EXHIBITION NEWS, GBW Newsletter, October 2003
Priscilla Spitler, edited by Jody Beenk

Jury selection for the In Flight exhibition took place on a long day and a half, July 26 & 27, at the studio of Laura Wait in Denver. Jurors Madelyn Garrett, Daniel Tucker and Craig Jensen were extremely conscientious in making their decisions. Laura Wait and I were on hand to assist when needed. The response from GBW members, including new members, was tremendous. 103 entries were received for a show originally expected to have only 40 works and planned for travel through July, 2005. Fifty-one works eventually were selected for the exhibition.

Of the total entries, fewer than a dozen were received in Fine Binding and even fewer in the Broadsides category. Was the large response to the Artists’ Books category due the In Flight exhibit theme? Or, does this raise questions about the future of fine binding, or design binding, within our organization? Craig Jensen noted that many fine binders have turned to the artistsí book format, of creating their own text in non-traditional binding structures, while bringing a high level of craftsmanship to the work.

The criteria worksheet designed for the three categories was helpful to the jurors. But were the criteria for each category on an even level? Based on the worksheets for this particular exhibit,
the craftsmanship required for traditional fine binding was much higher than that expected for the execution of the artistsí book. This statement is not intended to be disrespectful of artistsí books, but it is a fact that is born out by the requirements of each category. The standards for fine gold tooling and decoration, along with the structural demands required for executing a well-bound, leather binding are extremely high. It is understandable how the concept of a "holistic" book work, evident in many of the works selected for this exhibition, is appealing to the trained, fine binder.

When the GBW In Flight exhibition opens in Denver on October 23, in conjunction with the Standards of Excellence seminars, a diverse range of books will be seen, executed from the ground up. From the initial concept and creation of the text and imagery, to the varied materials and the binding structures used, the exhibit also presents fine examples of letterpress printing, calligraphy, and the application of the modern laser and inkjet printing processes.

GBW Newsletter, February 2004, Exhibition Notes — Think 2006!
Priscilla Spitler, Jody Beenk editor

GBW In Flight is an exciting traveling exhibition predominately featuring artist books in response to its theme. Since its opening last fall, much discussion has taken place about the future of design or fine binding because few appeared in the show. In Flight exhibitor Scott Kellar posed this question online through the Book_Arts-L list in October 2003. He suggested that design binding might not be in decline so much as is the traditional practice of placing a fine binding on a previously printed text not created by the binder. Theme show or not, it is becoming more difficult for fine binders to find appropriate text in sheets to bind, if not prohibitive for them to purchase unless working on commission.

Following the thread or discussion Kellarís question stimulated, several book artists commented on a lack of accessibility for learning the core skills necessary to execute fine binding. Yet, ironically, it seems that more programs have actually been created in the U.S. since the early 1980s that include some fine binding classes. But, the fact remains that the number of binders actively working on and exhibiting fine bindings today is shrinking, causing concern that, in future, these skills may be lost.

It is my conviction that if there were greater demand for learning fine binding techniques, more programs would be offered or the existing ones would be reinforced. Demand can come simply from more exposure to modern fine binding. Instead of fretting about the future of design binding, it is critical that, by more participation and representation in exhibitions, fine binders spur inspiration and the demand for learning the craft. In the 1970s, the field of printmaking, particularly lithography, experienced a major revival because students demanded it in their art departments. Many dusty litho presses were found and put back in use. By the 1990s, students began to demand classes offering book art structures and we have witnessed a phenomenal popularity in the book arts movement.