Photo compositions by Donna Turner
also featuring photo books, digital video
& concrete poetry by various artists.
Opens September 8, 12-8 pm
On view Saturdays & Sundays 12-6 pm and by appointment
through October 7th
September will be devoted to pattern in photography. Inspired by the kaleidoscopic images created by Donna Turner for Beacon’s Windows on Main St. project, we’ve brought her work into the reading room where individual elements of her larger construction can be viewed in detail.
Also on view are photo books by several photographers who employ or present pattern in their image making. Whether it’s observations of patterns in nature, random aspects of the built environment that give way to patterns, or patterns constructed by various mechanical means, the visual connections between these artists are fascinating and poetic.
And despite my “no screens” tendencies in the Reading Room, I’m delighted to present a variety of digital videos I’ve collected over the years that relate to the analog books on display. I was once a young experimental filmmaker on a similar path and am thrilled to see the sophisticated visual work done by contemporary media artists and how this new digital visual experimentation and its analog predecessors have strong correspondences. A revelation, and relevant to be viewed in context with these photo books.
There are some hands-on, interactive offerings to enjoy and supporting materials available for deeper dives into the world of pattern on display, so give yourself extra time to fully engage with this installation devoted to this special form of visual poetry.
No.3 Reading Room & Photo Book Works will be on a summer break from August 12-September 8th, when we will reopen with an installation of newly acquired poetry and photobook projects from small, independent and micro presses. We’re also participating in Beacon’s 13th annual Windows on Main St., a project of Beacon Arts, featuring the photographs of Donna Turner.
Due to today’s forecast of rain all day into tomorrow, and the fact that water and paper don’t mix, No.3 Reading Room & Photo Book Works will be closed today and tomorrow.
Apologies for any inconvenience. Please contact email@example.com for any questions.
A celebratory exhibition of the renowned Purgatory Pie Press’s 40+ year partnership of Dikko Faust & Esther K Smith
On view from July 14 – August 11, 2018
Opening: Beacon’s Second Saturday, July 14, 12 – 8 pm
Closing: Beacon’s Second Saturday, August 11, 12 – 8 pm
Hours: Sunday, July 15, 12 pm – 5 pm
Saturdays/Sundays July 21 through August 11, 12 pm – 6 pm
Due to the rarity of this artwork and mature content of many works on view, this exhibit is intended for adult viewers. Works on display may not handled by visitors, but may be shown by the gallery attendant by request.
Contact firstname.lastname@example.org to make an appointment or if you have any questions.
PPP’s Dikko Faust & Esther K Smith Photograph by April Vollmer
Purgatory Pie Press began in 1977 in Madison, Wisconsin when Dikko Faust pied (spilled) an overfilled job case of 8-point Century Oldstyle metal type. Dikko sorted that type for weeks, made his first two books and the paper for his third, and moved to New York City. In 1980 Dikko Faust married Esther K Smith and Purgatory Pie Press merged with the EK Smith Museum, a museum of found art, including The Apron Collection. Their wedding invitation was their first print collaboration. Dikko Faust uses letterpress as an experimental relief printmaking medium. Artistic director, Esther K Smith comes up with projects, designs structures, edits words, and stitches books. making limited editions and artist books. For some projects, they collaborate with other artists and writers. Faust and Smith bounce things back and forth. Starting with production limits–press size, paper size, number of colors/printings, they talk about approaches, Esther scribbles something on paper. Dikko hand-sets wood and metal type and proofs the words. Smith cuts up the proofs and pushes elements around on paper the size of the finished piece. Dikko arranges that design on the press and proofs it. They tweak spacing, try colors and papers. An accident can solve a design problem.
One night, researching on-line for his CUNY Non-Western Art History class, Dikko had EUREKA! moment. He saw a 3-color pattern in the oldest known wall-painting (c.9000 BC!) He began drawing this pattern on every available surface, set it in type–and his tesselation series began.
Dikko in his new studio in the Brooklyn Army Terminal. Photograph by April Vollmer
Esther K Smith’s How to Make Books, (Random House 2007) is now a classic text for teaching and learning book art basics and remains one of the most popular books on making books. With charming designs and illustrations, Esther guides makers through the steps for various forms while encouraging originality and experimentation. Magic Books, (Potter Craft, a division of Random House 2008), offers instructions for a variety of more complex books such as accordion books, pop-ups, map books and other forms, with clear instructions for the beginner. Limited copies of these two books will be available for sale and signing the evening of the opening.
Esther’s sixth and most recent book is the fabulous facsimile copy of Specimens of Chromatic Wood Type, Borders, Etc. (Rizzoli International Publications (2017). Originally published as a catalogue for William H. Page’s Connecticut wood type foundry, considered one of the best in the world in it’s day, this 1874 type specimen book features elaborate display typefaces meant for eye-catching posters and advertisements. Long out of print and rare, Esther’s 21st Century edition with essays and history, will be featured in the July 14th Second Saturday workshop at the Traffic Street Press studio adjoining No.3 Reading Room & Photo Book Works. (See below for details).
Limited copies of Esther K Smith’s book arts books will be available for purchase and signing at the opening, along with Purgatory Pie Press limited editions, small works, subscription series postcards, artist books, posters and prints from their archive.
Faust and Smith travel as visiting artists, lecturing, demonstrating, and making collaborative projects in art centers and universities. Faust teaches letterpress at School of Visual Arts, NYC. Smith had taught the long-running Artist Books course at Cooper Union–and now offers workshops at museums and for small groups and highly qualified individual artists. After decades in Tribeca, their studio has just re-located to the landmarked Cass Gilbert Brooklyn Army Terminal, accessible by ferry among other forms of transportation.
Purgatory Pie Press limited editions are collected in public and private rare book libraries throughout the world including: Metropolitan Museum of Art, MoMA Museum of Modern Art, Cooper Hewitt, Smithsonian, National Gallery, National Portrait Gallery, Walker, SF MoMA, Tate, V&A Victoria & Albert, London, Miniature Book Museum Azerbaijan, Baku, Yale, Harvard, Smith College, New York Public Library Spenser Collection, University of Washington, University of Puget Sound, University of Ohio, and of course, in the archive of No.3 Reading Room & Photo Book Works.
Solo exhibitions include libraries at V&A, Metropolitan Museum, Athens (NY) Art Center, Pratt Institute, School of Visual Arts, Cooper Union, Ermitage Gransee (Berlin), Asheville Bookworks.
Esther and Dikko will be present in the Reading Room July, 14th from 1–8 pm to chat and sign books. A special studio workshop/demo will also take place on Saturday, July 14. See details below. Don’t miss this special opportunity to see this amazing work and meet the artists!
Second Saturday Workshop: Wood Type, Chromatic Wood Type and its history
Please join Esther K Smith, Dikko Faust and Paulette Myers-Rich at Traffic Street Press, 469 Main St., Beacon, NY, for an hour-long in-studio demonstration and discussion of how wood type and color is used in the letterpress printing process for signage and broadsides, with special attention paid to the use and history of chromatic wood type. Attendees will receive a signed copy of the broadside printed during the demonstration, which will also be for sale later in the evening. Space is limited to six participants each session, first come first served. Please register by July 12.
Two sessions will be held on Saturday, July 14th
Session 1: 9:00-10:00 am
Session 2: 10:30-11:30 am
Please indicate which session you prefer or if either is fine and you will be notified if there is a space available upon inquiry. Payment in full reserves your seat; Register by email inquiry at: email@example.com
Color Photogravure Etchings & Artist Book
On view from June 9 – July 8, 2018
Opening: Beacon’s Second Saturday, June 9, 5-8 pm
Artist talk, Sunday, June 10 6pm
No.3 Reading Room & Photo Book Works is pleased to host Bernice Ficek-Swenson’s stunning color photogravure etchings and artist book from her Here Now There Then series. Of this work, Bernice writes:
“Why do we collect stones? They sit in our gardens, window sills and in our jean jackets. Is it a memory keepsake? A talisman connecting us to primordial earth? Part of a collective unconscious? I collect stones and have used them in my imagery for over 25 years. This interest began as a 20-year-old map drafter working with geologists in New Mexico where I held a stone from the moon in my right palm. That moment was a revelation that enlarged my perception of time and space. Since then my artistic explorations have expanded to use stones as a metaphor suggesting not just landscape, but environment touched by human presence.
Prehistoric megalithic sites like the Stones of Stenness and Ring of Brodgar in the Scottish Orkney Islands, the Medicine Wheel in northern Wyoming and contemporary Land Art, such as Robert Smithson’s Spiral Jetty have long intrigued me. I’ve traveled to many of these locations and continue to be inspired by the meaning and the geometric arrangements of these sites. The Here Now There Then and related Stone Voices project began after a “pilgrimage” /research trip to Carnac on the French Brittany coast where I walked alongside 3000 Neolithic standing stones in alignment. These stone rows, circles, menhirs and dolmens cover miles of terrain and are older than the pyramids.
Here Now There Then is a suite of 6 stones that represent a specific geologic feature or suggests a historic significance. The stones are borrowed from places like the headwaters of the Mississippi, an exposed mantle of the earth in Newfoundland, a D-Day Beach, Pompeii, and Varanasi, the cremation site on the Ganges River.
Related to this suite of photogravures is Stone Voices. This artist book offers photographic and written reflections of 12 stones with narratives written by six contributors that portray the history or a memory-description of each landscape visited. Accompanying three accordion books are geological descriptions of each stone, a copper plate photogravure and letterpress printed title page, colophon, and essay by Minneapolis writer, Robert Silberman.”
Concept, photographs and direction, Bernice Ficek-Swenson; Design collaboration, Joanne Price and Bernice Ficek-Swenson. Stone Voices, consists of three accordion books and a folio housed inside a clothbound clamshell box. Each book contains four archival photographic images. Related narrative text is printed on translucent paper. Included in the folio is a copper plate photogravure and letterpress printed title page, colophon, and essay by Robert Silberman. A photographic grid of the stones and geologic descriptions complete the concept. Hand-signed by the artist and designer in a limited edition of 12, 2017. Book, 10 x 8 in.; box, 11 1/8 x 9 x 3 in.
Bernice will give an artist talk on Sunday, June 10 at 6 pm at 469 Main St. Free and open to the public, seating is limited and reservations are required. Please contact firstname.lastname@example.org to reserve and for further information.
(there is only us)
Book & Photographs
by Sean Hemmerle
May 12 – June 3, 2018
The artist will be present for Beacon’s Second Saturday, May 12
No.3 Reading Room & Photo Book Works is honored to present Sean Hemmerle’s new book THEM, and photographic portraits of Iraqis and Afghans who suddenly found themselves caught in a war not of their making.
Hemmerle traveled to both Afghanistan and Iraq following the events of September 11, 2001. Having witnessed the World Trade Center attacks, he felt that another response to these events was necessary. His resulting images are compassionate studies of people under attack by his own government.
It is important to note that Hemmerle himself was once a sergeant in the US Army. His travels to these lands and his photographic practice should be understood as an alternative type of “shooting.”
The portraits are all shot in a similar fashion. Each subject is portrayed frontally with no direction from the artist, allowing the individuals photographed to (re)present themselves. The portraits depict average people in dire circumstances, a person in a hostile landscape.
THEM is presented in chronological order, beginning with the start of the Afghanistan War after 9-11 and extending into the Iraq War that was started in conjunction with and justified by the terrorist attack that set the United States on an open-ended path of military presence in these countries that has yet to end.
A hallmark of the post 9-11 era into the present moment is the ongoing depiction of Muslims as the enemy, regardless of status or affiliation with an armed force or combatant group. Overnight, ordinary civilians are depicted as “them” via the actions of a small, cult-like band led by Osama Bin Laden and the resulting “War on Terror” response by the United States.
The escalation of this conflict has painted the Muslim world with the kind of broad brush that dehumanizes “them.” We are implicated in this. As we know from two World Wars in the 20thCentury, in the end we must somehow make our “enemies” our allies. There is no moving forward towards peace until we do. The first step on this path is to recognize our common humanity.
There is only us
Published by Kehrer Verlag, Berlin 2017, Texts: Sean Hemmerle, Julian Sander; Designed by Kehrer Design (Nanni Goebel); Hardcover with dust jacket 25 x 30 cm, 120 pages, 50 duotone ills., English ISBN 978-3-86828-810-0 $50
You can read more at these sites: