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Glenview, IL: Karen Hanmer, 2002. Paperback. Open Edition. This book was created for the 2002 exhibition BEAUT.E(CODE). It documents interviews conducted with computer software developers to explore the aesthetic values in, and their fond feelings for, computer programming. Artist Statement: "I am a visual artist. My husband is a software engineer. For years I have listened to his conversations with colleagues about hardware and software, what is good or pleasing and what is not and why, what they find new and exciting or classic and exciting. I am able to sense, but am unable to experience the excitement they feel. I wanted to find a point of entry into this world, and find a way to convey their excitement to other non-technical people. I gathered information by conducting group interviews with and sending questionnaires to computer professionals to explore aesthetic values in the art of computer programming and how they are similar to (or different from) aesthetic values in art. Or more plainly, “what excites these guys?” Three elements are combined to create the pieces in this show: quotes from the interviews which I thought best or most colorfully expressed these aesthetic values, representations of artifacts I remember fondly from my college days working in the machine room of the university’s computer center circa 1980, and my simplistic understanding of the basic inner workings of a computer." A collection of scantron forms with text keypunched onto the cards and "bound" with a custom printed rubber band reading "it is a living thing." Size: 3.25 x 7.25 x 5 inches. Fine.
Glenview, IL: Karen Hanmer, 2002. Softcover. Limited to 100 copies. A miniature flip book of black and white photos of corn fields. The book simulates the experience of driving past a field of corn. The corn photos are pigment inkjet prints. Measures 2 x 3.5 x .5 inches. Fine condition. PRI/062618. Fine.
Glenview, IL: 1998. Hardcover. 3 of 20 copies. Signed and numbered by the artist. A collection of quotes and photographs of three generations of men reminisceing about hunting and fishing trips. Bound accordion style with marbled paper covered boards. Measures 6 inches by 30 inches by 3 inches when fully extended. Housed in an archival paper case with the artists' contact information and edition number on the front panel. Unpaginated. [10 pages.] ARTB/060111. Fine.
Glenview, IL: Karen Hanmer, 2018. Number 21 of 30 copies. In this small but powerful work, Karen Hanmer offers a scathing look at what has been happening in the United States since January 2017. From Access Hollywood through the Mueller investigation to white nationalist support, #Great Again #Believe Me documents contemporary American personalities, pronouncements, slogans, scandals, policies and crimes, complemented by the metaphor of a deconstructing US Capitol. The text is printed in inkjet on binders' board with polypropylene and juxtaposed with black and white photos of the US Capitol as it was constructed, but shown in reverse order to seemingly deconstruct. The book is bound in the Jacob’s Ladder artists’ book structure, which is borrowed from a folk toy traditionally made of blocks of wood held together with ribbons. The structure is held from one end and allowed to dangle vertically. When the block being held is tilted, the remaining blocks flip over in succession, producing a cascading visual effect. Housed in clamshell of archival board. In fine condition. 21.5 x 2.5 x .125 inches extended; 3.5 x 2.5 x .75 inches closed. PRI/112818.
Glenview, IL: Karen Hanmer, 2011. Hardcover. Number 17 of 30 (numbered on case). Vellum spine titled in gilt with illustrated paper covered boards. The cover illustration varies. This book features a full color reproduction of a painting that hung over the book artist's sofa when she was a child. The painting depicts a view of the island of Capri overlooking the Gulf of Naples. Hanmer has divided the painting into eight equal portions, each of which reads as a horizon and may also function as a metaphor for memory and the unanswered questions that elude memory. "With her latest project, Karen Hanmer has created an archetype of all the family oil paintings that hung above the couches of our childhood. Not a drop of irony stains the languid shorelines and gauzy, cloud-flecked skies that fill the pages of this inviting book. Hanmer instead chooses to treat her subject with a candid reverence that raises intriguing questions about how we assign value to the objects that circumscribe our lives and how memory impacts that process" (Vera Scekic, Chicago painter and curator). Housed in an archival paper case with the edition number and artist's contact information stamped on the front panel. Measures 5.5 x 8 x 5 inches. Unpaginated [16 pages.] ARTB/121415.
Glenview, IL: Karen Hanmer, 2009. Softcover. Limited to 100 copies. Signed and numbered by the book artist. In this flip book an image of the White House deconstructs to represent blunders and evil-doings since the 2001 inauguration. Created with pigment inkjet prints. The illustration was done in collaboration with Henry Maron. In fine condition. Measures 2.5 x .5 x .75 inches. PRI/070618. Fine.
Glenview, IL: Karen Hanmer, 2004. Number 20 or 20 copies, signed and numbered by the book artist. Karen's artist-made books are physical manifestations of personal essays intertwining history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. This is the last unsold copy of this thoughtful and nostalgic book by Karen. She uses the text of a young Navy wife’s letter written from Europe in the 1950s to her family on the farm along with her alternate personal thoughts. The book uses the flag book structure to juxtapose these texts with sections of an old photograph of her Midwestern relatives. This structure offers an effective medium for creating a visual as well as a textual experience. The full photograph of the family is revealed when the book is fully opened. The photograph and text were created using pigment inkjet prints. The covers reproduce a black and white photo of the young Navy wife with an Italian city view behind her. The back of the book opens in accordion style and shows another black and white photo from Italy. Book is 4.5 x 9 inches closed and 8 x 19 inches when fully open. Housed in an archival stiff paper storage box with Velcro closures. In fine condition. Fine.
Glenview, IL: 2009. Hardcover. Number 28 of 100, each unique. A photographic, conceptual documentation of a journey across a rural Midwestern landscape. Winner of the award for best 3D entry in the 2010 Midwestern Biennial exhibition at the Rockford Art Museum (Rockford, IL). "Mirage beautifully represents the concepts of time and motion through a sequence of dreamlike images that whirl across the pages. The photographs, blurred as if taken from a speeding car, describe place and memory in a manner that is melancholic yet detached. The book is a diary of sorts, documenting the quickly passing and often unperceived moments that later prompt recollection. " Jeff Rathermel, Minnesota Center for Book Arts. A drum leaf binding with dark brown cloth spine and illustrated paper covered boards. Titled in brown on the spine. Pigment inkjet printed. Full edges brown. Housed in an archival paper case with the artist's contact information and edition number on the front panel. Unpaginated. [16 pages.] ARTB/060111. Fine.
Glenview, IL: Karen Hanmer, 2010. Hardcover. Number 21 of 30 copies. Signed and numbered by the book artist. This book was one of six winners of the “Building by the Book” competition sponsored by the Philadelphia Athenaeum and Philadelphia Center for the Book. This work by noted book artist Karen Hanmer is based on Samuel Sloan's 1852 collection of house plans and instructions to contractors titled The Model Architect. Hanmer juxtaposes Sloan's historical text and illustrations with modern text from the U.S. Department of Housing and Urban Development's online "Guide to Avoiding Foreclosure." The artist provides commentary in the colophon reflecting on the effects of the 2008 financial collapse in her own neighborhood. She states: "Samuel Sloan's The Model Architect was published at the mid point of a century marked by cycles of rampant speculation followed by financial collapse. The Panic of 1857 came on the heels of publication of Sloan's work, and put a halt to the most active portion of his career. This milieu mirrors what has happened in my own neighborhood of modest homes over the past fifteen years. The transformation began with some owners remodeling their kitchen, or adding a family room or bedroom. Then larger additions came. Ultimately, the houses commanded high prices to be sold as teardowns. Huge new houses were built in their places. The construction proceeded with increasingly grandiose features; portions of the facade faced with thin sheets of stone, wooden garage doors with cast iron-like fittings, decorative copper accents on the roofs, turrets, lions flanking the brick driveways. Now the house across the street, the house next door, and the house next door to that are all in foreclosure, and soon will be uninhabitable. The lawns grow without interruption. Without electricity and heat the basements fill with water, the pipes burst, the mechanicals are destroyed. Few modest, affordable homes remain in the neighborhood." Bound in marbled paper covered boards with black leather spine and red leather title label, titled and ruled in gilt. Bound using the modern drum leaf structure but replicating the look of a 19th century book. Housed in an archival paper case with the edition number and artist's contact information stamped on the front panel. Measures 14 x 11 x .5 inches. 48 pages. ARTB/121212. Fine.
Glenview, IL: Karen Hanmer, 2010. Hardcover. Number 21 of 25 copies in the Deluxe Edition. The edition consists of 125 copies of which 25 are deluxe, 50 are standard, and 50 are printed as chapbooks. Noted book artist Karen Hanmer examines the writings of Edgar Allan Poe and compares modern events to his stories. She examines Poe's "The Premature Burial" and compares nineteenth century fears of being buried alive to modern day people being buried in dept and unemployment. Perhaps most relevant to current events (even though Hanmer wrote this in 2010) is her examination of Poe's "The Masque of the Red Death" in which the plague is an "uninvited guest" at a masquerade within the suppossedly impregnable castle walls. In reflection on Poe's story, Hanmer writes: "In the new century, Americans have had the opportunity to realize that we are not as invulnerable as it is comforting to believe. Very bad things do happen here. We find ourselves unprepared for the events and with no plan for recovery in the aftermath."“The physical structure, typography, and design for the paper wrapper ... are based on the first edition of Poe’s first published work, Tamerlane and Other Poems. Only twelve copies of this modest pamphlet are known to exist of the fifty printed in Boston in 1827” (Hanmer). This copy is presented in an early 19th century boarded binding based upon a technique taught by Jeff Peachey. Bound in marbled paper covered boards with beige paper spine and title label to the front board. The paper was marbled by Pamela Smith. Inkjet printed on Ruscombe Mill pale wove handmade paper. Housed in an archival folding case with a replica of the Tamerlane title page pasted to the front cover. The case has a Velcro closure. In fine condition. 36 pages. ARTB/011516. Fine.
Glenview, IL: 2008. Hardcover. 1 of 100 copies. Each page depicts the outline of a couple from a romance novel cover. The translucent paper allows the images to interact and form new combinations. According to Sarah Bodman of the University of West England "That shameful temptress Karen Hanmer has really done it this time! Under that tantalizing red cover is a heady series of swooning ladies and masterful men. In a whirlwind of passion, dozens of romance novels have been condensed into one steamy artist’s book of multiple outlines emerging through transparent papers." Fine in red velvet covered boards with gilt title to front cover. The interior is laser printed on vellum paper. Unpaginated [16 pages]. ARTB/060111. Fine.
Glenview, IL: Karen Hanmer, 2004. Hardcover. Number 19 of 30 copies. Signed and numbered by the book artist. Features photographs, archival documents, and text pertaining to the Wright Brothers' experimentation to develop the first manned, powered flight. Bound using the flag book structure with illustrated paper covered boards. This book was created for Turning Pages: A Collection of Artists' Books shown in The Living Room, the family installation space at the Wichita Art Museum. Housed in an archival paper case with the edition number and artist's contact information stamped on the front panel. Measures 7 x 26 x 5 inches open and 7 x 5 x 3 ¾ inches closed. Unpaginated. [16 pages.] ARTB/032417. Fine.
Glenview, IL: Karen Hanmer, 2008. Hardcover. Number 17 of 30 copies. At once vast and minimal, sparse and rich, the night sky has always been a canvas upon which people project their myths and dreams. Star Poems presents quotes that document response to the night sky across the ages by philosophers, artists, and poets from Plato and Byron to contemporary writers, scientists and astronauts. This text is paired with 17th century mythological images of constellation forms and images of early star gazers on a background of a NASA photograph of the Milky Way. The book can be held in the hand and read page by page like a traditional book, can be removed from its jacket and unfolded flat to reference historical astronomical charts or contemporary NASA composite photos, or can be folded into an infinite variety of sculptural shapes. Measures: 6.75x5.75x.75" closed, 17.5x 23" open. Housed in a blue cardstock box with velcro closure. Fine.
Glenview, IL: 2002. Hardcover. Number 8 of 20 copies. “Chicago binder, book and installation artist Karen Hanmer’s intimate, playful works fragment and layer text and image to intertwine memory, cultural history, and the history of science. Her work weds the ancient act of book binding with the high tech use of the computer to aid her process. The intimate scale and the gestures of exploration required to travel through each piece evoke the experience of looking through an album, a diary, or the belongings of a loved one. However, her works often take the forms of games or puzzles, and many include witty text” (Karen Hanmer). This work is a history of an immigrant farming family told through photographs. The family is depicted on both inside covers with one picture dating from the 1920s and the other from the 1960s. Connecting the pictures is a flowing field of corn, which is blurred on one side and detailed on the other. As you open the book the interlocking pages and imagery create a flowing movement that simulates the passage of time. The result is an engaging book that tells a story despite the lack of text. Housed in an archival paper case with the artist’s contact information and edition number on the front panel. In fine condition. Unpaginated. ARTB/060111. Fine.
Glenview, IL: Karen Hanmer, 2014. Hardcover. Number 9 of 100 copies. Signed by the author. This book was inspired by a call for entries by the Guild of Book Workers with the theme of "vessel." Karen describes the text of her response as 60% memory and 40% casually researched, mostly on Wikipedia. Karen's book focuses on the iconic containers and conveyances of her childhood and adolescence between roughly 1962-1979. She juxtapositions her text with photographs of such "vessels" as the Chevy Nova, Crock-Pot, Electric Frying Pan, Mood Ring, Frye Boots, the 747, and more. Her words are often amusing, but they also offer astute observations on her family and our society during the period covered. This is the deluxe edition with marbled paper covers by Pamela Smith. Digitally printed and housed in a purple paper covered slip case. Digitally printed. In fine condition. 5 x 7 inches. Unpaginated [26 pages] PRI/121415. Fine.
Glenview, IL: Karen Hanmer, 2011. Hardcover. Chicago binder, book, and installation artist Karen Hanmer’s intimate, playful works fragment and layer text and image to intertwine memory, cultural history, and the history of science. Her work weds the ancient art of book binding with the high tech use of the computer to aid her process. The intimate scale and the gestures of exploration required to travel through each piece evoke the experience of looking through an album, a diary, or the belongings of a loved one. However, her works often take the forms of games or puzzles, and many include witty text. Number 2 of 3 copies. A sculptural book featuring text from Jane Austen’s archetypal romance, Pride and Prejudice, with heart shaped cut outs to reveal illustrations clipped from the covers of modern day romance novels. This book can be displayed in a star format using two included cloth clips or as an accordion. According to the book artist: The “background pattern references Regency era roller-printed textiles. This piece was created from a minimum quantity of recycled and already-purchased materials and with limited use of electricity for Sustainable Book and Paper Arts, a 2011 exhibition curated by Shawn Sheehy and Melissa Jay Craig.” Inkjet printed with found images. It is housed in an archival grey folding case with artist’s contact information stamped to front panel. Size: 6.75 x 4.25 x 3 inches, closed; 6.75 x 8.5 x 8.5 inches, open. Fine. Fine.