the participants
Setting up location and recruitment
Arrangements were made in advance with the special collections librarian to set aside a two-hour time slot. The archivist had selected six collections based on their content such as a scrapbook, correspondence, photographs, ephemera and artifacts and had them ready in advance for participants to study on the first day of their workshop. Because the participants would be retelling narrative using family papers, all of the collections were dated late 19th and early 20th century to avoid any privacy issues.
Day one of the workshop, participants spent the first half of the day working on altered book construction techniques in a studio and the second half of day one was spent in the library archives and special collections where participants studied the collections. Participants had permission to handle artifacts without white gloves so as not to hinder the tactile experience. If desired, participants could take photographs of any items of interest. All participants brought a pencil and notebook to write down any information they gathered for their ideas. Some participants took photographs that could later be used in their altered books. The special collections librarian was in attendance during the two-hour visit answering any questions participants had about the collections.
Day two and three of the workshop, participants formulated their ideas into narratives to incorporate into the altered books with assistance from the book arts instructor. Participants also brought in their own materials such as art papers, personal photographs, and letters to add to their books.A call for book artists was made using a list of book art student emails taken from past classes taught by Anastasia Weigle. From this list, six book artists responded with interest to participate in a 3-day workshop on altered book techniques, which included a two-and-a-half hour visit to the McArthur Library Archives and Special Collections. All six participants were college educated, professional people who have taken courses in the arts. All were female age 50+ or over, have used archival collections for both research and recreation purposes. Of the six, five had created various types of book construction. However, all participants have never constructed an altered book.
Day one of the workshop, participants spent the first half of the day working on altered book construction techniques in a studio and the second half of day one was spent in the library archives and special collections where participants studied the collections. Participants had permission to handle artifacts without white gloves so as not to hinder the tactile experience. If desired, participants could take photographs of any items of interest. All participants brought a pencil and notebook to write down any information they gathered for their ideas. Some participants took photographs that could later be used in their altered books. The special collections librarian was in attendance during the two-hour visit answering any questions participants had about the collections.
Day two and three of the workshop, participants formulated their ideas into narratives to incorporate into the altered books with assistance from the book arts instructor. Participants also brought in their own materials such as art papers, personal photographs, and letters to add to their books.A call for book artists was made using a list of book art student emails taken from past classes taught by Anastasia Weigle. From this list, six book artists responded with interest to participate in a 3-day workshop on altered book techniques, which included a two-and-a-half hour visit to the McArthur Library Archives and Special Collections. All six participants were college educated, professional people who have taken courses in the arts. All were female age 50+ or over, have used archival collections for both research and recreation purposes. Of the six, five had created various types of book construction. However, all participants have never constructed an altered book.
purpose of study
- To explore the affective nature of archival collections (genealogical collection/family papers) while generating meaningful dialogue between the archivist and the book artist.
- Explore how artists use their senses to create, communicate, and express information through the altered book.
- To identify what forms of information were used to create and express their altered books.
- To assist the book artists in finding his or her own voice between the pages.
- To expand the use of genealogical paper into the studio arts.
- Generate new narratives that may find a place in the archives.