Spring Newsletter 2018

Contents
RMC member Ginny Kilander’s
featured work and artist’s
statement
page 1

RMC News
page 2

Upcoming Workshops and Lava , marbled paper by 


Classes
 Wyoming member Ginny Kilander
page 4
Artist’s Statement: “Lava” is the result of one of my
Interview with RMC member explorations into creating motion and movement in
marbled papers. By moving the paper as it is applied to
Pamela Wood
the wet marbled surface (and transferring the colors to
page 7
the paper) additional waves and ripples are created in
the design, suggesting a flowing rather than static
Current and Upcoming Events design.
and Exhibitions Ginny Kilander is a faculty reference archivist at the
page 12 American Heritage Center, University of Wyoming. Her
art and craft interests include both the history and
Other Related News modern applications of marbling, paste papers, and
page 13 papermaking. In addition to membership in the Guild of
Book Workers, she is a member of the Society of
Marbling, and Friends of Dard Hunter.

Dear Rocky Mountain Chapter Members,

Hi, everyone. Our featured image in this issue is of fabulous marbled paper by Wyoming member
Ginny Kilander. And don’t miss the interview with Arizona member book artist Pamela Wood.
Also in this issue are articles about the recent RMC annual meetings in both Utah and Colorado,
and the box-making series taught by local Denver RMC members. Thank you to those who
contributed articles. Look for the fall RMC workshop on Ethiopian Binding that will be taught by
Karen Hanmer in Denver. Register soon - it’s sure to sell out. The registration link is on page 4.

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 RMC News

Peter Thomas and Ukuleles in Provo, Utah

Peter Thomas was in Provo, Utah in March to present at the BYU

Library Special Collections’ annual A. Dean Larsen Book Collecting
Conference. The Rocky Mountain Chapter took advantage of this by
holding a gathering for book enthusiasts on the evening of March
22nd. Chapter members were joined by their families, conference
attendees, and BYU librarians for a fun evening of pizza and
conversation. The highlight of the evening was the book songs sing-
along. Peter picked up a ukulele and led us in singing his “Book Arts
Folk Songs.” A few of us joined him on our own ukuleles with one
person on guitar as we spent an hour with the whole group singing
along. A good time was had by all. If you’d like to have your own
book arts sing-along, Peter’s songs can be found at http://
www.baymoon.com/~ukulelebooks/book-arts-folk-songs- Peter Thomas and Christopher McAfee
pdfs.htm. playing ukuleles at Utah gathering
Christopher McAfee

RMC Gathering at the Denver Art Museum and Denver Public Library

We met at the DAM to view a film about Xiaoze Xie and his project that honors books that have been
banned in China. Xie is a contemporary artist who splits his time between China and the US. His film,
Tracing Forbidden Memories, documents his efforts to collect and describe books that have been
banned and/or destroyed throughout China’s long history. In addition to the film, his exhibit at DAM
includes large photorealist painted portraits of books, video, displays of banned books he has collected,
and large photographs documenting items he was not able to collect. These photographs are
meticulous, with a ruler included for scale; similar to conservation photo documentation. He also
documents the “offending” portion of the book. The film really raised our awareness on an aspect of
China that most of us never think about, especially the fact that censorship is more prevalent now than
ever before.

As an employee at a public library, I relish that we raise consciousness every year with “Banned Books
Week” and know that sometimes important information disappears from general public view by passive
neglect, lack of knowledge, complacency and disinterest. We become indignant whenever we think
some information has been “hidden” from us. Contrast that with the precarious life of writers and
artists in China, where publishing houses are summarily closed and writings disappear, both physically
and digitally. See denverartmuseum.org for more.

After that exercise in awareness, we walked over to DPL to see a book art exhibit, curated by Alicia
Bailey, Bibliothecarii et Glutinatores. All of the objects displayed were created by people who also
work (or volunteer) at libraries; several are chapter members. You can check out the exhibit catalog at
http://abecedarianbooks.com/. Upon arriving, we encountered a huge crowd and tables holding stacks

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of books all around the exhibit area; turns out the Colorado Book Festival was in full swing there. We
edged around and behind the tables to see the somewhat hidden book art with good humor, enjoying
the energy and exuberance of the event - and appreciating the access we enjoy here.

ps: Another bookish event held in Denver; The Book Handlers, at Buntport Theater. This satire was
inspired by an essay of Brian O’Nolan’s, in which he proposed a service for wealthy people: “handlers”
hired to distress unread book collections to make them appear thoroughly used. Of course, the handlers
are not allowed to read any of the books they process! For those of us in the trade, it was a hoot! See
https://buntport.com/2018/01/the-book-handlers/ to read more and to see images of the great set - a
“distressing” assembly line.

Karen Jones

The Box Series, Denver

Three boxes, three teachers, three days. Over the winter the
Rocky Mountain Chapter of the Guild of Bookworkers brought
teachers and learners together to make beautiful and functional
book boxes. Many protective book boxes were constructed
following the 1966 flood of the Arno River in Florence in
which books, periodicals and journals were damaged when the
river spilled mud and water into the stacks of the Central
Library. Young binders from throughout the world gathered to
restore and protect the damaged books and their legacy
Richard Pollock-Nelson Slip Case with
continues today.
magnetic closure and panel
Pam Leutz taught an open slipcase structure that can be nicely
customized to the size, weight and materials of the book. This
slipcase is constructed by cutting out Bristol board a board’s width larger around each piece of cover
board. As each piece fits together the Bristol board overlaps to hold the structure together.

The elegance of this structure is enhanced by paring down the front edges and rounded top and bottom
of the case. Pam supplied a soft, colored Tyvek to cover the top and bottom of the case.This class
gathered in Pam’s home studio comfortably equipped with presses, hand tools and board shears.

In February, Karen Jones taught the dropspine box at Your Bindery Finishing in Denver. Owners,
Kirsten and Luann welcomed class members to a lively industrial workspace and provided coffee,
snacks and lunch. The dropspine or clamshell structure is engineered such that a smaller box is
constructed to hold the book, while a larger box covers and encases the whole. This box uses
techniques and materials familiar to bookbinders, although trimming and gluing the cloth inside the
boxes proved challenge enough! Each student constructed this box and went home with a model for
more exploration.

Finally, just as winter was turning to spring, we returned to Your Bindery where Richard Pollock-
Nelson led us in creating a slipcase or clamshell box with magnetic closures. This box has nifty
features like a ribbon to pull the book out and embedded magnets to hold the case closed. Decorative
paper is used to cover a raised board on the outside while again, cutting and gluing cloth around the

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corners was a feat of engineering. Richard supplied diagrams and detailed instructions for measuring
boards and covers as well as kits to make journals to fit into the newly made case.
Martha Rhome

Upcoming Workshops/Classes

Colorado

Denver

RMC Workshop:
ETHIOPIAN BINDING 

with Karen Hanmer

Sept. 8-9, 2018, 9:00a-5:00p

Your Bindery, 991 S. Jason St., Denver, CO 80223
The Ethiopian binding structure may have emerged as early as the
fourth century and has been in use unchanged for centuries. This
humble, elegant binding opens flat and is the inspiration for many
contemporary “Coptic” book arts structures.
Characteristics include wood boards trimmed flush with the text block,
paired sewing stations, and chain stitch-sewing that enters the board edge to incorporate board
attachment. Historically the text blocks were made of vellum. Any covering would be done with
goatskin.
Students will make a full-leather binding with braided leather endbands and cloth board linings.
Students will begin by folding and punching signatures, and drilling holes into wood boards. If time
permits, simple tooling will enhance the finished binding.
Note: This is an intermediate-level workshop. Students must be able to perform the following tasks
proficiently and promptly: folding, marking up, sewing.
About our instructor
An acknowledged leader in the book arts community, Karen served on the editorial board of The
Bonefolder, the peer-reviewed online book arts journal, and is a reviewer for the Guild of Book
Workers Journal. Hanmer curated Marking Time, a triennial exhibition sponsored by the Guild of Book
Workers. She exhibits widely and her work is included in collections ranging from Tate Britain and the
Library of Congress to UCLA and Graceland. She offers workshops and private instruction focusing on
a solid foundation in basic binding skills. See karenhanmer.com for more.
$220/GBW members; $250/general; $80 materials fee (payable to instructor)
Online registration: https://gbw.formstack.com/forms/ethiopianbinding Limited to 11 registrants.
Questions: contact Martha martha.g.rome.cambridge@gmail.com

Denver and other Colorado locations

Alicia Bailey classes in Denver, Ridgeway, Co, and Carbondale, Co
Panorama Concertina - May 5, Ridgeway, Weehawken Arts
Miniature Diorama Box - May 6, Ridgeway, Weehawken Arts
Folded Book Forms - May 12, Carbondale, Carbondale Arts
Tunnel Book - July 7, Denver, Co

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Miniature Diorama - August 12 & 21, Denver, Co
Flexible Forms - August 18, Denver, Co
Check out the website for details and more classes coming in June and July:
http://www.aliciabailey.com/ravenpress/product-category/events/workshops-events/

Telluride
American Academy of Bookbinding - upcoming classes include:
Selected Shorts: 3 Techniques in One Week - May 28 - June 1 - Don Glaister
Classical Decorative Techniques - June 4-8 - Monique Lallier
Inventive Decorative Techniques - June 11-15 - Monique Lallier
Introduction to Bookbinding I - June 25-29 - Lang Ingalls
The Elegant “Tue-Mouche” Binding - July 2-6 - Coleen Curry
Master Class - July 16-27 - Sol Rébora
Basics in Paper Conservation - August 13-17 - Renate Mesmer
Making the Cut: Exploring the Expressive Line in Leather - August 20-24 - Sialia Rieke
https://www.bookbindingacademy.org/courses/

New Mexico
Truth or Consequences
Hands On Bookbinding - Classes with Priscilla Spitler
The Authentic Sewn Boards Binding - May 19, 2018 (Saturday) $115.
Case Binding Refined - TBA Fall 2018
The Clamshell Box - TBA Fall 2018
For registration or further information and view workshop details: www.priscillaspitler.com or
contact her at: prispit54@gmail.com

Santa Fe
Santa Fe Book Arts Group Workshops available for BAG members https://santafebag.org

Utah

Salt Lake City
Book Repair for At-home Curators
Christopher McAfee
May 16, May 23, May 30, June 13, June 20 - Wednesdays, 5:30 – 8:30
Book Arts Studio, J. Willard Marriott Library, Level 4
$244, register through continue.utah.edu/lifelong
This course hones foundational skills in book conservation and then
moves beyond the basics. Topics of discussion include reasons for
performing, or not performing, conservation treatments, how to determine
the best treatment options for specific damaged books while also
considering the ethics of performing those treatments. As students perform
conservation treatments, they learn about appropriate conservation
materials, adhesives used by conservators, and the tools of the trade.
Students leave with a minimum of two treatments, a basic kit of conservation tools, and the skills
needed to complete repairs at home.

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The Book Restructured: Wire-Edge Binding 

Daniel E. Kelm
June 1 & 2 - Friday & Saturday, 10:00 – 5:00
Book Arts Studio, J. Willard Marriott Library, Level 4
$215, register here
The range of books being produced today by artists is truly
remarkable. Some diverge wildly from traditional book forms,
others play with slight variations. Nontraditional books (e.g., books
with thick pages, or books that are sculptural) may require the use
of a material or movement not possible with conventional structures. Wire-edge hinging grew out of
just such a challenge. This binding configuration utilizes a thin metal wire along the hinging edge of
each page. The metal wire is exposed at regular intervals, creating knotting stations where thread
attaches one page to the next. The result is a binding that opens exceptionally well and provides the
option of producing unusual shapes. This workshop presents various wire-edge structures useful for
books, enclosures, and articulated sculpture. Participants produce both a simple codex and an accordion
model that forms a tetrahedron. All levels of experience are welcome.

Letterpress Printing: Text + Image

Crane Giamo
June 14 – August 2 - Thursdays, 5:30 – 8:30
Book Arts Studio, J. Willard Marriott Library, Level 4
$340, register through continue.utah.edu/lifelong
Get a handle on what it takes to crank out an edition of gorgeous
letterpress prints. This active, eight-week class introduces the
fundamentals of letterpress, from paper selection and cutting to
mixing ink and printing. Guided by the instructor, participants
design and produce four individual projects using a variety of
relief techniques and matrices including metal and wood type, zinc cuts, linoleum blocks, pressure
prints, photopolymer plates, and collagraphs.

Bookmaking: Materials + Structure

Allison Milham
June 19 – July 17 - Tuesdays, 5:30 – 8:30
Book Arts Studio, J. Willard Marriott Library, Level 4
$244, register through continue.utah.edu/lifelong

This fast-paced, five-week bookmaking venture is an introduction

to binding fundamentals. Class participants learn to craft several
book structures, including folded forms, non-adhesive bindings,
case bindings, and enclosures. Students have the option of binding
blank books or incorporating content of their own design. Topics of
discussion include studio practices, the selection and utility of various materials, the role of the
handmade book, and ways to generate content, but the primary emphasis is on craft.

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Photopolymer Intaglio Printing
Mare Blocker
June 29 & 30 - Friday & Saturday, 10:00 – 5:00
Book Arts Studio, J. Willard Marriott Library
$205, register here
Throughout this two-day printmaking exploration, Blocker unveils
methods for making images on transparencies and presents strategies
for photopolymer intaglio printing and registration. Using black or
tonal artwork on clear transparencies, participants expose and
develop light-sensitive photopolymer plates. By hand-wiping the
plates, participants create original intaglio prints using an etching press. This method is suitable for
recreating an impression of a photographic image, rather than a highly detailed version, and is ideal for
those who want to reduce toxic materials in their studios. Discussion topics include ink, paper, and
dampening choices.

INTERVIEW WITH

PAMELA WOOD

Pamela Wood is one of the Arizona

members of our Rocky Mountain
Chapter. She took a bookbinding class
while working as a graphic designer and
was hooked! Now she is busy telling
stories through her artists’ books. She
merged a fine art background with
bookbinding skills and has amassed a
h u g e co l l e c t i o n o f a r t i s t s ’ b o o k s
throughout the years. Wanting to
challenge herself further and add more
c l a s s i c b o o k b i n d i n g s k i l l s to h e r
repertoire, she took classes at the
American Academy of Bookbinding and
began creating beautiful fine bindings.
Presently, she is working to express her
stories through combining her many art
skills with fine binding techniques.

She concludes the inter view with

passionate and inspiring advice to Pamela Wood at RMC show, Souvenir

anyone interested in creating book art.

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Thanks so much for agreeing to talk with me about your work in book arts – artists’ books as well as fine
bindings. What was the path that took you to this work?

I had an aunt and uncle who were artists, and from the time I was 7 or 8, I knew I wanted to be an
artist. I knew I was going to take that path no matter what anybody said. When I got into college,
I dug into everything art. I got a BFA in Printmaking and from there I went into advertising. I felt I
needed to do something to make money. That led me to a couple years of archeology work as a
draftsman for archeology digs in Cyprus and Jordan. From there my parents and I moved to
Arizona, and I pursued advertising again. By the time I met my husband in 1981, I was deeply
into having my own business in graphic design. I pursued that, and at one point around 1995, I
took a class with a friend on bookbinding. From that class, I took a few of those instructions, and I
went crazy! I was making everything. It was like finally there was a medium that spoke to me. I
could tell my story. I could engineer it. I could take simple binding [techniques], and I could put it
into just what I wanted. I made all kinds of things – it was all about my story.

During that time, I was having some tough times with graphic design. I would have to go digital,
but my love was on the board and with my hands. I was miserable. My husband made a pointed
question to me one day. He said, “Pam, what would make you happy?” “Truthfully,” I said, “to be
the artist I always knew I could be.” At that moment, I said, “I just have to do this.” And he said,
“Go do it!” I stopped the advertising and went full-time into books.

I met Joe D’Ambrosio, who had moved to Arizona from Southern California. He taught a lot of
book classes and was big with the Book Club of California and involved with California
bookmakers. I was amassing a huge body of work. He introduced me to the Bookbinders of
California and The Guild of Book Workers. I kept taking classes in alternate techniques and doing
my thing in books. Around 2008 or 2009, I met up with Bill and Vicky Stewart of Vamp and
Tramp. I had a one-person show at a local gallery; they were attending my opening. I asked Bill,
“Is any of this worth selling?” He looked at me and said, “I could place everything in the show.” I
had all these works that were like my kids, and now I had the opportunity to place them where
they wouldn’t be in a cabinet or stored away in a hutch. You do all this work and finally, you turn
a corner. Finally, all this work would be in a place in perpetuity. I was stunned – I’m still stunned
when I get placed. My work is in book collections coast to coast and some in Europe. I never
looked back from books being my medium.

I had been taking classes, but they weren’t the master level I felt I aspired to and wanted to get to.
That’s why I ended up taking five years of classes at AAB in Telluride. It was that technical
expertise that was filling in the gaps. In 2014, I was kind of getting disgruntled, and I was in an
awkward place, so I took one of my last classes there. From then on, my life turned upside down.
In 2015, my husband died in my arms from a catastrophic heart attack. The lifeguard and water

8
safety instructor I had been in college couldn’t save him. He had his own practice as a CPA; the
month after his death I had to sell his practice and deal with his clients. I couldn’t even think
straight. Now coming into the third year, I’m starting to realize that I didn’t do a lot of grieving,
and now that I’m healing and I’m coming out of it, I’m putting myself back together the way I’ve
always wanted to be. I’m in a different place. I liken it to a massive earthquake that happened in
Tuscany where frescos were in crumbles. I saw a picture – it was so stunning – people in lab coats
were putting shards together to put this Cimabue painting back together. I think of doing that with
my soul. I have this soul that is in bits, and I’m trying to put myself back together. It’s a daunting
task sometimes, but when I’m in the studio as I have been a lot recently, I find that worlds
disappear and I’m happy again, making my books.

I just finished one that I’m going to send off to ARA Canada. It is a set book. I’m usually not fond
of set books, and particularly a set book in French – I don’t speak a word of it – but I thought, “let’s
try this.” It’s ready to go, and I must say, I really love what I’ve done. It just seemed to flow so
wonderfully, even with my meager translation. When I pulled it all together I thought, “Darn, this
is so cool!” This is why I like being a bookbinder. There have been times in doing archeology work,
and now, that I didn’t know what a person was saying at all – in Greek or in Arabic and now in
French – but you know there is a soul and a heart in these people, and that’s what I was picking
up. That’s what makes what I’m doing so exciting.

I saw a lot of your books on your rarehare.com website. Were you drawn to artists’ books in order to express
your stories through art?

Right. The first one was The Fourth at What Cost. As a freshman at Kent State University, I was
introduced to Viet Nam politics on May 4th [1970]. I heard the gunfire; I went up on the roof; I saw
the kids being pulled into the health center and saw the ambulances going out, and all of the hate
over the next three years. Within the first hour, there was a lot of community hate. It was awful.
These were tumultuous times at Kent State. The community didn’t like students. People would get
out of their cars and walk toward me and say, “You deserve to die.” Nobody understands until
you’ve gone through it – so much of life is like that. I decided that this painful stuff had to be told,
at least so I could feel better. The Fourth at What Cost was a final catharsis. There are so many tears
in that little book. I decided that when it was done, I was done. I’ve shed the tears I’m going to
shed. I did three copies - one is at UCLA library for Descent and Student Unrest; one is up in the
UC Davis collection on violence; and one at University of Arizona. I’m so glad that my book will
be remembered for that. It was painful. The students at Kent State did the best they could, but
there were bigger issues. It died down. It was allowed to be covered up by the different
commissions who said the students were wrong and they were bored rich kids. That wasn’t the
case at all. Living through it from my vantage point, we just wanted to talk about it. We didn’t

9
need to be shot. I thought, “this is just too important to me.” Even if nobody is going to listen to
me, these books I’ve created are in a place where somebody will listen. That made me happy.
These things I was writing about were very important to me, and so I decided, “I don’t have to
wait to have somebody listen to me. I’ll just create all these stories.” I was feeling great to finally
match up something really creative in the design and to channel my own voice in it.

That was a very passionate project for you.

I do all different topics. I did one on selling my house. I borrowed a Saint Joseph statue from a
friend. We wanted to sell this town house so bad. We didn’t have the official prayer – the friend
had lost the paper – so I made one up and put St. Joseph in a little baggie out in the front garden. I
told him I wouldn’t dig him up until it was time, and said, “do your thing.” By the end of that
week, the house had sold. I made a dos-a-dos book. One side was the actual prayer, and the other
side was the experience. It opens up, and there is a little house in the middle. There is magic to
this.

I would go from this to serious. Then I moved toward super serious work with the fine leather
work. I was moved because it was the next stage. I needed something meatier. I knew I could do
the fun things with the artist books. I’m really good at those, and I love them, but there was
something about the in-depth craft and the intentions of detail and amount of detail that is so
exciting. For me it was answering a call, “Let’s see if I
can do this.” I’m a little more than a talented
amateur when it come to the French work. It’s
exciting, and I love that look, but I don’t think
everything needs fine binding. There’s a place for
fine binding, but I think artists’ books are still so
expressive. With the fine binding, some of the
tradition isn’t as whimsical as an artist book.

How did AAB influence your current direction?

My direction now is I’m using the fine binding

techniques, but I’m trying to find what excites me
Restoration and fine binding - The World of Pooh, full
now that I have the experience of [working with] leather with suede and leather inlays, paste paper
leather. I’m still doing leather, but I want to bring my paste downs and fly sheets, sewn end bands
expression to it – I’m trying to find my own way of
putting myself into the fine binding instead of being driven by following my [class] notes. Maybe
I won’t even use leather, but I’m basing it on some leather techniques and finding other media to
inlay or other media to balance it out. I’m becoming friends with bookcloth. I’m just trying to find

10
my expression. In the book I just did, I went back to printmaking. My friend and I actually printed a
car tire. I wanted a tire print, so I got out my ink and brayers and paper, and we just moved the car
back one way and moved it forward and got another print. I used the tire print in the book as part of
the design.

You have a big tool box. You do printmaking, you do papermaking, you have fine binding experience, pen and
ink – you can draw. You have a huge amount of things to pull from. It must be exciting.

It is. I spent way too much time finding my way and learning all these different mediums. I quilted
for a while. That was before I got involved in books. I’m not afraid to create. My friend had an
indigo pot going and invited me over. I took some white leather and linen and antique table
napkins. We were folding and binding in this basically glorified tie-die, but an indigo pot has such
wonderful color. I now have a great stack of stuff to use. It’s fun to have different mediums.

Is there something you would like to achieve that you

haven’t yet achieved?

I’m afraid to say this, but I’ll just say it. I’d like to
know that I’m as good as others say I am.
Sometimes when you get the external validation it
doesn’t catch up to your head.

What would it take for you to know that?

I’m getting closer. The book I’m sending off to

Canada gets really close to that. It’s exactly what I
wanted – no other person was involved in it. I say Dos Hermanos Conejos” 2007 – closed -  9 1/2” h  x 4” w ,
to myself, “You know this is really, really cool.” open – 8 ¼ “ h  x 13”w. Pamela’s story is in Spanish with
illustrations.

What a gift your husband gave you when he told you to

do your art.

Yes, it’s a gift I use. When I was telling you that, I could feel my eyes welling up. It’s the part that
keeps me attached to him, and I think I’ll be attached to him forever.

It sounds like you love what you do. What would you tell an artist who would like to do what you do? What
are the joys and what are the hardships?

I would say, first off, don’t be dissuaded by voices around you saying that it can’t be done. If you
really believe in it strongly, and it burns in the night, and you can’t stop thinking about it, then
you’ve got to do something about it, as an artist. Secondly, don’t be afraid to go to other mediums. I
had to do sculpture; I had to do painting; I did figures and landscapes. I was deeply rooted in the

11
old degree-format, and I wasn’t afraid or daunted by any of this. I loved it all. I had no problems
exploring all these different ways that you may need at some point. Then you put your project
together and start out with little sketches. Even if these sketches don’t look like what you’ll have at
the end, it doesn’t matter. Get it executed. There are so many ways, using the library or even
YouTube – like finding the Turkish map-fold if you need it – to make it happen. Create it. It will
lead you to the next one and the next one. You don’t have to be daunted that you aren’t doing a
huge masterpiece. Start simple. Always stay true to yourself. Stay on your story because there is a
story. No matter what, there is some story inside of you that every time you wanted to tell it got
squelched, either externally or internally. Get your story out there, even if it makes you cry as
you’re creating it. That’s good. It’s your story, it’s you. If you stay true to yourself, you can never go
wrong. There will be somebody looking at it, and they will have a tear in their eye too. And maybe
it’s only one other person, or maybe it’s 50. You don’t know. At some point, you’ll make a
connection. I like making connections. I don’t always have the opportunity to tell the long story, so
I’ll make it visually, and that makes me really happy.

That is so inspiring. That’s what we’re supposed to do – connect with others.

You got it. I spent a lot of time looking and listening. I was doing a lot of work, but it wasn’t until I
stopped trying to make the advertising connection and forcibly make money that my work changed
dramatically because it was my work. Not a commission or to match somebody’s sofa. I was
digging in just for me.

That’s a good message. And a good way to close. Thank you for sharing your story, Pamela.

Current and Upcoming Events and

Exhibitions

Colorado
Colorado Springs
Colorado Antiquarian Book Seminar - Colorado College, Colorado Springs, CO
July 15-21, 2018
Now in its 41st year, the Antiquarian Book Seminar provides an opportunity for leading specialists to
share their expertise and experience with booksellers, librarians, and collectors in a comprehensive
survey of the rare book market, both antiquarian and modern. The highly-respected Colorado
Antiquarian Book Seminar (CABS), now in its 41st year, is a six-day workshop held annually in mid-
July in Colorado Springs, aimed at current used/academic and would-be antiquarian/rare booksellers;
rare book librarians and book collectors are also welcome. See <https://www.bookseminars.com> for
details. More than 20 full- and part-time scholarships are available this year (the school admits 50
students each year).

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Binders Keepers – A group of bookbinding enthusiasts that meets every other month on the
second Saturday from 2-4pm at Library 21c, 1175 Chapel Hills Dr., Colorado Springs, CO
Next meetings are:
May 12th
July 14th

Denver
EXHIBIT: The Printed Page III
University of Denver, Anderson Academic Commons, February 21-
June 10
The Printed Page III is a series of exhibits hosted by multiple venues
in the Denver metro area. It includes artists' book works and prints
by artists from Australia, Austria, Canada, Italy, The Netherlands,
The United Kingdom and The United States. https://
www.moprint.org/exhibitions/

Utah
Salt Lake City
The Book Restructured: Wire-Edge Binding
Artist Lecture with Daniel E. Kelm
Thursday, May 31, 5:30 pm
Rare Book Classroom, J. Willard Marriott Library
FREE and open to the public

Gallery Talk with Peter and Donna Thomas

Thursday, June 21, 5:30 pm
Level 1 lobby, J. Willard Marriott Library, The University of Utah
FREE and open to the public

News

CALL FOR WORSHOP PROPOSALS

The Focus on Book Arts (FOBA) conference is looking for instructors for the fourteenth biennial
Conference. Conference dates are Wednesday through Sunday June 26-30, 2019 with a check-in day of
Tuesday, June 25, 2019. This event is held at Pacific University in Forest Grove, Oregon about 30
miles west of Portland, Oregon. We are looking for beginning, intermediate and advanced level
workshops but would also like to consider master level workshops that may involve critical problem
solving or more advanced hands-on work. Conference will host evening activities and receptions, a
trade show, a sales store, and a Faculty/Staff exhibit. For complete details and an application form visit
our web page focusonbookarts.org. If you have any questions go to Workshop Proposals on the web
page and click on workshopchair@focusonbookarts.org<mailto:workshopchair@focusonbookarts.org>
at the bottom of the page. All proposals must be received by MAY 15, 2018.

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The Rocky Mountain Chapter blogsite, http://rmcgbw.blogspot.com , includes a member page http://
rmcgbw.blogspot.com/p/members.html and calendar http://rmcgbw.blogspot.com/p/events-
calendar.html ). If you would like your contact information included or updated on the member page,
http://rmcgbw.blogspot.com/p/members.html, please send information to pleutz@me.com.

If you have a picture of your book-work that you would like us to feature in the next issue, please
send it to pleutz@me.com by July 15, 2018. Also, please send articles, tips, and book related news
and event information to pleutz@me.com by July 15, 2018, so they can be added to the next
newsletter that comes out August 1, 2018.

Warm Regards,
Pamela Train Leutz, Communications Coordinator

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