On October 2, 2017, the Arts and Letters Club of Toronto will welcome members and friends of the Alcuin Society of Canada to celebrate Central and Eastern Canadian winners of the Awards for Excellence in Book Design in Canada for books published in 2016. The speaker for the evening will be celebrated illustrator and book designer, Frank Viva.
The Alcuin Awards were featured in the National Gallery of Canada Magazine this month in an article by Leanne Gaudet.
McGill Library’s Special Collections blog has a new blog post about Robert Reid’s digital designs by David Bellman, Research Curator, CAUSA / Collective for Advanced and Unified Studies in the Visual Arts. Continue Reading…
The Museum of Anthropology is have an exhibition opening May 11, 7:00-10:00 pm:
Words and their physical manifestations are explored in this insightful exhibition, which will honour the special significance that written forms, especially calligraphy, hold across the many unique cultures of Asia – a vast geographical area boasting the greatest diversity of languages in the world.
Traces of Words: Art and Calligraphy from Asia will showcase the varied forms of expression associated with writing throughout Asia over the span of different time periods: from Sumerian cuneiform inscriptions, Qu’ranic manuscripts, Southeast Asian palm leaf manuscripts and Chinese calligraphy from MOA’s Asian collection to graffiti art from Afghanistan and contemporary artworks using Japanese calligraphy, and Tibetan and Thai scripts.
You want to see the Alcuin Society Awards for Excellence in Book Design in Canada award winners for 2016 in the following exhibition venues across Canada and around the world.
Those of you in Edmonton can check out the Alcuin Society Awards for Excellence in Book Design in Canada award winners at the FAB Gallery (1-1 Fine Arts Building) until February 11, 2017 —
Great design transforms Canadian books into works of art
When the e-book revolution began, there were dire predictions about the book industry, most heralding the imminent death of the printed book. Now, a decade on, the printed book has not only survived, it is thriving, and the reason may have everything to do with design. Continue Reading…
As artistic careers go, not many could be more long-lasting and diverse than Charles Mayrs‘. He started his in advertising, progressing from a junior artist, to award-winning art director and writer. He built his own successful business in advertising and upon selling it he felt free to return to his passions of drawing, painting, writing and taking beautiful pictures. Charles was initiated in the art of typography by the extraordinary Robert Reid, and eventually he reached the conclusion that the medium that could best combine all his passions was the printed book, and thus he explored the elegance of letterpress printing, producing several limited edition books. Many of them can be found in the special collections of the Canadian libraries and universities. In 2009, the Alcuin Society awarded Charles Mayr the first prize in the limited edition category for his book British Columbia. In Light and Dark.
To celebrate a lifetime of artistic work, Charles Mayrs put together an exhibition at the Visual Space Gallery, on 3352 Dunbar Street. It opens with a reception on Saturday, October 24, 12-5 pm, and it is open until October 30, 12-5 pm daily. It is worth checking it out, to experience a jolt of mental energy and wonder.
Charles’ art is eclectic and sharp, full of character and life. His figurative painting and drawing is abstract and full of mystery. His interpretation of the human body is bold, trying to communicate our anxieties and fears. In one of his poems, he explains his creed:
Because of growing wrath
To probe another path
A path decisive
For love of art
Its throbbing heart
To show the pain
Of human wrongs
And things insane.
This private press was inspired by Carl Dair and his concern for legibility and clarity in communication. I helped him assemble the hand press he obtained from England and learned the joys of hand printing at his Orchard Press. When Carl died, I felt the need to continue private press printing and obtained by own Albion press. The Poole Hall Press is concerned with printing the work of Canadian writers and artists. William Poole in Reader, Lover of Books, Lover of Heaven (1978)
Bill Poole Interview with Morris Wolfe (1993)
MW: What is your love of printing about? What is that?
BP: The love of printing?
BP: Well, I don’t know – I just find it fascinating. I find you take a blank sheet and you put it down there, and you make it go, and that’s that. So it never ceases to fascinate me, that’s all.
This small exhibition in the Robertson Davies Library at Massey College in Toronto titled “At the sign of the Umber Chicken” has been curated by Kristine Tortora. I believe the exhibition marks the acquisition by Massey College of Bill Poole’s Poole Hall Press archive. It should not be missed.
This exhibition honours one of the most significant persons in private press printing in Canada. Bill Poole taught industrial design at OCA (now OCADU) in Toronto. His printing began prior to 1967 and the Poole Hall Press dates from 1972. In 1979, Bill Poole convinced the Grimsby Public Library to host the first Wayzgoose and he convinced private press printers from Toronto and elsewhere in Ontario to make the trek to Grimsby. This provided an opportunity for printers to meet each other, exchange work and sell some items to the public. It was well received by all and continues to this day. In 1981, the first Wayzgoose Anthology brought together signatures from the participating printers. This is a second aspect of Bill Poole’s legacy. The third aspect is what is on display here – his own work – at the Poole Hall Press.
The two quotations above nicely sum up Bill’s views and the curator has placed each in a different case to remind us of his philosophy as we look at his work. These quotations are in addition a longer quotation from Bill Poole: A Wonderful Life by Morris Wolfe that sums up Bill as someone who “more than anyone I’ve known lived his life exactly as he wanted.”
The first case actually shows the work of another press that Bill was involved with, the Cheshire Cat Press. This was a collaboration between Bill, George Walker and Joseph Brabant. The object was to publish in Canada by Canadian hands the first illustrated Alice in Wonderland and the first Through the Looking Glass and What Alice Found There. Joseph Brabant edited and provided the introductory text, George provided the wood-engravings for the illustrations and Bill Poole printed the each book in 177 copies. Alice was published in 1988 and Through the Looking Glass in 1998. In addition, the three also illustrated and printed a number of other Alice related texts such as Some Observations on Jabberwocky, Lewis Carroll and Alice Liddell and The Origins of the Poems in Lewis Carroll’s Alice in Wonderland. Unfortunately, we see only the covers of Alice and Through the Looking Glass, otherwise there would be no room in the case for these other items.
The Poole Hall Press was active from 1972 until Bill’s death in 2001. The second and third cases have examples of Poole Hall Press books but if there was an organizing principle as to what was included in each case, it was not clear. It might have been clear if the items identified either with the information placed on cards beside the items in the cases or identifying the items by number with an available list providing that information. A small quibble for a notable exhibition. The exhibition runs until the beginning of September. It can be seen Monday to Friday, 10:00 am to 5:00 pm. Please check in with the Massey College Porter when you arrive.
By the way, I was left guessing about the meaning of “The Sign of the Umber Chicken”. I suggest that you visit the exhibition and see if you can solve the riddle.[by Chester Gryski]