Symposium Info

Ana Paula Cordeiro makes books by hand, photographs with film, prints from lead type, and writes either sparingly or profusely on unbound folios, which she then proceeds to bind by hand into volumes. She co-organized the multimedia installation Introspective Collective and co-authored a book about bookmaking titled Bookforms. A Pollock-Krasner Foundation awardee, she was also the recipient of a Dean’s Graduate Scholarship at NYU in 2023, and in 2024 she received a Medal of Arts and Culture from the Governor of New York.

Artist books can be a solitary practice, but as the Introspective Collective manifesto states, no artist is an island. Ana thrives in the shared space, having been a part of the Center for Book Arts communal shop since 2004. She was a resident at the LMCC Arts Center in Governors Island and a research fellow at the Hispanic Society Museum and Library, which became her sponsor for a 2023 regrant by NYSCA. Originally from Bahia, Brazil, she lives in Brooklyn, New York.

This talk delineates a resistance path realized through community support over the course of three artist book editions: Lightweight, Body of Evidence, and Atlas Inverso. From an exercise in aesthetics to a manifest of defiance to a revival of indigenous languages, Ana will share how New York City and The Center for Book Arts community have provided both a nurturing shelter and an obstacle to overcome.

Lightweight elaborates upon the formidable engineering features of limp-vellum bindings. Body of Evidence, presented in the Who Is America exhibition, is a “multimedia, journalistic response to the climate of white privilege and fragility surrounding and in the aftermath of the 2016 election.”1 The third work, Atlas Inverso, explores language, colonization, and representation by inviting indigenous artists to upend European hegemony, reframing the main geographic features of Portugal and Spain with words from Mayan, Tagalog, and Tupi-Guarani ethnologies.
1. Santaus, Meredith. Pressing Issues: Voices for Justice in the Book Arts. Bromer Gallery, 2021.

Anne Covell is a book artist, edition bookbinder, and hand papermaker. She holds an MFA in Book Arts from the University of Iowa Center for the Book, where she was the recipient of an Iowa Arts Fellowship. She has taught for numerous institutions, including the Morgan Art of Papermaking Conservatory, Penland School of Craft, and the University of Georgia study abroad program in Cortona, Italy, among others. Her work can be seen in over 85 collections worldwide, including Yale University, the Library of Congress, and the British Library.

This talk will concern the critical role of art as a form of political dissent by taking an in-depth look at three of Covell’s artist’s books: The Record, In the Dark, and Palpable Mass. While The Record examines how revision and erasure marked the 45th presidential term, In the Dark critiques how an increasing power to act with impunity took hold in the intervening years. In her most recent work, Palpable Mass, Covell casts light on the first 100 days of the current administration in which a flood of executive orders strategically overwhelmed an already exhausted populace. Each work is a snapshot in time, highlighting the role of artist’s books as a vehicle for political protest, particularly when traditional paths forward have become increasingly untenable.

Yuka Petz is a visual artist and writer whose creative practice centers around language, heritage, paper, and letterforms. Yuka writes and hosts Artist’s Books Unshelved, a video series presenting in-depth analysis of artists’ books in the Bainbridge Island Museum of Art collection, and teaches youth and adult workshops around the country. Her artists’ books and prints are held in numerous special collections. She is committed to collaborative and community-oriented projects that increase the accessibility of book, print, and paper arts.

IBé Crawley is the founder and director of IBé Arts Institute at Citi Point in Hopewell, Virginia, where the Institute holds space for interns, fellows, and art residents. She is the 2024 recipient of the Virginia Preservation Award and was recognized for restoring a pre-Civil War schoolhouse where IBé Institute now resides. She was the keynote speaker for the 2024 William Mann Book Arts Lecture at Penn State; her work has been written about in the Oxford American (2025); and the British Library exhibited her artist book 11033 (2022, Women’s Studio Workshop) in the Treasures Gallery. Crawley’s artist’s books are collected in university and museum special collections, including Harvard University Library, Bainbridge Island Museum of Art, UCLA Arts Libraries, the Scripps College Denison Library, Virginia Commonwealth University Library, New York City Public Library, and more. In addition to exhibiting her handmade artist’s books and sculptural work, she teaches book arts using historic and family documents. Historic research and oral storytelling complement her work in the visual arts as she focuses on researching narratives outside the margins of history. IBé Crawley teaches workshops that are rooted in community engagement and collaborative practice. Her recent book project, Shockoe Exchange 1856, began at the Penland School of Craft and highlights the narratives of two Black Women before the Civil War.

Jocmarys Viruet Feliciano is a visual artist from Arecibo, Puerto Rico with a focus on hand papermaking and Book Arts. She holds a bachelor’s degree in Fine Arts from the University of Puerto Rico, Mayagüez Campus and a master’s degree from the University of Iowa, Center of the Book. Her first experience with handmade paper was in 2014 as an exchange student in South Korea. Jocmarys has taught several bookbinding and handmade paper workshops in Puerto Rico and in the United States at places such as Penland School of Crafts in Bakersville, North Carolina, Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee and Taller Lapaduma in Trujillo Alto, Puerto Rico. Her artist’s books are part of special collections such as University of Miami, University of Iowa, Yale University, University of Pennsylvania and Stanford University. Her most recent artistic experience was being part of a winter residency in the mountains of Penland School of Crafts in North Carolina and The Lucayan Archipelago Artist Residency at the Poinciana Paper Press studio in Nassau, The Bahamas. Her art practice focuses on her experiences as an islander. https://www.jocmarysviruetfeliciano.com

Tyler Starr combines research, direct observation, and poetic associations to create mixed media works visualizing current social and political conundrums.  He earned his Doctor of Fine Arts from Tokyo University of the Arts with the support of a Japanese Ministry of Education Scholarship.  He has a BFA from the University of Connecticut and an MFA from the University of Minnesota, Minneapolis.  His formative studies began at the Rhode Island School of Design, and he was awarded a Fulbright Scholarship to study at the Academy of Fine Arts in Krakow, Poland.  

Starr has received fellowships and residencies for his commitment to an interdisciplinary studio practice, including the 2011 Grant Wood Fellowship at the University of Iowa, the 2013 Christiania Research Residency in Denmark, a 2014 residency at OMI International Arts Center, and a 2018 Fellowship at the Kala Art Institute in Berkeley, California.  His work has been exhibited internationally including at the Bainbridge Island Museum of Art, Museum of Contemporary Art Tokyo, and Yale University’s Haas Arts Library.  His artist’s books are held in the permanent collections of university and museum collections across the U.S. including the Smithsonian American Art and Portrait Gallery Library, the New York Public Library’s Spencer Collection, and the University of Chicago’s Special Collections.  

He is currently an Associate Professor of Studio Art at Davidson College.

www.tylerstarr.com

Book Artist in collaboration with the Atelier du Livre de l’Art & de l’Estampe, Imprimerie Nationale de France

Carole Texier is a printmaker and creator of artist’s books. Self-taught, she spent more than ten years living in Germany, Russia, Great-Britain and Spain — experiences that continue to nourish her poetic and visually rich artistic practice. Deeply passionate about the artist’s book, a form that brings together everything she loves — drawing, engraving, the book as object, text, poetry, letterpress and paper — she creates works in which image and language engage in close dialogue.

She specializes in direct engraving, using burin on copper or wood and linocut, driven by a love of line and material. Her work focuses on the human being — their questions, solitude, and impulses within the crowd. In 2019, she presented a solo drawing exhibition at the Saint-Merry Church in Paris.

Carole Texier exhibits regularly in France and internationally, and has received several awards, including the Moret-Manonviller Prize (2018), the Paul-Gonnand Prize (2017), the Charbonnel Prize (2016), the Robert-Beltz Prize (2016), and the ADAGP Prize for the artist’s book (2016). Her works are held in numerous libraries in France and abroad.

Women in Printing? Yes – Everywhere, and From the Very Beginning!

Since the invention of printing, women have played an active role in the trade, contributing ideas, skills, and financial backing. Some, like the French Charlotte Guillard or the American Beatrice Warde, are relatively well known; others, such as Polish printer Helena Ungelerowa or Spanish printer Antonia Ibarra, have been largely forgotten. To highlight their contributions, book artist Carole Texier, in collaboration with the Atelier du Livre d’art of the Imprimerie nationale of France, created the project Women in Printing.

The project pays tribute to women in the printing trade across Europe and North America since the 15th century. It takes the form of four letterpress posters, printed using the historic techniques of the Imprimerie nationale, featuring around one hundred women alongside their printer’s marks.

In this talk, Carole Texier will introduce the project and showcase the diversity of these women printers, along with their graphic, social, and geographical distinctions.

Claire Illouz lives and works in Chérence, France. She makes paintings, drawings, etchings, and artist’s books, many of them in public and private collections in Europe, the Americas, and Asia. Twice awarded prizes by the French Academy of Fine Arts, she has had solo exhibitions in France at the Musée Louis Senlecq and the Musée Raymond Lafage. Her work can be seen at Galerie Sagot-Le Garrec, Paris; Withoutart Gallery, Strasbourg; and Gallery Leconteur in Orange County, California. https://cillouz.eu/

From Printmaking to Bookmaking and Back: Efforts at Slow Looking

This talk will present visual experiments carried out in the course of my practices of printmaking and bookmaking, which nourish each other. Included are reflections on (1) landscape viewing, (2) the relationship between drawing and reading, and (3) the ocean of images in which our works are often drowned.  An artist’s response to a visual and intellectual challenge of our time, the presentation will show how etchings and book art, experienced at an unhurried pace, can evoke a different kind of perception. The special attention involved in reading has influenced developments in my etchings, resulting in works that would never have existed outside the form of the artist’s book. 

Curator of Prints & Drawings at the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco

Natalia Lauricella is Curator of Prints and Drawings at the Fine Arts Museums of San Francisco. A specialist in nineteenth-century prints with a doctorate in art history from the University of Southern California, Natalia joined the Museums in 2024, coming to FAMSF from Stanford University where she was a fellow in the Department of Art and Art History. She has previously held positions at MoMA and the Guggenheim Museum in New York. She has organized several exhibitions at FAMSF, including Dress Rehearsal: The Art of Theatrical Design, Matisse’s Jazz Unbound, Printing Color: Chiaroscuro to Screenprint and Ferlinghetti for San Francisco.

This talk will explore the Reva and David Logan Collection of Illustrated Books, housed at the Achenbach Foundation for Graphic Arts, the Fine Arts Museums of San Francisco’s department of works on paper. Featuring highlights from the collection, which spans nineteenth-century French livres de peintre to experimental books by avant-garde Russian artists of the twentieth century to American conceptual books from the twenty-first century, and showcasing some recent notable projects, the talk will illustrate how the Museums incorporate art in book form into their exhibitions.