As we enter the final week of the Bodleian’s Alphabet’s Alive! exhibition we wanted to share a taster of what’s to come in our next BOOKNESS podcast.
In the summer Alice and Jo were very lucky to speak to artist and founder of Circle Press, Ron King, who has multiple alphabet inspired works in the exhibition.
Alphabets Alive! is on at the Weston Library until 21st January 2024. Photo credit: Ian Wallman‘ABC Paperweights’ and ‘Alphabeta concertina majuscule’ on display in the Weston Library
You have until 21st January to visit the exhibition which is spread cross the Bodleian’s Weston Library exhibition space and the Proscholium display (located in the entrance of the Old Library), and you can find Ron’s work in both parts of the exhibition.
So if you are in Oxford this week make sure you pop by and see the pieces for yourselves, and listen out for the next episode of BOOKNESS, featuring our conversation with Ron, which is on its way soon…
‘Alphabet Poster II’ in the Bodleian’s Proscholium display case
Useful links:
Find out more about Ron’s work and Circle Press here
And explore the Bodleian’s online catalogue SOLO here to discover the pieces of Ron’s work in the collection
For the latest episode of BOOKNESS, the Bodleian team speaks to graphic designer, book artist and paper engineer Kevin Steele about his work The Movable Book of Letterforms, which is currently on display in the Bodleian’s Alphabets Alive! exhibition.
The opening currently on display in the Bodleian’s Alphabets Alive! exhibition
I’m always fascinated by the performance of movable books, especially when that actual movement is communicating something, so it’s not just about the final display when everything is open, but it has something to do with the movement
One of the book’s precising constructed pop-up spreads
As somebody that likes things precise… it is sometimes hard to see things change over time… but I guess that is just inevitable that things change like that beyond your control… And it would make me very happy if looking in the future I saw the book was very well used and worn and read
Watch The Movable Book of Letterforms in action below:
If you take a conventional book… the pages don’t change… but when you come to pop-up engineering… it’s rather like being in a theatre… there are all these different changing viewpoints with the book which is quite unique
Paul’s pop-up gift to the Bodleian, ‘Dies Natalis’, which is on display in the Gifts & Books exhibition until 29th October 2023.
A book is designed to be held… if we think of a book as being conceptually a form of art… I can’t think of any other art form that only really functions when you hold it directly in your hands and your fingers interact with the object
‘Dies Natalis’ opened showing both covers, the spine, and the pages opening up beyond.
And some conservation in action! Paul visited us back in May 2023 to work with our conservation team on some of his other books we have in the Bodleian’s collection, to assess their condition and carry out a few minor repairs.
Paul Johnson in the Bodleian conservation studio making repairs to his work ‘Serenade to Chaucer’ (Rec. a.45).
My books have thousands of individual little parts, and the risk is that one or two of them are going to fall off in transit… and this is always a problem, little pieces coming loose… when we first talked about bits probably falling off, I probably said to you stick it back on anywhere you like!
Paul Johnson and Bodleian conservator Alice Evans discussing the condition of his book ‘From Babylon to Ithaca’ (Rec. a.80).
Useful links and glossary checks in this episode:
Listen to the episode on the University of Oxford Podcasts website here (also available via Spotify and Apple Podcasts)
The Bodleian Library in Oxford has books. Lots of books. But also books that don’t look like books. Books that self-destruct. Books that decay.
Join librarian Jo Maddocks and conservator Alice Evans for a second series of our podcast BOOKNESS where we continue to explore the wonderful world of the Bodleian’s artists’ books and discover what makes a book a book.
In this series Jo and Alice will talking to book artists, print makers and paper engineers who currently have works on display in the Bodleian’s Gifts & Books and Alphabets Alive! exhibitions, focussing on their books that have pop-up and moveable elements…
This podcast is for book lovers, book nerds and book makers.
In the final podcast in this series of BOOKNESS, book conservator and PhD candidate Justine Provino talks about her research into the self-destructive book Agrippa: A Book of the Dead.
Justine Provino with Agrippa (Rec. a.25) at the Bodleian’s Visiting Scholars’ Centre.
It’s a nesting doll about ageing and decay, and the publisher, the artist, and the writer really worked together … to express all these ideas throughout the materiality of every component of the artists’ book
The codex wrapped in the textile ‘shroud’ within a recess in the box base.Detail of label on the box lid.Condition record of unbound Agrippa image, with traces of the ‘disappearing image’ (MS. Eng. b. 2160)
The release of this episode of BOOKNESS on 9th December 2022 marks the 30th anniversary of the publishing of this work. Happy birthday Agrippa!
Useful links for this episode:
Watch William Gibson’s poem Agrippa: A Book of the Dead
running in emulation on a 1992-era Mac computer here
In the third podcast in the series, BOOKNESS talks to poet and artist Stephen Emmerson about his work Translation of Die Aufzeichnungen des Malte Laurids Brigge, a paperback novel ‘translated’ into mushrooms.
‘A box of ideas’ was featured in the National Poetry Library’s exhibition Poetry Games.
You can visit the Sensational Books exhibition at the Bodleian’s Weston Library in Oxford until 4th December 2022, and see Translation for yourself (through two layers of protective glass…)
Artist Laura Kriefman experiencing ‘To You’ (Image by George Margelis, 2019)
It’s a book as much as it is an art object … as a book, read it, interact with it, touch its pages, infuse its pages with your warmth … from the art experience, I guess it’s more about the audiences way of how they want to interact with it …
‘To You’ (Rec. d.625) on show in the Sensational Books exhibition at the Weston Library.
I’ve always been interested in interactive books since I was little, I am neurodiverse myself so it’s easier for me … to engage with books that … use different senses because they would capture my entire focus.
A single leaf of ‘To You’ that visitors to the Sensational Books exhibition can interact with.
It is an artwork that is supposed to be touched and it’s supposed to wear and tear … as you start to expose and touch … as you’re reading the content, it becomes more familiar with you …
The interactive materials wall in the Sensational Books exhibition showing a leaf of thermochromic paper that has been activated by the heat of a hand, and shows signs of the many interactions that have happened already over the course of the exhibition.
For our first artist interview in this series, BOOKNESS talks to book designer and artist Ben Denzer, about his work 20 Slices, a book created from Kraft American cheese.
’20 Slices’ by Ben Denzer (Photo courtesy of Catalog Press)
This is already basically a book … these things look like pages, they’re kind of packed together, there’s an order, all I really did was bind those together and give them the cover. I thought it was interesting how it just becomes a book through that process
This image of the Bodleian’s “pristine” copy of 20 Slices was taken by the Conservation team in May 2021 as part of the documentation of the object to record its condition.
BOOKNESS is a podcast series that wanders into the Bodleian Library’s collection of artists’ books, pokes around a bit and asks ‘what’s all this then?’
In the series we will be talking to artists, makers, researchers and curators and pondering matters such as what makes a book a book, anyway? What happens if a book is made of something that decays? Are there any limits to what a library can collect? And, of course, what does this book smell like?
BOOKNESS is hosted by conservator Alice Evans and librarian Jo Maddocks, and the release of this series coincides with the final month of the Bodleian Library’s Sensational Books exhibition, which is showing at the Weston Library until the 4th December 2022. It’s brought to you by the Bodleian Library’s Centre for the Study of the Book and has been supported by a generous donation to the Bodleian Bibliographical Press.
In this introductory episode, BOOKNESS is joined by Chris Fletcher, Keeper of Special Collections, and Professors Emma Smith and Adam Smyth, to set the scene of the Bodleian’s artists’ books collection and some of the ways these objects can be used and thought about.
Curator Emma Smith in the Sensational Books exhibition. Photo credit: Ian Wallman
… artists’ books reflect on ‘bookness’ … they are metabooks, they are books about books … they are about the book form …
The following artists’ books from the Bodleian collection are mentioned in this episode…
The three ‘pages’ are difficult to handle… and witty! ‘Endless Sleep’ by Stephen Emmerson (Cons.Res. 44)The uncut pages are gently provocative, does a library understand that? ‘A little book of birds’ by Gaylord Schanilec (Erm. e.129)It’s a very heavy and profound subject, which is contrasted by the physical format of the book, which is printed on kitchen paper. ‘It is bitter to leave your home : a true story depicted in typographic images’ by Romano Hänni (Rec. d.629)
Useful links and glossary checks in this episode:
You can read the full definition of ‘artists’ books’ from the Library of Congress here (.pdf)
The Bodleian oath is taken by all new staff and readers. The current version, in use since 1970, reads: “I hereby undertake not to remove from the Library, nor to mark, deface, or injure in any way, any volume, document or other object belonging to it or in its custody; not to bring into the Library, or kindle therein, any fire or flame, and not to smoke in the Library; and I promise to obey all rules of the Library.” If you want that on a Tea Towel we can make it happen.
The next edition of Inscription on ‘Folds’ is out later this month.
Four hundred years after his death, these talks by specialists revisit Shakespeare’s works, life, and times in the light of current research, as part of the Shakespeare Oxford 2016 festival and in connection with the Bodleian Libraries exhibition, ‘Shakespeare’s Dead’.
In the summer of 1594 William Shakespeare decided to invest around £50 to become a shareholder in a newly formed acting company: the Lord Chamberlain’s Men. This lecture examines the consequences of this decision, unique in English theatrical history.
By examining the early modern theatrical marketplace and the artistic development of Shakespeare’s writing before and after this moment, it is hoped that this talk shows why 1594 was, by some measure, Shakespeare’s most important year.
This lecture will celebrate Shakespeare’s immortality on the exact 400th anniversary of his burial. It will begin from Theseus’ famous speech in A Midsummer Night’s Dream about the magical, transformative power of poetry.
It will argue that Shakespeare inherited from antiquity a fascination with the intimate association between erotic love, magic and the creative imagination, and that this is one of the keys to the enduring power of his plays.
Sir Jonathan Bate, Provost of Worcester College and Professor of English Literature at Oxford University, is one of the world’s most renowned Shakespeare scholars, the author of, among many other works, Shakespeare and Ovid, The Genius of Shakespeare, Soul of the Age and (as co-editor) The RSC Shakespeare: Complete Works. He co-curated Shakespeare Staging the World, the British Museum’s exhibition for the London 2012 Cultural Olympiad, and he is the author of Being Shakespeare: A One-Man Play for Simon Callow, which has toured nationally and internationally and had three runs in the West End.
Coroners’ inquest reports into accidental deaths tell us about the hazards of everyday life in Shakespeare’s day. There were dangerous jobs, not just building, mining and farming, but also fetching water, and travel was perilous whether by cart, horse or boat. Even relaxation had its risks, from football and wrestling to maypole-dancing or a game of bowls on the frozen River Cherwell.
John Donne’s sermon, Death’s duell, was part of an early Stuart vogue for funeral sermons. Professor McCullough discusses Donne’s contribution to this genre, and looks at how this tradition is connected to the poetic and dramatic representations of death on display in the exhibition, Shakespeare’s Dead.
Professor Katherine Duncan Jones, Senior Research Fellow, Somerville College, gives a talk on Shakespeare’s poem, Venus and Adonis.
In 1592-93, with London playhouses closed because of plague, Shakespeare wrote his most technically perfect work. Venus and Adonis (1593) is a highly original ‘take’ on the ancient Greek myth of the doomed Adonis – presented here as a pubertal boy incapable of responding to the goddess’s amorous advances. It was a tearaway success with Elizabethan readers.
Ben Jonson wrote in 1623 that Shakespeare ‘art a Moniment, without a tombe/ And art alive still, while thy Booke doth live’: centuries later Jorge Luis Borges observed that ‘when writers die, they become books’, adding, ‘which is, after all, not too bad an incarnation’. This lecture considers Shakespeare’s First Folio as a literary memorial to Shakespeare, alongside other elegies, epitaphs, and responses to the playwright’s death.
