Room A: OBJECTS
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Room B: LOCATIONS
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Conceptualising the Haptic: The Artists’ Book in the Expanded Field (Emma Bolland, Yorks.)
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‘For the Bibliographers of UCL’: A Humument and the Lessons it Teaches Twenty-first Century Librarians (Anne Welsh, University College London)
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The Haptic Book (Jane Cradock-Watson, UCA Farnham)
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Paper Cuts: Tree of Codes and the Art of the Book (Brianne Bilsky, US Military Academy, West Point)
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Reading the Book as an Object (Egidija Čiricaitė, Collective Investigations)
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Making the Book to Discover its Subject (Ken Botnick, Washington University)
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Room A: JOURNEYS
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Room B: CURATION
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Translating Travels (Imi Maufe, independent artist, Norfolk, UK / Norway)
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The Great Book of Ireland: Leabhar Mór na hÉireann (Crónán Ó Doibhlin, University of Cork)
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‘Between Page and Screen’: More than a Love Story (Denis Moser, University of Alaska)
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Making Booxs: iSchool Students De/Construct the Book (Greta Golick, University of Toronto)
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On Innards/Publication. Outside-inside-out: A Collaborative Journey (Amanda Couch, Mindy Lee, Richard Nash)
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Room A: PLACES
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Room B: INTERTEXTS
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A Sense of Humour, a Sense of Cardiff, like: Geoautomusicalbiography in the Books of Hazard Press (Jeremy Dixon, Hazard Press)
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The Secret Life of Pop-Up Books (Jay Young, Cardiff School of Art and Design)
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The Gardens/Edinburgh and La Géométrie Pratique (Jane Hyslop, Edinburgh College of Art)
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A New Story Book: The Comic as Artists’ Book (Rosie Sherwood)
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Thirty Years of the Red Hen Press (Shirley Jones, Red Hen Press)
The Duration of the Page (Jim Butler, Cambridge School of Art)
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The Potentials and Limitations of the Screen Printed Book (Otto Dettmer, Bath)
Book Art and the Representation and Containment of Original Sources (Robert Barnet Riter, University of Alabama)
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Room A: USA / CANADA
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Room B: MATERIALITIES
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Scenarios of the Revolution: Inventory Books as Sites of Countercultural Representation (Leah Henrickson (University of London)
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Wastepaper Masterpieces: Dust Jacket Design at the Hogarth Press (Jenny Lelkes (London College of Fashion)
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Barbarians on the West Coast: An Examination of British Columbia’s Barbarian Press (John Shoesmith, University of Toronto)
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Conversations in Colour and Ink: Printing and Painting at the Hogarth Press and the Omega Workshops (Amber Jenkins, Cardiff University)
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Colour in the Frame: Barbara Caruso’s Seripress (Amanda Bernstein, University of Sheffield)
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On the Indisciplinarity of the Artist’s Book: Lygia Pape’s and Ferreira Gullar’s ‘Book Poems’ (Rebecca Kosick, University of Bristol)
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Room A: INTERMEDIAL
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Room B: TECHNIQUES
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Paper, Ink, Pixel and Screen (Danny Aldred, UCA Farnham)
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Reading Between the Lines: Investigating Letterpress Printed Artists’ Book Today (Angie Butler, University of the West of England)
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A Closed System: Designing a Binding for the Ark First Edition (Megan Adie, Aviary Press)
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Nineteenth Century British Wood Engraving: Its Commercial Decline (Janice Conway, University for the Creative Arts)
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Hoard: An Artists’ Book from Concept to Production (Angela Tait and Ian Clegg, ATIC studios)
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The Artist’s Book as a Vehicle for Knowledge (Stephanie Black, Plymouth University/Camberwell College of Art)
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