The Book as Sculpture: Narratives in Visual Play & Form
An 8-Week Class with Marci Easterbrook
Mondays and Wednesdays, June 6-July 30, 2022
9 am to 12 noon
In Person at Santa Fe Community College and Online Synchronous
Arts and Design Advanced Projects
Arts 2115L D1
In this class various materials will expand our knowledge of the book as a 3D story and art object. This is a hands-on exploration of materials that will make new and exciting relationships of shape, dimension, and text. You will create advanced artist books that are unique and will develop your art vision.
Students will use traditional and contemporary methods of binding, papermaking, paper casting, and repurposing of materials in a workshop experience that is intensive, fun, and applicable to learning about art, sculpture, and books in completely original ways.
This Friday, April 1: Anything Goes, a Show and Sale of Artwork and Artists’ Materials!
Anything Goes will be at the Tortuga Gallery from Friday, April 1, to Saturday, April 9, 2022. The gallery is open 11 am to 5 pm and is at 901 Edith Boulevard SE, Albuquerque, NM; (505) 948-8840; https://www.tortugagallery.org/. Santa Fe BAG and Libros members created the artwork.
The opening reception is tomorrow, Friday, April 1, from 4 pm to 7 pm. Please park on Pacific during events.
Exhibiting artists are:
The Surprising Form of Memory: Writing a Pantoum, a workshop with Lauren Camp
Saturday, March 19, 2022
2:00 pm to 3:30 pm
Online via Zoom
$25 (BAG members); $30 (non-members)
The ancient pantoum is an ideal form for writing about the past. With a little direction, even uncertain writers are eased into shaping their crystalline memories, and more experienced writers will have the chance to delve into subjects that might not have opened up for them before.
Lauren will offer brief historical background on the form, then lead students in an idea-generating exercise to produce raw material for each student’s unique pantoum. Students will begin to see the juxtaposition and reverberation of sound and themes. Excitement builds quickly as students follow the form through to its ending.
Open to all levels.
Lauren Camp has written creative nonfiction and poetry for magazines, newspapers and journals. Her fifth collection of poetry, Took House, was published by Tupelo Press in 2020.
Each month you will create a 4×6 postcard (using cardstock) about anything that interests or inspires you about that month of the year. A holiday, a birthday of someone famous (or not), a feeling the month generates… whatever the month means to you.
Then email Linda Zwick (firstname.lastname@example.org) with your address before the third Saturday of the month. She will email you the name and address of your recipient the next week.
You have the entire month to work on your card. Please mail it to your mail art recipient by the end of the month. (For example, if you sign up in December for the January mail art, please mail your card by the end of January.)
Also email a photograph of your card to BAG (email@example.com). These images will be used on social media, the BAG website, and occasional BAG slideshows. If you would prefer not to have your card exhibited in any of these venues, please just skip sending in an image.
Anything Goes! Adventures in Art
Each month at the Zoom member meeting (and in an eBlast the following week), BAG will introduce a new adventure. Create a piece of art, any size, shape, and with whatever materials you choose.
There is no assigned exchange involved in this project, so send to anyone you like or keep for yourself.
Please photograph and email an image of your creation to BAG (firstname.lastname@example.org) by the end of the next month. As with Mail Art, your image may be used on social media, the BAG website, and for a Zoom presentation. Emailing an image serves as your permission for BAG to use this photo of your art.
The Anything Goes! Adventures in Art for January is:
“January 31 is Inspire Your Heart with Art Day.”
Today at the end of the BAG meeting Sally Blakemore will demonstrate two more paper engineering projects. This is part of an ongoing series for those working on the “Santa Fe Origins” collaborative book, and anyone interested in paper engineering.
First are the animated tabs and pulls. This mechanic operates with multiple slots through the front that contain items that lift when the tab is pulled down. Use it for any kind of reveal-and-conceal idea; for example, bugs under leaves or birds flying up or dancers or a village where the houses and the trees pop up.
You can add as many windows and struts as you wish.
Click on any photo to enlarge.
The second mechanic is the two-track wheel with two windows. This can be used for showing comparative things. In her example, Sally has humorously shown things you can accidentally run over with your car in New Mexico: snakes, tarantulas, scorpions, stink bugs, rabbits, chipmunks, ravens, beetles, and more. (Don’t worry, folks—it’s not real.)
BAG Artist-in-Residence Sally Blakemore is one of 100 paper artists who were invited to submit their work to the 2021 Shanghai International Paper Art Biennale.
The theme of the Biennale is “Feasts on Paper,” focusing on paper as contemporary art against the backdrop of the pandemic. The Biennale opens September 25 and includes an exhibition, a seminar, an International resident creation project, and a series of cultural and artistic activities (theme handicraft workshops, on-site cultural activities, parallel exhibition, Environmental Art Market, etc.). The themes of the three exhibition areas will be intertextual, sharing faith, and strength for the global fight against the epidemic.
“The pandemic that began at the end of 2019 has sealed each individual in an independent space, while at the same time being engulfed in a closely related human community,” note the organizers. “This is an era full of various uncertainties and possibilities. Questions about oneself, the space, and the world are endless, and the meaning of existence and unbounded love emerge. We need paper art more than ever. As an outlet for expression and writing, it comes from life and is a daily poetry regained in the world’s great torrent, and it shows a great love that connects everyone while bringing hope to each other.
“The Biennale will present various thoughts of artists around the world concerning the epidemic, nature, life, promising hope, and great love. The paper that has always written history will continue to write in the form of contemporary art at this moment, taking the real-time picture of epidemics and the river of consciousness. At the same time, we are able to swim through the cold winter and head toward the next spring, along with the soft-yet-tough power of paper.”
Sally’s book is “History Mountain,” which she describes as a “matriarchal/patriarchal look at human adaptation to change, both gradual change and catastrophic change.” The book contains four spreads; on the back of each is a visual warning or subtext to the topic in the spread.
Spread 1—PreHistory represents the Earth before technology. A humanoid emerges on the right wearing a spiritual costume.
Spread 2—Discovery of Fire represents the power of control and the resources found in this discovery of energy. How to use it is the real education and the responsibility it requires.
Spread 3—When a Bird Saw an Airplane is the view through Nature’s eyes. How long does Nature take to adapt to human-made detours and inventions?
Spread 4—Technological Blight represents a positive thing in a blighted world: that humans continue to search for beauty and energy. These include beauty products, commodified for markets, and found beauty, which is free to the self-educated and in the eye of the beholder.
The materials that Sally sued include watercolor, handmade papers, inks, acrylics, photocopies, acetate, jute, paint, Tyvek, Mylar, fabric, cover board, and tape. Her cutting methods include laser, plotter, hand cutting, and paper engineering. (Click on images below to enlarge; use back arrow to return to this page.)
Sally drew her inspiration from authors and cultures:
Oliver Sacks (Migraine, Awakenings, The Man Who Mistook His Wife for a Hat) was a brain specialist and author who wrote case histories on brain anomalies like migraine aura and how resilient and flexible the brain really is.
Sapiens: A Brief History of Humankind by Yuval Noah Harari and Homo Erectus.
Work of the Dead by Thomas W. Laqueur is an astonishing history of human remains, just how they were disposed of and made sacred, from the Neanderthal to modern humans. Burials reveal so much of how cultures adapt and change.
Stiff, a book by Mary Roach, is a modern look and an update onthe understanding of remains and their value to science and art.
The Chinese Blue Willow Legend as shown on the manufactured dinner plate porcelain.
The Biennale is under the guidance of the Shanghai Municipal Administration of Culture and Tourism, the Organizing Committee of the Oriental Beauty Valley Art Festival, and the Shanghai Institute of Visual Arts, with several sponsors including the International Association of Hand Papermakers and Paper Artists. For more information visit https://www.paperartbiennale.org.cn/.
“This retrospective exhibition is composed of work inspired by a sense of place,” Ann said. “Many of these prints and artists’ books were created on site in these places and spaces.
“I am fascinated by people’s connection to geography. The patterns and impressions of places I have worked, lived, and visited inspire my art. These places include India, Japan, China, Egypt, Argentina, and throughout the US. Rock formations, caves, canyons, earth’s rims and edges compel me. I think about ideas, forces and people gathering and dispersing.
“As a contemporary printmaker and book artist I think in paper, pattern, series, sequence, layers, and interiors. I explore my sense of place in painting, drawing, and printmaking. My artists’ books are collaborations with poets and storytellers. I am interested in collaboration, interarts and books as objects.”
Here’s just one of Ann’s pieces. Be sure to click the link above to see the entire exhibition.
When you’re on the Santa Fe Community College campus, be sure to look for the poetry posts. Santa Fe Poet Laureate Elizabeth Jacobson, along with Miriam Sagan (who originated the posts), will curate 12 poets in the next 24 months, ending June 30, 2023. Expect a gathering of voices and some fresh poetry. There are 10 posts for a walkable literary experience.
The inaugural installation is poetry by Elizabeth Jacobson, to celebrate her appointment, and is up through August 31, 2021.
“Elsewhere the sky is the roof of the world; but here the earth was the floor of the sky.”
― Willa Cather, Death Comes for the Archbishop
Artist-in-Residence Sally Blakemore and Community Projects Liaison Barb Macks are spearheading an amazing project, and you, as a BAG member, can be part of its creation. “Santa Fe: Origins in Mud” is sponsored by Santa Fe Book Arts Group (BAG) in cooperation with the Palace Press at the Palace of the Governors/Santa Fe History Museum and El Zaguan (located on Canyon Road and part of the Historic Santa Fe Foundation).
“Origins in Mud” is an interactive, paper-engineered book celebrating Santa Fe’s multi-cultural diversity and reflecting the origins of a society that literally grew out of the Southwest mud. The book consists of five spreads, each page being 15” wide by 20.5” high with 1” spines. When it is extended flat it will be 12.5’ long, dense with interactive flaps that engage the viewer to explore the hidden treasures. The mechanical paper forms will lift, pop up, rise, and unfold, reveal and conceal, or unfold and extend when the viewer opens a page. Architectural details will be cut into the papers with further details added.
For the exhibit at El Zaguan in Spring 2022, we envision a dark, empty gallery with a 20-foot-long table in the middle of the room. Under the table a wooden trough will contain all of the incredible colors of earth in the region, from yellow ochre clays to green sand to red earth. The actual earth will ground the brown colors in the handmade Lokta/Abaca papers created for the project by Tom Leech of the Palace Press.
The book is designed to be viewed in 360 degrees. Visitors will use flashlights to see inside and through the structures. From the back, painted rooms and silhouetted human life will create shadows that live in the paper as the light moves.
As you can imagine, it takes a lot of artists with skill in many disciplines to make this book a reality. Sally and Barb will hold in-person workshops for 2 or 3 people beginning in September.
Below is a description of each spread; the * and bold text indicates that artists are needed to create this piece. If you would like to create a piece, contact Sally at email@example.com right away.
1. The “Oldest” House
Corn stalks and river, inside flap painted with workers planting and showing corn
Foods made with corn, beans, squash, meat, and peppers *
Medicine bag of curandera herbs and sage *
Inside of the “Oldest” House (seen from the back): people and belongings and working with other people *
Vegetation to be added to the spreads, trees, bushes, flowers *
Fauna and flora of New Mexico *
Beaded and embroidered cloth map of El Camino Royale *
Ravens (The Raven’s Tale is a small book based on an Indigenous story but a modern book based on what the ravens observed for 10,000 years) *
The origins of this house reside in the relationship between the Catholic church and the curanderas of Mexico. The architects were the Aztec (Tlaxcalan) from Mexico City who set the standard for early building in New Mexico. The Urrutia map of 1766-68 shows a structure near the San Miguel Chapel in the approximate position of this house. It is believed that it was built by hand from mud and trees found in the area and constructed on top of an ancient footing from an Indigenous village underneath it. Tree-ring specimens taken from some of the vigas in the lower rooms’ ceilings show cutting dates of 1740-67. The house remains a unique remnant of the type of building once prevalent in the city—part Indigenous, part Spanish, low-ceilinged and rugged, with dirt floors and thick adobe walls.
2. San Miguel Chapel
Tlaxcalan (Aztec) builders *
Moorish Matachine Dancers on the plaza in front of the chapel *
Interior painting showing the altar and seating *
Pop-up of unique bell made in Spain and rung against the Moors *
Adobe and rammed-earth building components and hornos *
The chapel was built around 1610 and is recognized as the oldest church in the United States. It is believed that it was constructed by Tlaxcalan people (Apaches) who came to New Mexico from old Mexico in 1598. In its early years, the church served a small group of Tlaxcalans, laborers, and Spanish soldiers who lived in this area. The church was partially destroyed in 1640, then reconstructed but severely damaged again during the Pueblo Revolt of 1680. In 1955, a major restoration uncovered the original dirt floor and sanctuary steps that can be seen today.
3. St. Francis Cathedral and Original Chapel
Conquistadora portrait and story of rescue to El Paso during the revolt *
Altar and candles
Relic case with acetate window*
Rose Window and Dove Window
Finger Labyrinth cut from handmade paper on the flap of the Pet Parade
Sculptures on the plaza: St. Francis, Corn Maiden, Dancing Maiden
Cross of the Martyrs
The Cathedral Basilica of Saint Francis of Assisi was built by Archbishop Jean Baptiste Lamy between 1869 and 1886 on the site of an older adobe church. Influenced by the French-born Archbishop Lamy and in dramatic contrast to the surrounding adobe structures, the Cathedral was designed in the Romanesque Revival style. The concurrence of the soil and color at the Cathedral is echoed in this passage from Frank Waters’ People of the Valley:
“Before her, fresh plastered, new-adobe Santa Gertrudes shimmered in the hot afternoon. The walls of Bishop Lamy’s new church rose clean ash-grey with adobe brought from Guadalupita. Behind it, chattering like a flock of blackbirds, the Sisters of Loretto watched their convent school being given its first coat of yellow tierra amarilla. In the row of stores, trading posts, and cantinas, Maria recognized the relumbroso from the red clay banks around Turquillo. And north and south, the scattered adobes reflected white and clay-blue from Cañoncito and Chacón. It was a single village street sprawled along the winding, rutted road between the pine hills and the cottonwoods lining the river. But with its colors the girls saw in it all the clay banks and canyons, the hills and chalk cliffs of the one long valley she wandered from end to end.”
4. La Fonda Hotel
The Ghost Fountain and story of the casino days (pop-up flap) *
Inside La Plazuela restaurant, with its painted windows *
La Titilla Peak in various light and seasons
Trees in the vicinity *
Roof bar showing Titilla Peak and Caldera
Flamenco scene and Mariachis
City of Santa Fe records indicate that La Fonda sits on the site of the town’s first inn, established when the city was founded by Spaniards in 1607, making it the oldest hotel corner in America. In 1821, Captain William Becknell and his party found their way to La Fonda during the maiden commercial route across the plains from Missouri, establishing the Santa Fe Trail. The structure today was built in 1922 and features the influence of architects Mary Elizabeth Jane Colter and John Gaw Meem. In this book La Fonda represents an end-of-the-trail place of welcome (bienvenidos) and hospitality. It existed as a casino and brothel for many years at the edge of the St. Francis Cathedral, highlighting the contrast between sanctity and sanctified partying.
5. The Palace of the Governors
Plaza flap with another flap of the obelisk as it was and toppled *
Note about the Time Capsule *
Low Rider Parade with low riders in the accordion fold
Festivals around a suggested bandstand *
Baumann House *
Pop up of Tom Leech and the Palace Press letterpress *
As Spain’s seat of government for what is today the American Southwest, the Palace of the Governors’ adobe structure is the oldest continuously occupied public building in the United States. In the following years, the Palace changed hands as the territory of New Mexico did, seeing the Pueblo Revolt of 1680, the Spanish reconquest from 1693 to 1694, Mexican independence in 1821, and finally American possession in 1848. This piece of architecture holds our ancient mud history along with more modern histories. The seduction of the pristine Southwestern land preserved by Indigenous people is a planetary experience grounded in culture and mud. Indigenous hunter-gatherers came from Mexico City in search of water. Santa Fe was considered a cornucopia because of the Rio Grande and the Santa Fe River at San Isidro Crossing. The City was born from the dust of the Santa Fe Trail. Trains created larger markets for travelers, establishing the tourist economy.
Thanks to BAG members Sally Blakemore, Barb Macks, Helen Fabel, and Lynn Grimes, Santa Fe kids are going to look at bugs in a whole new way. Recently the four artists decorated two windows at the Santa Fe Children’s Museum: one with Nature Bugs and one with Urban Bugs.
“The installations are a wildly diverse experiment using materials as inspiration,” said Sally. “We created a Mylar ‘waterfall’ filled with bugs made from repurposed cookbooks from Kitchenality and Barb’s Tyvek color experiments.”
While working on the installation, the team heard that Eric Carle died. “Eric was a beloved children’s writer and illustrator who created bugs from paper and was one of our heroes of children’s publishing,” explained Sally, “so we dedicated the whole Bug exhibit to his memory.” The 91-year-old author was best known for his book “The Very Hungry Caterpillar.”
The BAG Bug Team also created kits for the Museum’s Garden Camp that starts in June.
The Santa Fe Children’s Museum is at 1050 Old Pecos Trail, Santa Fe, NM 87505; visit https://santafechildrensmuseum.org/ or call (505) 989-8359 for more information. The bug windows are in the Lego building and will be on exhibit through September 2021.
BAG President Linda Zwick challenged members to create faux postage stamps. (The U.S. Postal Service used to allow creation of custom postage stamps through approved third-party vendors, but ended the program in June 2020.)
Sally Blakemore, BAG’s Artist-in-Residence, will be demonstrating pop-up engineering at the BAG member meeting on Saturday, April 10, 2021. She will do this because it’s fun, but also to help those who are interested in being part of the “City of Mud” large pop-up book project. Here are two of Sally’s designs. Click on the image to open in a new tab.
Many of you are familiar with BAG’s new book published in fall 2020, documenting the Pantone Postcard Mail Art project. But what you may not know is how we came up with the idea.
On Valentine’s Day 2013, Emily Martin, professor at the University of Iowa Center for the Book, was given a box of 100 Pantone postcards by her sister. On the one hand she thought she would like to keep the collection intact—“pristine and complete,” but on the other hand, “I wanted them to be used.”
Her inclination to have people do something creative with these cards won out. So on her Facebook page she posted a request for volunteers to receive these postcards, respond to the color in their own ways, and mail them back. In 17 hours, all the cards had been claimed. She mailed them in April 2014, and the 100 cards came back that fall, each individually treated by 100 people.
In 2017 Emily published a book of all 100 cards. The BAG mail art co-chairs got wind of the project, and thought it would be fun to use the idea for our monthly mail art exchange. Emily generously gave her permission.
With 54 BAG members participating, we got so excited we made not just 100, but 200 cards! In fall 2020, BAG’s own compilation of Pantone postcards came out in book form, and Douglass Rankin mailed a copy of the book to Emily. In January she replied:
I was finally in the office at school and picked up my mail. What a treat to find the Santa Fe BAG Pantone postcard project catalog! Well done. You have a wonderfully active group out there. I hope you are keeping well, fingers crossed for vaccines soon for everyone.
My best to you,
Copies of the BAG Pantone Postcard book are available from the Blurb Bookstore:
Thanks go to Emily https://emilymartin.com/, Greg Berg, Barb Macks, Gail Murray, Douglass Rankin, and the BAG board of directors for inspiring, supporting, and instigating the project, and putting together the book. And a special thanks to the BAG artists who created the exceptional Pantone postcards.
BAG Vice President Julie Filatoff is challenging BAG members to make a book using fabric and/or fibers. The percentage of fabric/fiber content is not important; use as much or as little as you wish. The book can be any structure you like, from simple to complex.
Take one or more photographs of your book–or even a short video–and email to firstname.lastname@example.org no later than Friday, April 30, 2021. (If you’re sending a video, email Julie separately to ensure she received it.)
To inspire you, here are a few artists who work with fiber/fabrics:
BAG member Austa Oliver created a greeting to commemorate the one-year anniversary of the pandemic. “I want to wish all BAG members well as we have just finished a year of hibernating,” explained Austa. “I made the word cloud (below) at the beginning…on 3-12-2020. And on 3-12-2021, I decided the part about changing my age number! Just a thought, as we all think about how long this has all been going on.”
See Austa’s artwork below. (If you’re receiving this via email, click on the title of this post–A Pandemic Remembrance, above–to view it in a web browser.)
What a talented, loving bunch of people are BAG members! We received photos of more than 50 valentines from these artists: Ruth Anna Abigail, Monica Andersen, Tracy Armagost, Ashisha, Sally Blakemore, Kim Burkholder, Jill Cowley, Andrea Cypress, Freya Diamond, Liz Faust, Julie Filatoff, Leah Gibbons, Cathleen Higgins, Marjie Kamine, Cynthia Leespring, Elizabeth McKee, Pat Moses, Mavis Murphy, Gail Murray, Austa Oliver, Victoria Rabinowe, Douglass Rankin, Helen Spielman, Susan Surprise, Kim Walter, and Amy Thompson West.
Click on any image to start the slideshow. Click the < or > arrows to advance; click X to close. You can also view a .pdf document with artists’ names here (large file).
At the December 2020 membership meeting, Kim Burkholder led us in an exercise to create a “Word Cloud” by submitting words/terms of what comes to mind when we think of BAG, or what we are thankful for about BAG. She used the tool at Menti.com, and the larger the word and more centrally located, the more people submitted it.
Because we won’t be able to gather in person at our Annual Meeting on December, we asked BAG members to send their year-end greetings digitally.
We’ll continue to update this page as we receive more cards, so check back!
Click on any image to start the slideshow. Click on the < and > arrows to go forward and backward. Use the X to close the window and come back to this post.
Liz Faust: Front
Liz Faust: Inside
Julie Filatoff: Front
Julie Filatoff: Inside. If I cannot bring you comfort Then at least I bring you hope For nothing is more precious Than the time we have and so We all must learn from small misfortune Count the blessings that are real Let the bells ring out for Christmas At the closing of the year Let the bells ring out for Christmas At the closing of the year. Now all the winter bells are ringing Hear them echo through the snow And the children’s voices singing On the streets so far below This is a time to be together And the truth is somewhere here Within our love of people At the closing of the year. Trevor Horn / Hans Zimmer / Christian Kolonovits
Joan Plummer: Front
Joan Plummer: Inside
Kim Burkholder: Wishing all a holiday season filled with love, hope, and creativity!
Mary Elizabeth Nelson: Happy Holidays to my friends in Santa Fe BAG.
Mavis Murphy: Front
Mavis Murphy: Inside
Rebecca Best: Front
Rebecca Best: Inside
Amy Thompson West
Amy Thompson West: Inside
Douglass Rankin: Front
Douglass Rankin: Inside
Judy Crawford: Front
Judy Crawford: Inside
Tracy Armagost: Front
Tracy Armagost: Inside
By Barb Macks. A haiku: Paste paper designs BAG ornament so festive FELIZ NAVIDAD!
Because we won’t be able to meet in person at our Annual Meeting in December, we would like to give you an opportunity send your year-end greetings to your BAG friends.
All members are encouraged to make a greeting card. It can be a holiday card (Christmas, Hanukah, Solstice, Kwanzaa, New Year’s, or any other holiday you want to celebrate). It can be a card that communicates any message you want to send out in December that is not linked to a specific holiday. You are artists; I don’t have to explain the concept of “no rules.”
Once you have completed your card, photograph it and send the photo to email@example.com later than Tuesday, December 1. You can send a single photo of the front of the card or two photos—one of the front of the card and one of the inside. These will be assembled into an online gallery that will be posted on the BAG website. Also, send me a greeting from you to other BAG members. This greeting will be displayed along with the images of your card.
Cards can be any size and shape that you can dream up. If you would like some help kickstarting your creative process, our Artist in Residence, Sally Blakemore, has designed some pop-up templates that you can use as a starting point for your design. The templates are listed below.
All of these are just formats, so I encourage artists to just the the idea for themselves and do something totally in their own styles!
217 full-color pages! This book showcases a collection of mail art postcards from members of the Santa Fe Book Arts Group. It is a visual fiesta, a diverse exploration of art that illustrates the range of talent within the BAG membership, keeping alive the mail art tradition.
This book tells the story of the two-year project, fashioned after Emily Martin’s similar project. The project was based on the Pantone Matching System (PMS), considered the “universal color language” used in art and industry. The cards, created by 54 members of BAG, are original and very creative.
23 Sandy is excited to announce the relaunch of its online gallery and a transition of ownership.
23 Sandy was founded in Portland, Oregon, by book artist and photographer Laura Russell in 2007. For 10 years it was a brick-and-mortar gallery space exhibiting a wide range of unique and edition artist books and paper art. 23 Sandy closed its physical doors in 2017, becoming an online gallery. In July 2020, the gallery is relaunching under the ownership of book artist Erin Mickelson, 23 Sandy’s long-time gallery assistant until her relocation to Santa Fe, New Mexico.
23 Sandy’s new online gallery will feature book and paper art as well as maintain a record of the gallery’s rich and vibrant history through exhibition archives, a vast catalog (over 1,000 titles) of available and sold works, and historic posts. Over its years, the gallery hosted 91 inspiring exhibitions—20 of which were international juried exhibitions featuring thoughtfully curated works by a talented roster of artists from around the world. In addition to featuring creative and contemporary works, the online gallery is an extensive resource for anyone curious about artist books.
In addition to managing the online gallery, Erin will represent 23 Sandy at book arts workshops, conferences, and visits to institutions, and will work with local art spaces to exhibit artist books. She will continue to grow and diversify the gallery’s catalog of works.
A few words from Laura and Erin:
“It is such a thrill to pass 23 Sandy into Erin’s knowledgeable and capable hands. For four years she played a vital role in the success of the gallery, and I’ve always been grateful for her time and energy. Erin’s well-trained, critical, and thoughtful way of looking at books will bring a fresh and considered viewpoint to the wide world of book arts. I am thrilled to be able to retire into my studio and that 23 Sandy will live on with such an exciting vision.”
“Much gratitude is due to Laura Russell for creating such an impactful and inspiring art space. 23 Sandy has been an invaluable resource and platform for the book arts community, thanks to Laura’s diligent efforts and creative thinking. I’m excited and honored to carry the torch.”
The Recycle Santa Fe Art Festival nonprofit is opening northern New Mexico’s one-of-a-kind creative reuse center, Resourceful Santa Fe. It is at 2879-A Industrial Road (off Siler Road). A creative reuse center is a well-curated thrift store with real thrift store prices, an unofficial art supply store, a dumpster diver’s paradise, a community space, an economic development driver for local artists, and a local nonprofit. Its mission is to divert material from the waste stream by collecting and redistributing discarded items to artists, educators, social service providers, and the community for reuse and repurposing.