes.
The Footprint Leavers will counter that if they wish to read a pristine copy, they can almost always buy another copy or get one from the library. And they like seeing how they previously viewed the book. It gives them insights into their viewpoints at an earlier age, and all-important self knowledge.
Alexandra Stoddard, the author of some 22 books on design and good living, is a devoted Footprint Leaver. She showed me her much-loved copy of Anne Morrow Lindbergh’s Gifts From the Sea. It was laden with colorful underlines, highlights and various triangles and rectangles in the margin. Alexandra could point to her original marks, when she first read the book as a girl, and then subsequent readings as the years went by and she matured. The book had transformed into a diary of sorts, imbued with her own visible testimony to the meanings she extracted over the years. “Books are food for me. I put them in my mouth,” she beams.
Studs Terkel, the Pulitzer Prize-winning author and interviewer, reportedly writes all over the books written by the authors he interviews, filling the margins with possible questions.
Will Provine, a historian of science and collector of rare books, has examined the libraries of many scientists, including Nobel Prize winners. He says that most scientists didn’t write in their books, yet Charles Darwin almost always did so. “A book is generally worth more if written in by an important person,” Will says. Darwin’s comments are considered of enormous historical significance.
Samuel Johnson was an even earlier luminary who wrote in books (often to the annoyance of the friends he borrowed them from), as he selected words for his famous dictionary of 1755.
Tom Morris, who has written a score of scholarly and popular books on philosophy (including Philosophy for Dummies), yearns for his books to be abused. “When I see one of my books in someone’s home, I want to open the dog-eared pages and see comments on nearly every page, and maybe some suntan oil and jelly smears as well. I want to know it was used!”
For all these accomplished Footprint Leavers, my inquiries suggest there are far more Preservationists. Perhaps the world is better for this, since future readers will have more pristine books to inherit. Although even dedicated Footprint Leavers will not ruin an obviously valuable book. If it’s a costly first edition, they will probably not read it at all—thus ensuring they won’t be tempted. It’s the ordinary hardcovers they write in with abandon. It’s live for today and read as if no librarian were watching.
In case you’re wondering, I leave footprints. How about you?”
“This light came from the idea of folding a piece of paper. The function of its adjustment of light and the space created by that are a result of simple action of one surface (the panel) being divided by two. The two panels with slight shifts to each other at its closed position remind a user to open this object up. This light gives the poetic theme to the space like a butterfly flying around with silence.” -vinta
Title Quote: Horace
I just discovered this artist at the Madison, WI Art Fair On the Square – both her work and her husbands was captivating …
“My work focuses on the complexities and multiple dimensions of relationships and language. In my work, I use visual expression as a means to explore the layered communications we sift through each day. By distilling and re-presenting the compelling dynamics of both verbal and nonverbal exchange within interpersonal interactions, I seek to actively investigate and ultimately challenge the way we perceive our everyday relationships.
My work is comprised of encaustic and mixed media on various surfaces and in installation. I employ color and form as they are able to elicit the same emotive response experienced in exchanges with others. I thoughtfully select her palette, forms and found objects to extract a familiar, yet almost unrecognizable feeling — providing a visual ideation of the words, implications and expectations we exchange with one another. Using the layers of wax or mixed media to provide a sense of detachment from the true emotion on display, I strive to provide a conscious embodiment of or glimpse into things otherwise left unsaid”. - Cheryl Gail Toh
Title Quote: Wordsworth
“A piece of jewelery is a small object that can be of great
significance to a person. People and jewelery are inseparable from
each other: jewelery having a human scale, humans putting a meaning on jewelery.
A piece of jewelery is not merely a decorative ornament;
it usually has a meaning, which might be personal, because it marks an
event, a celebration, a loss or an identity. These meanings can also be
universal, recognizable in society.
In industrial and secular
society rituals have lost their meaning: initial rites de passage are
not known to us anymore, death and funeral rituals have become standardized. Yet, jewelery is part of a familiar ritual such as
marriage, and jewelery is present in military and other official
decorations. What has happened to the human and social rituals?
it possible to develop new rituals in modern life? Does it already
exist, without us really recognizing it – in group identities, life
styles? And what kind of role can contemporary jewelery play in
Title Quote: Rumi
“Inspired by an 18th century book that chronicled how the placement
of a beauty mark, or “mouche,” conveyed some secret message from the
wearer to the viewer, we had to replicate these self-stick, saucy
insignias in velvet. The packet, itself, is based on one in our
collection, found in Parisian courtesan’s handkerchief. Twenty to a
packet. Four each in hearts, clubs, diamonds, spades and circles.”
Title Quote: Loesje
“Our cushions are unique items : we take great care to match the back with the front. The fabric of the back may therefore vary from one cover to the next. Each cover is numbered and the number of copies limited”
Title Quote: Rilke
“We are sitting in our cozy home studio listening to music and crafting beautiful things from paper. We are fascinated by the stranger parts of nature and use images from the natural world in the things we create. We are enamored with vintage ephemera and constantly hunting for “treasures”. We recycle whenever we can.
Most of all, we are happy to be doing what we love. “ -Secret Leaves Paperworks
Title Quote: Edna St. Vincent Millay