JAB44 | Fall 2018

Order your copy of JAB44 using the JAB Order Form


In her essay “Lessons Learned to Pass On: Mentors and Curators,” Johanna Drucker examines some issues surrounding the identification and acquisition of artist books especially in relation to collections and exhibitions by focusing on the groundbreaking work of Clive Phillpot and Judith Hoffberg starting in the 1970s. She also writes about (among other things) the mentorship genius of the bookdealer Tony Zwicker, who had a profound effect on many book artists, including myself.

Claire Gauzente, in her text “About the Intellectual Reproducibility of an Artists’ Book,” writes about the possibility of intellectually reproducing an artists’ book based on “…reading about the processes, schemes and documentation pertaining to the making of the [pre-existing] book…” This highly speculative essay provides ways of thinking about creativity and production that may provide guidance for book artists.

JAB44 Table of Contents

  • JAB44 Introduction from the Editor
      by Brad Freeman
  • PhotographMary Claire Butler's
    ABD 360 Offset Press in Action! August 2018, Chicago IL
  • Lessons Learned to Pass On:
    Mentors and Curators

      by Johanna Drucker
  • About the Intellectual Reproducibility of
    an Artists’ Book: Methodological Considerations
    and Generative Properties

      by Claire Gauzente

    ARTISTS’ BOOKS that are a part of JAB44
    (Click on images below for more details)



    JAB44 ◙ Fall 2018 ◙
    JAB44 comes with two artists’ books as part of the issue:

    JAB HATCH and THE FALL!

    Click on the images below to see larger versions.



    JAB HATCH is a collaboration between the Journal of Artists’ Books and Hatch Show Print in Nashville, TN.




    The outside cover consists of make-ready letterpress printed at Hatch Show Print during 2016.
    Each cover is unique and represents some of the many posters designed and printed at Hatch.


    On the front cover, the title HATCH / JAB, was letterpress printed at the Center for Book, Paper & Print / Columbia College Chicago by April Sheridan and Brad Freeman in February 2017. The woodtype font is Streamer No. 21 made by William H. Page — based on the face Unique. Special thanks to David Shields for providing us with this information.


    The text block consists of set-up sheets from past JABs overprinted during the previous few years, and then overprinted again with photo/images of Hatch Show Print and from a film of Lazlo Moholy-Nagy’s Space Light Modulator at the Art Institute of Chicago.

    The inside cover, with photography and design by BF, was offset printed on the Heidelberg GTO (eine farben) in CMYK at CBPP. The paper is Mohawk Superfine ultrawhite smooth throughout.


    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    THE FALL
    an artists’ book by johanna drucker and brad freeman

    The text in The Fall was composed by Johanna Drucker through compression as derivatives from two different sources: news stories between November 8, 2016, the day Donald Trump was elected, and April 25, 2017, three months into his presidency; and from Edward Gibbon, History of the Decline and Fall of the Roman Empire, Volume 1, published 1776. The text in this book is derived from the Gutenberg online file which is identified as written in 1782 and published posthumously in 1845 with notes and revision by Reverend H.H. Milman. Click here for a link to the source text.
    ( http://www.gutenberg.org/files/731/731-h/731-h.htm#link2HCH0001 )

    The contrasts and comparisons are obvious.

    The design, photographs, digital collages, & production in The Fall was done by Brad Freeman.
    It was offset printed on the Heidelberg GTO at the Center for Book, Paper & Print, Columbia College Chicago, in spring & summer 2018.

     ~ Colophon

    JAB44 was designed and offset printed on the Heidelberg GTO52 (ein farben) at the Center for Book, Paper and Print, Columbia College Chicago by Brad Freeman. The body text is set in Harriet, and the headlines are set in Cholla. The paper is Mohawk Superfine Ultrawhite Smoooove 28 lb. writing for the text, and 80 lb. for the cover.

    In order to be more precise about the production of JAB HATCH, the editor begs your indulgence, and wishes to inform you that he has added some amendments to the colophon:

    ► After the initial CMYK printing of the front and back inside cover, green and purple spot colors as concentric circles and a gradation of tone were overprinted—the plates were double-burned, which added an interesting fading effect.

    ► I created the concentric circles/moire patterns in Adobe Photoshop—kind of a printer’s joke, and an imagined merging of letterpress imagery with offset and computer technology.

    ► The lined, ledger-like paper is Monadnock Dulcet. It was printed as part of a previous artist project, which didn’t pan out…

    ► Some of the overprinting images are from photos taken in my studio, backyard, and living room.

    ► How did the collaboration between JAB and Hatch ShowPrint come about? As stated on the inside front cover of JAB HATCH, “April said ‘If you’re going to Nashville, you should go see Celene at Hatch.’” At the time (January 2016) April Sheridan and I were colleagues here at the Center for Book & Paper. Celene Aubry used to print in our letterpress studio until she became the shop manager at Hatch Show Print. When I was in Nashville for the College Book Art Association meeting in January 2016 I visited Hatch, and Celene graciously gave me a tour of the facilities. And of course it occured to me that a JAB/HATCH collaboration would be cool. Luckily Celene did too—Great minds think alike! I sent the printers at Hatch set-up cover sheets, and they spent a year overprinting on them. Set-up sheets generally have an appealing visual quality, with all sorts of random overprinting, so I saved them on purpose, with the idea that eventually they would become the cover for the collaboration. After the year of overprinting the covers were sent to Chicago, and April and I (as stated in the colophon) printed the JAB HATCH title: First in letterpress, and then in offset.

    ► Celene Aubry wrote A HISTORY OF HATCH SHOW PRINT, which was printed offset, silver ink on black paper, and then the pages were inserted between the larger pages.

    ► The original letterpress printing of the title on the cover didn't work out as well as planned… so I offset printed a black background on top. Then I scanned the title we had letterpress printed and offset printed the title ON TOP of the letterpress version. If you look closely the punch of the letterpress can be seen—slightly out of register with the offset title.

    ► In response to the Hatch letterpress overprinting on the cover (so luscious!) there are various combinations of random and planned offset overprintings in JAB HATCH.

    ► Binding by Mirjana Ursulesku and BF.



    Continuing on as our fearless and somewhat enigmatic webmaster is Kathi Beste, backup doo-wops courtesy of the Book Artists Sunshine Band.

    Founder and Editor
    Brad Freeman
    jabandbrad@gmail.com

    Advisory Board
    Luan Barros
    Kathi Beste
    Johanna Drucker
    Helen Frederick
    Brandon Graham
    Debra Parr
    Tate Shaw
    April Sheridan
    Karen Wirth
    Philip Zimmermann

    JAB (The Journal of Artists’ Books) is indexed in
    The H.W. Wilson Company, Art Abstracts, CSA’s ARTbibliographies Modern,
    and in Bibliography of the History of Art.

    ***