Mining the Lloyd

"Nature seems to place at man's disposal nothing perfected to his use;
work is required from man before he can apply to his own advantage nature's agents.
"
John Uri Lloyd, 1874


Artist: Carol Barton


Alphabetica Synthetica (2003)

Accordion with laser printing on Mohawk Superfine.

Artist's Statement

Science and the specific field of materials engineering have always intrigued me. I find great pleasure in searching out new fabrics, laminates, plastics, and composite substances, and in seeing how these materials are then used in fashion, architecture, and industrial design. I also enjoy playing with unusual materials as components in my books. In designing Alphabetica Synthetica, I have had a wonderful time exploring this world of materials, and imagining a future altered by these new discoveries, for better or for worse.

Lloyd Text

Handbook of Plastics. Herbert R. Simonds
Published by D. Van Nostrand Co.: New York, 1943


Artist: Beth Belknap Brann


Inside the Nervous Housewife (2003)

7.5" x 7.5" folded; 22.5" x 22.5" unfolded
Hand-comped digital print.

Artist's Statement

I chose The Nervous Housewife because that is what I would be if I didn't have a career outside of being a homemaker. I admire women, like my mom and grandmothers, who make a life centered around the home, cooking, cleaning, sewing, and raising children. I also entirely understand that women over the years and centuries have suffered tremendous mental pain at being forced to take on this role due to limited societal options. My artistic response to this book is dedicated to all women who came before, paving the way for women to enjoy the life options we have today.

Lloyd Text

The Nervous Housewife. Abraham Myerson, M.D.
Published by Little, Brown and Co.: Boston, 1920


Artist: Susan Brumm


Flora Graeca (2003)

7" H x 6" W x 5.5" D
Piano hinge binding, Mohawk Superfine, Arches 140 lb. cold press, beads, and watercolor.

Artist's Statement

The best readers make images in their minds of words as they read them. Designing artists' books brings those images to life. When I was growing up, I used to battle with myself over how to spend my free time: drawing or reading? Creating artists' books, I've found, satisfies both cravings.

Flora Graeca, the crown jewel of botanical books, was printed in 1806 and illustrated by Ferdinand Bauer. The Lloyd Library owns one of only twenty-five original copies of this near-mystical depiction of the secret life of flowering plants. As you "read" my recreation, light, color, form and space serve as "words" for your interpretation.

Lloyd Text

Flora Graeca. John Sibthorp
Published by Society of Linnaeus: London press, 1806-1840


Artist: John Campbell


Siena, Books, Cincinnati (2003)

22"x 17"x 4.5"
Modified coptic, mullberry paper, Tyvek, Xerox stock, BFK, Mylar, acetate, metal leaf, marbled papers on Mi-teintes.

Artist's Statement

The book that I have created revolves around and was inspired by illustrations in an 18th century set of books from the Academy of Siena, Italy. Illustrations in the Academy's irregularly appearing volumes were designed to depict the mathematical, botanical and biology concepts and findings of the day and to accompany and illuminate the text.

In particular I have chosen to emphasize geometry as used in the 18th century and to leap to a variety of 20th century examples of geometric illustration exemplified in the depiction of the classic Platonic solids in 2 and 3 dimensions as well as fourth and higher dimensions. Also depicted are 20th century illustrations of what was equally invisible to the 18th century scientists, double helixes, DNA, & genomes.

Lloyd Text

Accademia della Scienze di Siena. Members of the Academy and anonymous illustrators.
Published in Siena, Italy, 1794


Artist: Gabrielle Fox


Like Magic (2003)

2.875"x 2.375"x .375"
Handmade paper bound in full leather, all edges gilt, hand tooled with gold leaf.

Artist's Statement

Le Tombeau de la Pauvrete represents a major advance in medicine with the introduction of chemistry, although La Pauve may be less about medicine and more about alchemy. Medieval chemistry or alchemy make an interesting comparison with that fine line in mastering a craft. Is it real? Can you make that happen again? Was it achieved through skill, experience or some sort of magic touch?

Like Magic is the beginning of my exploration of this comparison. The book is bound in a similar style to the existing and later (not original) binding of La Pauve. Older medical books are often huge large tombs or small portable hand books usually just a bit larger than Like Magic. But then, I love making miniature books.

Lloyd Text

Le Tombeau de la Pauvrete. Henri d'Atremont
Published by Jean D'Henry: Paris, 1673


Artist: Karen Fuhrman


The Beautiful Flower Garden (2003)

7" x 5.5" x 2"
Fabriano uno, wooden covers with vintage embroidered cloth.

Artist's Statement

The text of F. Schuyler Mathews' book provided the inspiration for my binding. After reading The Beautiful Flower Garden I chose quotes that stirred my creativity. There was a wealth of information and inspiration in this pretty, diminutive flower gardening manual.

My book is bound employing an Ethiopian binding with a girdle book style cover. I envisioned a young lady walking through a beautiful garden, stopping occasionally to read her book which she carries hanging from her belt. I discovered that a book is like a beautiful flower garden, a place to plan, to create, to escape and to enjoy.

Lloyd Text

The Beautiful Flower Garden. F. Schuyler Mathews
Published by W. Atlee Burpee & Co.: Philadelphia, 1894


Artist: George Gessert


Origin

Each leaf 5.25" x 3"
Leaves are bristol board with attached cibachromes and hand written notes. Leaves are unbound.

Artist's Statement

Origin documents a breeding project involving streptocarpuses. These plants, like other extensively bred ornamentals, are shaped by human wishes and dreams. My primary concerns are aesthetic: colors and forms, the distinctive qualities of streptocarpuses, degrees of familiarity and strangeness among hybrids, evolutionary time.

My title comes from Origin of Species, a book that I first read when I was 13, and strongly affected me. Darwin saw us and all of our works as aspects of nature. As we bring art to evolution we do not rise above nature. All we do is bring new forms into being.

Lloyd Text

Origin of Species. Charles Darwin
Published by John Murray: Albemarle St., London, 1859


Artist: Rhonda Gushee


Planted (2003)

Hand sewn and glued accordion book with cotton, polyester fabrics and threads.

Artist's Statement

Planted is an accordion book made from layers of quilted fabrics containing text relating to natural remedies and somewhat superstitious repetitions of magical spells. The various stitching and random fabric patches are reflective of the folk art quilting background of my southern Appalachian heritage where traditional natural folk arts and the traditional folk remedies have a strong historical connection.

The content of my work usually has an element that deals with the subject of healing. Studies have proven the healing power of touch, whether it is an elderly patient recovering from heart surgery stroking the soft fur of a faithful pet, or a new mother caressing her own precious baby. We recognize in our complicated world the need for simple and natural therapies for healing our bodies and spirits.

Lloyd Text

Herbal Therapy, Medicinal Plants and Natural Products
Published by the American Society of Health Systems: Bethesda, Maryland, 1999


Artist: Celene Hawkins


Aggregate (2003)

8" x 24" x 1.5"
Wood, Rives BFK and leather.

Artist's Statement

I chose my source text for this project by researching a plant I have been using extensively in my recent sculptural work. Having always believed that the best books have pictures, I chose the text that had the most satisfying physical qualities. My own book, Aggregate, is a revised pictorial description and narrative of the teasel plant. In considering systems of classification and representation of botanical specimens, I found myself using computer enhanced imagery as well as significant handwork. This book is an acknowledgment of the beauty of both new and old modes of description.

Lloyd Text

The Vegetable System of the Internal Structure and the Life of Herbs. John Hill
Printed for the author London, 1765-1775


Artists: Diana Duncan Holmes and Timothy Riordan


Monkey Business: A Revised Text (2003)

17"x 10"x 10"
1700+ pages from used hardbound copies of the Bible and Origin, layered and worked into a ball.

Artists' Statement

What two texts over the years have involved more contro-versy, so that one can hardly be discussed without the other? Seeing Darwin's 1859 publication on our first visit to the Lloyd Library, and having worked as professional educators and artists for 30 years, brought us to this artists' book.

Monkey Business: A Revised Text combines two disparate world views rolled into one. An 'intelligent design' for creationists and evolutionists to toss back and forth. All 1700+ pages from The Holy Bible and from Darwin's Origin of Species are buried or layered within this bookball.

Lloyd Text

The Holy Bible translated out of The Original Tongues American Bible Society, 1868
Origin of Species by Charles Darwin
Published by John Murray, Albemarle St.: London, 1859


Artist: Kate Kern


See (2003)

5 x 7 x 4" (approx)
Ink and typewritten text on paper, book cloth over rag board, binder's rings.

Artist's Statement

In his journals Thoreau describes in detail the plants, animals, landscape, weather, that surround him. He did not journey to faraway places and report on exotic creatures and customs. He walked out his back door and wrote down what he saw and what he heard. He did this as a matter of habit over many years. I am inspired by his insistence on the importance and beauty of his own surroundings. I am also a journal keeper.

I selected statements from a segment of the journals (1858) for my text. Statements containing the word see (See, I see, we see) are arranged in one volume. Statements containing the word hear (Hear, I hear, we hear) are arranged in the other volume. These artists' books are intended to be part of a larger installation.

Lloyd Text

The Journals of Henry David Thoreau
Dover Publications: New York, 1962


Artist: Rebecca Morton


All in Her Head (2003)

13" x 12" x 11"
10 chapbooks - intaglio printing with chine colle in a papier mache head case.

Artist's Statement

I have long been fascinated with the claims and categories of phrenology, and I have long entertained the notion of building a "head case" in which to house them. It would be easy to approach this tome - a 1,300-page doorstop claiming to unlock all mysteries of the mind - with armloads of irony. The more I examine this book, though, the more I sympathize with its endeavor to understand the complexities of human experience. It is thus important to me that my approach be both wry and respectful. While the Fowler is extravagant in length and scope, my book is extravagant in whimsy and detail. They are perhaps analogously ambitious and indulgent.

Lloyd Text

Creative & Sexual Science, Including Manhood, Womanhood and Mutual Interrelations. O. S. Fowler
Published by Jones Brothers and Co.: 1870


Artist: Margaret Rhein


Terrapin (2003)

2" x 3.75" x .5"
Concertina with Xerox and inkjet transfer, collage, leather cord, glass beads, turtle shell bookcase.

Artist's Statement

The detailed images of Aquatic turtles from the book Illustrations of Japanese Aquatic Plants and Animals from the Lloyd Library inspired me to explore the visual aspects of the Terrapin or water turtles. For over 25 years, my business has been named Terrapin Paper Mill. The name Terrapin was chosen due to the similarities between the hand papermaking process and the Terrapin. Water is an essential element to both and they also share the attribute of longevity.

Over the years I have found or been given many turtle shells and particularly liked this one that I decided to use for the project as a bookcase. The containment and protection that the shell's original occupant previously enjoyed would now become a means of protection and storage for a book about turtles.

Lloyd Text

Illustrations of Japanese Aquatic Plants and Animals
Fisheries Society of Japan, 1931


Artist: Ellen Sheffield


Best Guess (2003)

11.5" x 36.25" open, a french door folding format with pamphlet stitched inserts, transfers and collage. Includes the poem Theory of Colors by Christopher Cessac.

Artist's Statement

I am interested in the ways the "eye and brain run ahead of the evidence, making the most of inadequate information..." What color is the sky, the universe? "Each instant of sky incalculable blues emerge, infinite color versus no more than dozens of words for blue - all of them wrong." Though both are dreamers the poet sees what the scientist cannot.

Despite the weight of the massive chronology of information compiled for centuries by scientists, from the 2nd century A.D. astronomer Ptolemy, who catalogued the mathematical positions of the stars, to the 21st century Johns Hopkins University astronomers who measured the wavelengths of light in the universe to determine its color, many scientific conclusions are simply a 'best guess."

Lloyd Text

Ptolemy's Catalogue of the Stars: A Revision of the Almagest
Christian Heinrich Fredrich Peters and Edward Ball Knobel
Author: Ptolemy, 2nd Century
Published by The Carnegie Institution: Washington D.C., 1915


Artist: Diane Stemper


Dust Gardens or Unique Habitations of Monera (2003)

19" x 28" open. Pamphlet stitch, linoleum prints on Rives BFK, digital prints.

Artist's Statement

My interest in the micro world of dust and bacteria has been brewing for a long time, spurred by my own life with children and household duties. Household Bacteriology, a text book from 1907 for women preparing for domestic service, is thorough in its description of proper cleaning techniques. The author instructs her students to raise dust gardens and thus bacteria in petri dishes. Surely by doing this, her students would better understand the imperative nature of cleaning. I found the phrase 'dust garden' amusing and enjoyed the thought of inverting S. Maria Elliot's intention and never cleaning again. Dust Gardens highlights varied bacterial bouquets and the preferred household habitat in which to grow them.

Lloyd Text

Household Bacteriology
S. Maria Elliot
Published by American School of Home Economics
Chicago, 1907


Artist: Carolyn Whitesel


Hemerocallis (2003)

11.25" x 15" x 1"
Coptic style binding with exposed spine stitching, cardboard covers wrapped in hand stamped papers.

Artist's Statement

The book I created for the exhibit was inspired by Edward Hulme's beautiful, oversized volume on creating ornament from plants. I kept some elements of this book in my own work, notably the large format, blank spaces, botanical renderings, eclectic text and emphasis on formal pattern. To begin, I selected a single genus, Hemerocallis, (daylily) and did a bit of background research to create the written text. Next, I made detailed plant studies in a very traditional, botanical style. Using what I learned from this process, I began to "play" with the forms and colors of the daylily. This project was very satisfying as it allowed me to combine a wide range of visual arts skills with my more scientific interests in botany and horticulture.

Lloyd Text

Plants: Their Natural Growth and Ornamental Treatment. F. Edward Hulme
Published by Marcus Ward & Co.: London, 1874


Artist: Karen Wirth


Questions on Empty Space (2003)

Series of 5 pamphlet stitched chap books, each 10.5" x 6.5" closed.
Color inkjet printed with archival inks on Lana Royal Bright White and Rives Heavyweight cotton papers.

Artist's Statement

Von Guericke's book is a 17th century science treatise that poses questions about the sky and infinity, about the edge of the universe and empty space, about knowing and believing. Although he proves his theories through science experiments, the author investigates them through both scientific/observational questions and theological/philosophical ones. I am intrigued by the ephemeral nature of these issues. There is a power to these texts that float between earth and sky. Despite centuries of advancement in scientific thought, many of these questions remain: What is the absence of space? How can space be perceived? What is imaginary space? Each chap book takes on one of these questions, pairing photographs of the earth and clouds shot from aerial viewpoints with Von Guericke's texts.

Lloyd Text

The New (so-called) Magdeburg Experiments of Otto von Guericke. Otto von Guericke;
translation and preface by Margaret Glover Foley Ames
reprint Kluwer Academic Publishers, 1994


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