Residency Program
The Center for Book and Paper Arts currently offers three residency opportunities, including a brand new Winter Residency in collaboration with Anchor Graphics.
VIEW WORK BY PAST SUMMER RESIDENTS
- An annual Summer Residency | Open to working artists | Dates, July 8-19, 2013 | Application due March 15, 2013
- A Winter Residency (with Anchor Graphics) | Open to working artists | January 7 - 25, 2013 | This residency application deadline has passed for 2012.
- Our Alumni Studio Access Award, a rolling residency program to which all graduates of the Interdisciplinary Arts MFA program may apply | 2013 dates forthcoming
Summer Residency
The Center for Book and Paper Arts will provide for one two-week artist residency, intended to provide time, facilities and assistance for specific projects. The residency includes accommodations and an honorarium.
We are seeking an emerging or mid-career artist who is an experienced book artist, printer, and/or papermaker. The selected artist will receive studio space; assistance; access to top-quality print (letterpress & etching), bookbinding, papermaking, and digital (Mac) studios; living accommodations; and a $1200 honorarium.
Download the application
Important Dates
Residency Dates: July 8 - 19, 2013
Application Deadline: March 15, 2013
Notification date: March 31, 2013
Cathy Alva Mooses
June 11–22, 2012
About the Project
[Shee] is part of my ongoing research on amate papermaking traditions amongst contemporary Otomí communities in Mexico. The series of photographic prints and paper cutouts are bound into a book. The work is a visual study of architectural spaces as a form of portraiture from which I extract simple geometric forms and explore ideas of abstraction and cultural displacement as they relate to issues of out-migration patterns and cultural transformation.
In the Otomí language Nuhu, xi is a prefix used to describe body orifices such as leaf, lips, eyelids, pubic hair, and surfaces, pertinent to their traditional paper cutout figurines. Based on my understanding of this word, I began to document the relationship between everyday objects during my travels from Mexico City and the papermaking community of San Pablito, Puebla. More specifically, I was observing the town and city’s architectural facades as possible analogies for masks.
Xi, by Cathy Alva Mooses
The documentation will be used to create the proposed artist’s book containing photos, cutouts, and handwritten texts. Simple geometric shapes are cut into the pages of the book, so that the thread that binds them is given a passage. The pages in this book are largely left blank, primarily containing cutouts. The blank pages reflect on a contemporary loss of historical memory and the struggle for indigenous languages such as Nuhu, to be documented and preserved.
Judith Poirer
July 9–20, 2012
Judith Poirier, Unjustified Type, installation, 2001 (Hockney Gallery, Royal College of Art, London)
About the Project
2 minutes of motion from 2 weeks of printing: a film & a book
It is my intention to make a film and a book, exploring the double-page format and the notion of time in both media. Like my previous film Dialogue, I will experiment with printing simultaneously on film and paper, making specific and extensive use of letterpress, polymer, and offset printing facilities throughout the process. The compositions for the film and the book will be inspired by the type collection available at the Center for Book and Paper Arts.
Past Residents
Kyle Schlesinger
July, 2011
Bumper Contribution, 2 of 3 colors, Tom Raworth
About the Project
Bumpers is a book of bumper stickers, a mode of ephemera which
likely has roots in the broadside and handbill. Schlesinger conceived of the project while living in New York, and it speaks to his interest in the
relationship between public and private reading spaces, public and personal
libraries, group and individual reading experiences, and the art of finding
poetry in unexpected places. The project
is also inspired by vernacular typography and graffiti, which is fast
disappearing in urban spaces due to the increasing presence of commercial
design on subways and the like.
Schlesinger invited a number of poets and artists to compose bumpers, with criteria that the text should a) be written to be read in public b) short, if it is to be read while the reader and/or sticker is in motion c) need not mimic the conventions of a bumper sticker. At the same time, Schesinger provided no guidelines or requirements in terms of content. As a result, some artists happily defied or ignored his request not to mimic the conventions of bumper stickers while others stuck to the protocol. Read Schlesinger's blog entries about the residency.
About Kyle SchlesingerKyle Schlesinger writes and lectures on poetry, typography and artists’ books. He is the author of Poems & Pictures: A Renaissance in the Art of the Book 1946–1981 (New York: Center for Book Arts, 2010) as well as a six books of poetry. He is the proprietor of Cuneiform Press and Assistant Professor of Communication Design at UHV.
Vida Sacic
June, 2011
Image by Jackie McGill
Project Statement
The Cityscapes project centers around an exploration of
hand-made book structures created using proof press technologies deemed
revolutionary over a half a century ago and the possibility of “translating”
some of the experience of interacting with them into a digital environment
using design for the iPad, a current cutting-edge book publishing technology.
During her residency at the Center for Book and Paper Arts Columbia College Chicago, Vida Sacic created fifty copies of a 64 page hand-bound letterpresesd book which features original writing and illustration.
The artist then went on to create an interactive app that can be downloaded and viewed on a personal iPad, featuring original animation and sound design.In both iterations of the book, the same content is used but presented in a way that takes advantage of the medium. Together, they create a dialogue between the media that complement each other and inform the subject matter.
Thematically, in the collection of over 40 illustrations of imaginary landscapes, themes of materiality are explored through images of cities whose landscapes juxtapose buildings from varied time periods and geographic areas. In such spaces realities collide and coexist furthering a notion of vague familiarity mixed with displacement that mirrors the twenty-first century experience.
About Vida Sacic
Vida Sacic’s work, ranging over a diverse array of creative media and
continuously shifting between conceptual and literal, applied and exploratory
and print-based and screen-based, has remained dedicated to exploring the ties
between process and form, often commenting on the relationship between
technology, art and design in popular culture.
In her work, Sacic exhibits a keen interest in the experience of interacting with tactile, hand-made objects and the ability to translate those traits into a digital environment, as well as exploring the contributions of new media technology to the traditional fields of applied and fine arts.
Her contributions to the popular understanding of design and
art are evident in her involvement with AIGA Chicago, where she is currently
co-chairing the Design Thinking event series, as well as her work as a
practitioner, author, curator and educator. She is currently a tenure track
faculty member at Northeastern Illinois University in Chicago where she is
developing coursework in fine arts and graphic design.
Visit her website.
Kate McQuillen
June 14–25, 2010
The Eagle has Landed (detail)
This landing will be depicted with imagery of phenomena and mechanics that we know cannot exist or function on the moon, such as tornadoes and astronauts using firearms. Through the absurdities of the scenarios, and the particular use of American symbols of power (natural and man-made), I will point to what I consider to be the deep-seated desires within the U.S. space program: the American drive of Manifest Destiny, and the dream to find that we are not alone in the universe.
-Kate McQuillen
Kate McQuillen is a Chicago-based artist working mainly in print and installation. Her interests lie in ideas of American technology and how machines and technology have been perceived as both a positive force of progress and as a negative force of destruction and immorality. McQuillen received an MFA in Visual Art from York University in 2009, and has spent the last year working at residencies in Michigan, Toronto, Belgium, and Chicago. www.katemcquillen.com
Ben Durham
June, 2009
Ben Durham's project, an expansion of his current text/portrait drawings, incorporated pulp painting on handmade paper.
Artist's Statement:Since 2002 I have been making paper and using it almost exclusively as the working surface for my large-scale drawings.
My work is based primarily on mug-shot images of childhood friends, classmates, and co-workers (taken from the Lexington, KY online public records database). In the time since I knew them, their lives have become marked my crime, addiction, and violence. Struggling to remember and preserve my experiences, following backward into the past from the found mug-shot, begins a process of storytelling that is written into the piece itself.
My work is composed entirely of handwritten text. Written out and layered letter by letter in graphite, the memories and stories build the tonal features of the face onto the textured surface of the handmade paper.
Alumni Studio Access Award
Download the application
Upcoming 2012/2013 Alumni Access Award deadlines and dates TBA
2012 Awardees
Maggie Puckett, Jill Lanza, Amy Rabas
View images
This new award provides studio access for art or research projects to graduates of the Book and Paper/Interdisciplinary Arts graduate programs. Access will be available for specified times, and artists will be selected based on the quality or feasibility of the projects they submit. Offered on a rolling basis, this opportunity provides limited access (approximately 10–15 hours per week, preferably between 10 and 6pm, depending on availability) over a one week period.
- There will be no charge for studio use, other than a $50 studio re-orientation fee.
- Selected artists will be required to work independently, without staff assistance. No training will be provided. Artists must demonstrate proficiency on any equipment they use, and must observe current studio use and cleanup policies.
- The grant will be for studio time only, which will be scheduled to avoid conflict with access for current MFA students.
- Other than the basics (e.g., standard ink and solvents), materials will not be provided.
In addition to an application, applicants must submit a written
proposal of 200-500 words. Judging criteria will include quality of
concept and artistic merit, appropriateness to studio(s), demonstrated
need of the Center's facilities, and applicant's record of proper studio
use.
Winter Residency
January 7 - 25, 2013
Application Deadline: December 1, 2012 | Download the Application*
Anchor Graphics and the Center for Book and Paper Arts are offering a three-week residency in January 2013. The residency is intended to provide time and facilities for specific projects. We are seeking an emerging or mid-career artist who is an experienced book artist and/or printmaker. The selected artist will receive studio space; access to Anchor Graphics and the Center's top quality print, letterpress, bookbinding, and digital (Mac) studios; housing; and a $500 honorarium.
*Before you apply, please note that resident will receive studio orientation but not dedicated assistance. Artist should have proficiency with studio equipment necessary for his/her project. Click here for a complete listing of CBPA equipment and here for the Anchor Graphics facilities page.
