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Skipping the Page
On view January 18-March 29, 2008

Organized by Graham Parker. This show is inspired by ideas around tempo and the printed page. Digitally printed, 32 pages, illustrated. (2008)

Nada Shabout, Dafatir: Contemporary Iraqi Book Art
On view January 19-March 31, 2007

This catalogue accompanies the traveling exhibition Dafatir: Contemporary Iraqi Book Art organized by Nada Shabout and the University of North Texas Art Gallery. Includes numerous essays; artists' statements; exhibition checklist; and full color images of the artists' works. 96 pages (2007)

Production, Not Reproduction
On view September 28, 2007 through December 8, 2007

Organized by Tony White, Head, Fine Arts Library, Indiana University, Bloomington. Production, Not Reproduction is a group exhibition of more than forty artists that charts the rise and fall of offset printed artist's books. Digitally printed, 35 pages, illustrated. (2007)

Production, Not Reproduction
On view September 28, 2007 through December 8, 2007

CBA Members price (2007)

(un)Contained Vessels
On View July 12 through September 15, 2007

Organized By Pamela Spitzmueller and Alexander Campos, this exhibition examines the container as an integrated part of the object as a whole. Work in the exhibiton represents a broad range of containers that are more conceptually based, and that offer lyrical interpretations of the notion of the box. With essays by both curators. Color inkjet printed, bound by interns with a letterpress printed cover. 23 pages. (2007)	$15
MEMBERS PRICE (2007)	$12

Black/White [ Read]
On view April 13-June 30, 2007

Organized by the late Gloria Helfgott, this exhibition seeks to advance an artistic challenge-to deliver a powerful graphic statement, eschewing color, and utilizing solely black and white imagery. The catalogue includes a foreward by the curator, and essays by Bill Stewart of Vamp & Tramp Booksellers and by Alexander Campos, CBA's Executive Director. 32 pages, illustrated. (2007)

Found in Translation
On view Septmber 29-December 9, 2006

Organized by Marshall Weber of Booklyn Artist Alliance, Found in Translation is in international touring exhibition of multi-lingual artists books, prints, and digital and video documentation of innovative projects that explore the cognitive, literary, and political processes of translation. The catalogue was published in an edition of 250 by the Booklyn Artists Alliance, designed by Amy Mees and Mark Wagner, reproduced via photostatic, lithographic, and letterpress printing, and assembled by Sara Parkel and Cat Glennon. (2006)

No More Drama: The Saga Continues
On view April 21-June 24, 2006

Organized by Edwin Ramoran, this group exhibition presents recent works by contemporary artists responding to the popular culture media format of Latin American telenovelas (soap operas) and their printed comic-book versions called fotonovelas. Color inkjet printed and hand bound by interns at the Center. 19 pages. (2006)

Mutilated/Cultivated Environments
On view June 29-September 16, 2006

Organized by Carol Barton and Alexander Campos, this Annual Artist Member exhibition approaches the subject matter of landscape and other related environments in an inclusive and diverse manner from sculpture forms to traditional letterpress books and prints. The catalogue is color inkjet printed and handbound by interns at the Center. 15 pages (2006)

No More Drama: The Saga Continues
On view April 21-June 24, 2006

MEMBERS PRICE (2006)

Mutilated/Cultivated Environments
On view June 29-September 16, 2006

MEMBERS PRICE (2006)

The Only Book
On view January 20-April 1, 2006

Organized by Sara Reisman, The Only Book brings together a range of artworks that allude to the coincidence of an increasingly technology-based media environment with a new form of minimalism. Referencing a recent media campaign which suggested that a collection of books can be replaced by a single electronic device, The Only Book questions the authoritative qualities appointed to a single book, publication, periodical, or technological interface. Color inkjet printed and handbound by interns at the Center. 15 pages (2006)	$7
MEMBERS PRICE (2006)	$5

New York/Paris DIALOGUE Paris/New York
On view September 23, 2005-December 3, 2005

Organized by Maddy Rosenberg, Independent Curator, New York City, and Devorah Boxer, Vice President, Le Trait, Paris. The exhibition brings together the works by 18 American artists and 18 French artists to highlight the role of the artist printmaker and the contrasts between the American and the French approach to the medium. The artwork spans printmaking from the traditional to the more unconventional, with techniques ranging from intaglio, lithography, and silkscreen to photo and digital processes. The full color catalogue is in English and French and includes curatorial essays by Maddy Rosenberg and Devorah Boxer. The catalogue cover is letterpress printed and handbound by interns at the Center for Book Arts. (2005)	$20
MEMBERS PRICE (2005)	$18

30 Years of Innovation: A Survey of Exhibition History at The Center for Book Arts, 1974-2004
On view April 15 through July 1, 2005

Organized by Jae Jennifer Rossman, Special Collections Librarian, Arts Library, Yale University. Over the last 30 years the Center has presented over 140 exhibitions with the underlying purpose of explaining and exploring the concept of book art. This exhibition will survey the Center's rich and diverse exhibition history. The majority of the Center's past exhibitions fall into five broad categories: Community, Concept-Driven, Object-Oriented, Spotlight, and World View. A selection of contemporary and classic works from the more than 1200 artists who have exhibited at the Center will illustrate these themes and will reflect the Center's consistent focus on the future of the book arts. (2005)	$15
PRICE FOR MEMBERS (2005)	$12

Celebrating Artist Members: 30th Anniversary Members Exhibition
On view July 8th through September 10th

Organized by Roni Gross, Artist Member. This special exhibition features the work of the artist members of The Center for Book Arts. Each participating artist submitted a broadside in an edition of 100. The theme of the project is the celebration of the contributions of the artist members, past and present, to the growth of the Center and the field of book arts over the past 30 years. The catalogue opens to a poster where each of the 58 broadsides is illustrated. It also includes an essay by Nina Schneider and a curatorial statement by Roni Gross. (2005)	$3
PRICE FOR MEMBERS (2005)	$2

Out West I: The Artist�s Book in California
On view November-February 1999

SoCalled Books is an exhibition of artist�s books showcasing the work of artists in southern California, from Bakersfield to San Diego. These artists come from all parts of the nation and beyond, and a few, even from California. And contrary to all the clich�s, southern California book artists are not laid back-they work intensely at the cutting edge-experimenting with new visual forms. This exhibit presents a sampling of the diversity and innovativeness unique to the Golden State. 35 pp. sewn exhibition catalog (1999)

The Altered Page

An exhibition of selections from the Ruth and Marvin Sackler Archive of Concrete and Visual Poetry. The background of these artists' and poets' work was grouped into seven categories of visual/verbal alterations. 1. Hidden meanings 2. Cancelled, 3. Cut, Torn, Crumpled, Perforated, 4. Fragmented, 5. Layered, 6. Sculpted, 7. Sewn and Woven. The Artwork represented in this show breaks the barrier of traditional books, artists books and even the two dimensional page. Illustrated, 30 pp. Introduction by Marvin Sackner. (1997)

Coptic & Collage: Ancient Technique, Modern Application
On view April-June 1997

A survey of contemporary implementations of the Coptic structure. Curated by Zahra Partovi at the Center for Book Arts. Catalog designed by Dawn Rogala. Two hundred copies were xerographically reproduced on Mohawk paper in Adobe Bembo and Gills Sans Light typefaces. The illustrations are drawings of Coptic cover designs by Theodore C. Petersen for the Pierpont Morgan Library in New York, and were printed onto vellum. The binding is based on an early stabbed sewing model also used by the Copts. The catalogues were bound by volunteers at the Center for Book Arts. The vellum was generously donated by the New York Central Art Supply. (1997)

Beautiful Beasts
On view summer 1997

An exhibition showcasing the book works of artist members at the Center for Book Arts. Catalog concept by Sugene Yang, illustrated by Beatrice Coron. 16 pp. (1997)

Grimm & Grimmer
On view April-June 1996

An exhibition of historical children�s books and contemporary artists� books about the darker side of childhood. These books shun the saccharin-sweet portrayals of life filled with friendly carnivores, golden-haired princesses, and stories that always end happily. The exhibition was inspired by traditional children�s stories like those told by the Brothers Grimm in the early 19th century. The artists� books are decidedly less didactic, but still cognizant of the potential perils of innocence in the world of the late 20th century, though an element of humor is much more apparent. The books employ both traditional codex formats, as well as alternative book structures with pages that pop-up, fold out, or extend beyond their covers. Coordinated by Tracy Angel. Illustrated 14 pp. (1996)

Mysterious Worlds
On view June-September 1996

The books in this exhibition recount the unfolding process of scientific discovery and explorations into unchartered territories, as well as confront ideas related to those unseen worlds where rationality and reason suddenly fail to make sense. The �worlds� include the intangible psychological realms of human emotion and dreams, as well as unexplainable phenomena like the paranormal, religious insight, myth and individual perception. To convey these ideas, many of the artists created unique book structures that unfurl, spiral open or are contained in architectural element. As well, unusual materials were often utilized, including glass, wire, translucent and handmade papers, fabric, industrial materials, and even found objects like insect husks, slate and seeds. This illustrated catalogue is pamphlet stitched with iridescent foil stamped on the cover. (1996)

Paper, Art and The Book
On view September-December 1996

This exhibition reveals the innovative ways artists utilize paper to express ideas conveyed in books and broadsides. Rather than viewing paper as merely a neutral substrate, many of these works employ unusual or evocative papers that integrate the mediums physical components, fiber, watermark, decorative elements, weight and texture with the final�s work�s text and image, or even guide the structure and intent of the book itself. In all the works in this exhibition, paper is a form of tangible memory, and demonstrates human efforts to convert the products of the earth into a medium for expressing the thoughts of one person to another, one generation to those who will follow. Illustrated 36 page catalog is pamphlet stitched with letterpress printed covers. (1996)

Geometry & New Math (Books About Sex)
On view January-March 1996

Recognizing a book�s potential influence in defining a person�s gender identity and sexual expression, this exhibition of artists� books examined the relationship between the book and sexual practices. It also explored the diversity of contemporary sexual experience and the current attitudes towards human physicality, male/female relations, homosexuality, AIDS, and desire. These works assert the innumerable ways a book can express ideas concerning the most intimate aspects of an individual, as well as the larger political concerns related to sexual orientation and gender issues. Exhibition coordinated by Ilse de Graaf and Lara Frankena. Illustrated 16pp. (1996)

This Day in History
On view June 30 through September 13, 1995

The 1995 annual Artist Members Exhibition. Fifty works including artist statements and introduction by Brian Hannon. "Since books have been the basis of many of our assumptions about the past, all of the associations linked to this cultural artifact have been easily appropriated to new ends. Some of these artists' books playfully mock the authority of history books by reinventing the sequence or outcome of events. Others unflinchingly point to prior inaccuracies and injustices that our history has perpetuated"--from Intro (1995)

Latino Americana Book Arts
On view January- March 1995

This exhibition, produced by the Center for Book Arts, surveyed the specific cultural concerns and bookmaking techniques of artists with a cultural link to Central and South America. Many of these artist�s books explored issues related to the political climate of the region, gender relations, personal experiences, and unique cultural aesthetics stemming from the regions hybrid of European and indigenous communities. Limited edition and one- of- a- kind- books featuring handmade papers, marbling, leather, special binding and printmaking were included, as were works focusing on unique physical structures, typography, and unusual materials. The 45 pp. catalogue contains text in English, Spanish and Portuguese with letterpress printed covers. (1995)

Soviet and Subversive Books from Russia
On view September-October 1995

The exhibition juxtaposed the commercially printed and bound books sanctioned by the Soviet government (portraying the ideal Soviet life). With the secretly handmade books and pamphlets of artists which reveal how people actually lived and coped with the oppression of the Communist era. While the slick Soviet-sponsored books tended to be a little more than post Stalinist propaganda, many of the underground artists� books were modestly printed using typewriters and bound with staples and sewing machines, and contain cartoons, jokes, and funny sayings which subtly criticize political life with deadpan humor and a dark cynicism. (1995)

Masters of the Craft
On view January-March 1995

Contemporary 10 book artists have long appreciated the great value of learning bookmaking from an accomplished master of the form, yet recognized that the best teacher is not the one who merely has the technical expertise to create a well made object, but rather the artist who is able to reveal an original sensibility in his or her work. Though this exhibition affirmed a collective respect for the traditions of bookmaking among all whose book works are shown, it also demonstrated the power of the book to express the unique vision of each artist. These works were created by the craftspeople that link us to the history of the book as they inspire a new generation to define the book in our own time. Photocopied catalog with translucent endpaper and blue paper covers. (1995)

Inky Fingers: Works by Small and Fine Presses
On view April-June 1994

This exhibition featured books produced by small, fine presses from North America and Europe. Most of the books were printed in a limited, signed edition of less than 500, employing letterpress printing, archival papers and archival bindings. Other works focusing on unique physical structures, typography or unusual materials were also included. The 18 pp. pamphlet-stitched catalogue incorporated a letterpress printed cover and images. (1994)

The Anthropomorphic Book
On view July- September 1994

This exhibition contains the art of fifty-five artist members of the Center for Book Arts whose work explores the relationship between the book and the human body. All of the books somehow refer to the human body in the use of image, shape, materials or content. The exhibition reveals a diversity of new artistic approaches to an age-old subject and includes both traditional and contemporary book formats. (1994)

Hedi Kyle and Her Influence 1977-1993
On view October �November 1993

An exhibition featuring works by Kyle and 20 contemporary book artists that have been inspired by Ms. Kyle�s unique and creative bindings. Essay by Brian Hannon. Illustrated, 8 pp., with paper structure in center. (1993)

Agrippa, (a book of the dead)
On view April-June 1993

A pamphlet describing a collaborative project from science fiction author William Gibson and Dennis Ashbaugh. Ultimately Agrippa is simply the story of human mortality, of a man�s life told from afar: via the memories and recollections of his own genetic material, his son. If a primary objective of the book arts is to bind content to form, to present ideas in a format that augments their manifestation beyond the text and image, then perhaps Agrippa has done well to reveal the fleeting existence of a life that is once here and forever (1993)

Susan Joy Share, Books, Props, Collages
On view October 24-December 5 1992

This exhibition of works by Susan Share revealed her unique integration of many realms of the art world- visual display, movement, sound and dramatic action. This series of works, emerging from her work as a visual artist and bookbinder, include painted multi-faceted books which spring to life when opened, sculptural entities which can unfold to fill the room, and book objects that are more than mere containers of words, memories and images, but during her performances, become percussive musical instruments, full body costumes, or flowing paper waterfalls. An offset, multi-fold pamphlet accompanied the exhibition. (1992)

Spin �, Books, Paintings, and Memorabilia by John Eric Broaddus
On View June-August 1990

An exhibit curated by Ruth A. Ely. The catalogue contains multi-colored silkscreen images with an introduction by Jan van der Wateren, the Chief Librarian of the Victoria & Albert Museum. Die cut pages, includes listings of works and collectors of Broaddus. Signed, limited edition pamphlets binding with end sheets and paper wrapper. 16pp. Housed in a matching envelope. (1990)

Harry Duncan: Fifty Years of Fine Print
On view September- November 1989

An exhibition of publications from the Cummington Press and Abattoir Editions. Curated by Steven Clay of Granary Books. Illustrated, pamphlet folded. (1989)

Center for Book Arts: Celebrating 15 Years
On view November-December 1989

An exhibition of new works by artist members that encompasses �all aspects of the book arts and allied media.� This show presents a wide cross-section of artists with highly divergent attitudes toward the genre. 14pp. saddle stitch exhibit catalog. (1989)

William Sandberg, from the Netherlands
On view May-June 1988

This exhibition presented the work of the typographer and book designer William Sandberg (1897-1984). The outstanding characteristic of Sandberg�s design is its vitality. Time has not diminished its impact; we now see more clearly his inventiveness and variety. Sandberg delighted in playing off the severe shapes of type against collage, torn paper and objets trouve. His pamphlets books, catalogs and posters combine colors, languages and typefaces in a dazzling display of imagination. Illustrated, 32 pp. (1988)

Printers in Residence
On view October-December 1988

This show exhibited the works of six presses and one bookbinder working in five studios at the Center: Vital Signs, Salient Seedling Press, Alileah Press, Nora Ligorano, and Poote Press. Program designed by Rebecca Lown. (1988)

Bookbindings by Jean de Gonet
On view May- June 1987

An exhibition of 45 works by innovative French bookbinder de Gonet. According to Jan van der Marck in the introduction,�Innovation is a radical attack on the continuity of thought and action that distinguishes culture and informs tradition. There are two ways in which to detect it: by deduction and induction. The former requires that we search for a break in an evolving stylistic configuration much as we would for a stoppage of leak in a pipeline. The latter proceeds by the intuitive recognition of a sea change, and the ability to pinpoint evidence from clues. At first blush, de Gonet�s ingeniously crafted or industrially produced covers resemble the lid of a roll top box or the dash of a racing car. These unsubtle clues that somebody is playing hard and fast with the bookbinder�s tradition are the unchallengeable evidence of innovation.� Illustrated, 28 pp. (1987)

Effects of Time
On view September-October 1987

The Effects of Time, An Exhibition of Books before 1600 with Artwork by insects and rodents, mangled by Bookbinders and Dealers etc. Curated by Leonard Hansen and Richard Minsky. One of the great fascinations of old books is their history as artifacts. When we look at books that are hundreds of years old we see marginal notes from many readers, burnt holes which may have come from cigar ashes, manuscript replacements for missing text, and many other indications of where the book was been and what hazards it has survived. This exhibit documented early books and book fragments affected by humans, insects, vermin and the physical or chemical environment. Illustrated, 24 pp. (1987)

Bookworks London
On view April-May 1987

A group show of contemporary British book artists. Bookworks was founded in London in 1984 to promote the work of artists using the book form as their medium of expression. The gallery provides a unique venue for work in this field, and has been instrumental in encouraging artists to experiment and explore different ways of using book forms. All of the artists in this exhibition have had a close and consistent relationship with Bookworks since its inauguration. Illustrated, 22pp. (1987)

Bookworks by Tom Phillips
On view April l- May 1996

Curated by Richard Minsky, this show of Phillip�s original manuscripts and small editions bridges the boundary between book art and artists� books. It included 37 works by the London artist from 1970-1986. Illustrated, 50pp (1986)

The First Decade: Center for Book Arts
On view September- November 1984

An exhibition held at the New York Public Library celebrating the first ten years of the Center�s existence. The exhibit included 132 works by 112 artists. The exhibition was not intended as a retrospective, but rather as an overview of traditional book forms, paper arts, bookbinding and art works based on, or alluding to, book forms. Introduction by Frances O. Mattson, curator of Rare Books at The New York Public Library. Illustrated. 56 pp. $15 (1984)

All Books None Paper

Manhattan Laboratory Museum, Given similar experiences, needs and environments, parallel developments have occurred throughout history in not only fields of science and medicine but in the arts as well. The addition of the book to the vocabulary of artist�s devices has resulted in the creation of book-like objects both here and abroad. This exhibition, though modest in size presents a wide range of non-paper books from artists residing in New York, Illinois, California, Oregon, and from Germany. The art viewer here has an opportunity to see both the diversity and kinship of these works and at the same time, rethink his/her definition of �book�. (1982)

Skipping the Page
On view January 18-March 29, 2008

All Books None Paper