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I can remember a book art show at Otis in the early 80s when I was a stu-dent
that had a big table covered with books that could be handled. I went
back over and over looking at every piece, soaking it in. The work that
resonated most was, like Susan’s
[King], beautifully made.36
" Chamlee’s response to
the craft literacy to which
Frances Butler referred in her
catalogue essay would have a
powerful impact on her subse-quent
work as a fine press
printer and artist in books like
My Partial Tongue (Martha
Ronk, poet, 2011). About her
work, Chamlee says,
I was deeply influenced by Susan
King. My early work emulated
her work at that time with per-sonal
stories drawn from my ex-perience,
strong graphic design,
good printing and craft. I aspire
to that level to this day. Bruce
Schnabel [aka Simon Toparovsky] was a talented fine binder who instilled
in me a strong commitment to careful craft and skill.37
" Chamlee had no direct connection with the Woman’s Build-ing
but, “ . . . I was taught by those who were. I’m kind of like a
child of the Women’s [sic] Building.”38 In addition to her classes
with King, Chamlee studied graphic design with de Bretteville dur-ing
her undergraduate years. She studied typography with Jenni-fer
Egger, an Otis alumna who worked in de Bretteville’s studio.
Her first letterpress class was with Woman’s Building alumna Lau-rel
Beckman. Chamlee didn’t
study directly with Cynthia
Marsh, but they did do pro-jects
together while Marsh
was chairing Graphic Commu-nications,
including a set of
three limited edition books by
the poet Amy Gerstler that
they produced as a fundraiser
for student scholarships.39
" After waiting for well over a
decade, Chamlee finally was
allowed to teach book art at
Otis in 2007; her courses, in-cluding
beginning and ad-vanced
letterpress, support a
new book arts minor. Cham-lee
teaches these classes in
Lab Press, the physical mani-festation
of de Bretteville’s leg-acy;
it is currently managed by Linda Dare.
Joan Hugo redux
In 1998 Umbrella Editions issued an anthology of the periodical’s
first 20 years. Hoffberg’s opening statement re-states the mission
from the original editorial. She also writes,
23
Object Description
Description
| Title | Page 24 |
| Full Text of PDF | I can remember a book art show at Otis in the early 80s when I was a stu-dent that had a big table covered with books that could be handled. I went back over and over looking at every piece, soaking it in. The work that resonated most was, like Susan’s [King], beautifully made.36 " Chamlee’s response to the craft literacy to which Frances Butler referred in her catalogue essay would have a powerful impact on her subse-quent work as a fine press printer and artist in books like My Partial Tongue (Martha Ronk, poet, 2011). About her work, Chamlee says, I was deeply influenced by Susan King. My early work emulated her work at that time with per-sonal stories drawn from my ex-perience, strong graphic design, good printing and craft. I aspire to that level to this day. Bruce Schnabel [aka Simon Toparovsky] was a talented fine binder who instilled in me a strong commitment to careful craft and skill.37 " Chamlee had no direct connection with the Woman’s Build-ing but, “ . . . I was taught by those who were. I’m kind of like a child of the Women’s [sic] Building.”38 In addition to her classes with King, Chamlee studied graphic design with de Bretteville dur-ing her undergraduate years. She studied typography with Jenni-fer Egger, an Otis alumna who worked in de Bretteville’s studio. Her first letterpress class was with Woman’s Building alumna Lau-rel Beckman. Chamlee didn’t study directly with Cynthia Marsh, but they did do pro-jects together while Marsh was chairing Graphic Commu-nications, including a set of three limited edition books by the poet Amy Gerstler that they produced as a fundraiser for student scholarships.39 " After waiting for well over a decade, Chamlee finally was allowed to teach book art at Otis in 2007; her courses, in-cluding beginning and ad-vanced letterpress, support a new book arts minor. Cham-lee teaches these classes in Lab Press, the physical mani-festation of de Bretteville’s leg-acy; it is currently managed by Linda Dare. Joan Hugo redux In 1998 Umbrella Editions issued an anthology of the periodical’s first 20 years. Hoffberg’s opening statement re-states the mission from the original editorial. She also writes, 23 |
