Though much disputed over the decades, the term ‘artist’s book’ has a well-recognized definition that draws on historical traditions of book production and conception now part of the current wide field of practice. Broadly understood, an artist’s book is any work of original art created in the Book format. By this definition, an artist’s book is work that does not exist in any other form, is not a reproduction of pre-existing work, and is created as a book as the first instantiation and expression of a project. Artists’ books range from inexpensive multiples to one-of-a-kind artefacts and make use of every imaginable production and reproduction technology as well as taking a wide variety of forms. Artists’ books need not be made entirely by an artist, do not have to carry the signs of being handmade or unique, and have no particular constraints on the content, themes, or concerns they raise or the contexts in which they circulate. Even with such a broad scope in the definition, the artist’s book is readily identified because it takes the book as its primary mode of expression and is a work that comes into being as a book....
French organization founded in Poitiers in 1953. The Centre d’études supérieures de civilisation médiévale (CECSM) is affiliated with the Université de Poitiers, the Centre national de la recherche scientifique (CNRS), and the Ministère de la Culture et de la Communication. The founders, among them historian Edmond-René Labande and art historian René Crozet, began CESCM as a month-long interdisciplinary study of medieval civilization, inviting foreign students to participate. CESCM has since developed into a permanent organization but maintains the international and interdisciplinary focus of its founders.
CESCM continues to hold its formative summer session, known as ‘Les Semaines d’études médiévales’, and invites advanced graduate students of all nationalities. The summer session spans two weeks and includes sessions on a variety of topics, each conducted by a member or affiliate of CESCM. CESCM supports collaborative research groups and regularly holds colloquia attended by the international scholarly community.
Since 1958 CECSM has published ...
American library in Saint John’s University, Collegeville, MN, founded in 1965. The Hill Museum & Manuscript Library (HMML; formerly the Hill Monastic Manuscript Library) contains over 115,000 microfilm and digital images of medieval, Renaissance, early modern and Eastern Christian manuscripts. To fulfil its mission of preserving endangered manuscripts and making them more accessible to scholars, HMML photographs entire manuscript libraries that lack the resources to preserve their own collections, are inaccessible to researchers, or are in immediate danger of destruction. Until 2003, HMML photographed entire manuscripts on black and white microfilm and shot selected illuminations in colour. When the Library switched to digital photography in 2003, it shot entire volumes in colour and recorded codicological information.
The vast majority of HMML’s holdings reproduce texts predating 1600. Nearly half of HMML’s Western manuscripts derive from libraries in Austria and Germany, but HMML also houses significant collections from Spain, Portugal, Switzerland, and England. The Maltese collections are particularly important and include the Archives of the Knights of Malta. HMML has photographed collections of Eastern Christian manuscripts since the 1970s, and its collections of Armenian, Syriac, and Christian Arabic manuscripts are becoming the most significant resource for the study of Eastern Christian manuscripts in the world. HMML has by far the world’s largest collection of Ethiopian manuscripts preserved on microfilm and in digital form....
French, 20th – 21st century, female.
Born 12 December 1958, in Creil (Oise).
Painter, illustrator. Portraits, landscapes, animals.
Laurence Nivault was a student at the École des Beaux-Arts in Amiens from 1975 to 1978, after which she studied in Paris. She lives and works in Lamorlaye. Nivault is the twin sister of the Naive painter Marie Nivault. She is a Member of the Salon de la Société Nationale des Beaux-Arts and was awarded their Under Thirty grand prize in ...
George Barnett Johnston
American indexed catalog of building components and manufacturers published annually since 1906. This multi-volume series, which organizes building product information, details, and specifications, is a standard reference for architecture, engineering, and construction industry professionals. It was launched as “Sweet’s” Indexed Catalogue of Building Construction in 1906 by Clinton W. Sweet, founder and editor of the journal Architectural Record, in response to an industry need for a more systematic and scientific approach to the organization of building product data.
During the 19th century local and craft-based building traditions in the United States were gradually displaced by the rise of industrial production and the establishment of integrated transportation and distribution networks. The concomitant formation of a national market in building products, combined with new printing and marketing techniques, yielded an onslaught of manufacturers’ advertising brochures and catalogs inundating architects’ offices. By the early 20th century, this widely recognized “catalog problem” overwhelmed architects’ libraries and stymied the increasingly complex task of selecting and specifying building products. ...
American journal found in 1980. Woman’s Art Journal was founded in 1980 in Knoxville, TN, by the art historian Elsa Honig Fine and has been published biannually in May and November since that time. The inspiration for the journal came in part because other journals devoted to women and women’s art that had been started in the 1970s, such as Feminist Art Journal and Womanart, had ceased publication for various reasons despite their important contributions to the feminist art movement.
In its first issue, Fine indicated Woman’s Art Journal’s dual focus on “recording a hidden heritage” and the “reinterpretation of art history from our new awareness as women.” The first several issues of the journal fully reflect these areas of concentration. For example, women artists and critics, some of whom were well known and others hardly at all, had essays devoted to their work: Josephine Hopper, Anna Jameson, Louise Nevelson, Anna Mary Robertson Moses, and Katarzyna Kobro. Essays on broader issues important to women and women artists in these early issues focused on themes such as sexuality and maternity in the late 19th century, the use of nature as image and metaphor, and domestic madness in American art and poetry. Neither did the journal avoid controversial topics, devoting part of its second issue to Judy Chicago’s ...