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19 Umbrella, Vol, 1, No. 1, January, 1978, p. 16.
20 The college was known as Otis Art Institute at its inception in
1918. In 1978 the college merged with New York’s Parsons School
of Design, which led to the rather ungainly Otis Art Institute of Par-sons
School of Design (better known as Otis/Parsons). In 1991 the
college separated from Parsons and adopted its current name, Otis
College of Art and Design.
21 Hugo, Joan. “the last five years.” Curator’s statement, California
Bookworks exhibition catalogue, 1984 (unpaged).
22 California Bookworks exhibition catalogue, 1984.
23 Ibid. Presumably the contemporary section was made up of
books produced since the early 1980s. Hugo has made these histori-cal
connections with the artifact of the book before, notably with
the exhibition Possibilities. The passage from the catalogue is pro-duced
verbatim; the ellipsis is present in the original passage. The
word jewelled is spelled in British fashion, with two lls.
24 Ibid. It is easy to see why Hugo asked Butler to write this essay.
Butler’s numerous references to historical artifacts and concepts,
although different from Hugo’s, display a fondness for sweeping
sets of ideas that Hugo also demonstrated in her essays on artists’
books.
25 Jeff Kelley, Artforum, Summer 1984.
26 Ibid.
27 Roth, Helen. “Women’s Graphic Center,” The Dumb Ox, No. 4, p. 38.
28 Ibid.
29 Email interview with Sheila de Bretteville, November 3, 2013.
30 http://www.otis.edu/letterpress-studio
31 Email interview with Keri Schroeder and Ariel Strong, Novem-ber
7, 2013.
32 De Bretteville left Otis/Parsons in 1990 to direct the graduate
studies program in graphic design at Yale University, her alma ma-ter.
33 King, Susan and Jaime Robles, “How This Happened.” AbraCa-daBrA,
Vol. 1, No. 1, April 1, 1988.
34 A note on the back page of the first issue: “For one delirious week
we thought about printing the newsletter letterpress. We would
like to especially thank The Castle Press for coming to our rescue.”
35 One of the printers interviewed, Robin Price, told her interviewer
that her “most cherished job experience” was working for Susan
King. Los Angeles Women Letterpress Printers. Claremont, CA:
Scripps College Press, 1987 (unpaged).
36 Email interview, November 3, 2013.
37 Ibid.
38 Ibid.
39 Email interview with Cynthia Marsh, November 2, 2013.
40 Judith Hoffberg in Hoffberg, Judith A., ed. Umbrella: The Anthol-ogy.
Santa Monica, CA: Umbrella Editions, 1999, p. 9.
27
Object Description
Description
| Title | Page 28 |
| Full Text of PDF | 19 Umbrella, Vol, 1, No. 1, January, 1978, p. 16. 20 The college was known as Otis Art Institute at its inception in 1918. In 1978 the college merged with New York’s Parsons School of Design, which led to the rather ungainly Otis Art Institute of Par-sons School of Design (better known as Otis/Parsons). In 1991 the college separated from Parsons and adopted its current name, Otis College of Art and Design. 21 Hugo, Joan. “the last five years.” Curator’s statement, California Bookworks exhibition catalogue, 1984 (unpaged). 22 California Bookworks exhibition catalogue, 1984. 23 Ibid. Presumably the contemporary section was made up of books produced since the early 1980s. Hugo has made these histori-cal connections with the artifact of the book before, notably with the exhibition Possibilities. The passage from the catalogue is pro-duced verbatim; the ellipsis is present in the original passage. The word jewelled is spelled in British fashion, with two lls. 24 Ibid. It is easy to see why Hugo asked Butler to write this essay. Butler’s numerous references to historical artifacts and concepts, although different from Hugo’s, display a fondness for sweeping sets of ideas that Hugo also demonstrated in her essays on artists’ books. 25 Jeff Kelley, Artforum, Summer 1984. 26 Ibid. 27 Roth, Helen. “Women’s Graphic Center,” The Dumb Ox, No. 4, p. 38. 28 Ibid. 29 Email interview with Sheila de Bretteville, November 3, 2013. 30 http://www.otis.edu/letterpress-studio 31 Email interview with Keri Schroeder and Ariel Strong, Novem-ber 7, 2013. 32 De Bretteville left Otis/Parsons in 1990 to direct the graduate studies program in graphic design at Yale University, her alma ma-ter. 33 King, Susan and Jaime Robles, “How This Happened.” AbraCa-daBrA, Vol. 1, No. 1, April 1, 1988. 34 A note on the back page of the first issue: “For one delirious week we thought about printing the newsletter letterpress. We would like to especially thank The Castle Press for coming to our rescue.” 35 One of the printers interviewed, Robin Price, told her interviewer that her “most cherished job experience” was working for Susan King. Los Angeles Women Letterpress Printers. Claremont, CA: Scripps College Press, 1987 (unpaged). 36 Email interview, November 3, 2013. 37 Ibid. 38 Ibid. 39 Email interview with Cynthia Marsh, November 2, 2013. 40 Judith Hoffberg in Hoffberg, Judith A., ed. Umbrella: The Anthol-ogy. Santa Monica, CA: Umbrella Editions, 1999, p. 9. 27 |
