The Stanford University Libraries' Department of Special Collections presents an exhibition of artists' books featuring monoprints, etchings, and monotypes by Joseph Goldyne. Studies and proofs from Goldyne's archive, a recent gift to the Stanford University Libraries, document the processes by which the images were created. Joseph Goldyne: Books, Prints & Proofs will open Monday, September 21, 2015 in the Peterson Gallery and Munger Rotunda on the second floor of the Bing Wing of Green Library, Stanford University. The exhibition is free and open to the public.

Born in Chicago in 1942, Goldyne earned an AB in art history from UC-Berkeley and an MD from UCSF before attending graduate school in fine arts at Harvard. A scholar as well as a practicing artist, he has written extensively about art and art collecting, and exhibited widely. His work is in numerous public art collections, including The Art Institute of Chicago, Museum of Fine Arts, Boston, Fine Arts Museums of San Francisco, and Victoria and Albert Museum, London.

Goldyne is devoted to printmaking on a small scale and to making unique images that combine painting, drawing, and printing techniques. A deep knowledge of art history, skilled rendering, imagination inspired by literary themes, and playful wit characterize the works on display, which span four decades of Goldyne's work in book and portfolio formats. Several of the books are collaborative efforts with notable designers, printers, and binders. Also included are numerous prints and unique books produced in collaboration with Master Calligrapher Thomas Ingmire.

The earliest work on display, the unique volume Women 9 (1976), is also the first of his collaborations with Ingmire. Nine monotypes pay homage to well-known paintings of women by artists who include Rembrandt van Rijn, Édouard Vuillard, and Pablo Picasso, and range from the contemplative to the surreal.

Another early work, Ten Firsts (1978), takes an ironic view of current artistic innovation. Goldyne assigned a pretentious, witty title proclaiming a "first" in some trifling, albeit unique, combination of subjects to each of the ten aquatints in the portfolio.

For Diary of a Young Girl (Het Achterhuis) (1985), a fortieth-anniversary publication of Anne Frank's diary issued in a limited edition by Pennyroyal Press, Goldyne traveled with his eleven-year-old daughter to Amsterdam to study the settings for the images. Ten etchings in a tall narrow format that conveys the confinement of the house as well as the literal point of view of its occupants accompany Frank's text.

Quartet (1986), published by Pacific Editions and designed and printed at Arif Press in Berkeley, features five monotypes by Goldyne and four essays by physician and essayist Dr. Lewis Thomas. Various state proofs of the images are on display along with a video created by Goldyne and Kay Bradner, who did the proofing of the prints, to instruct editioning printer Robert Townsend in the inking methods used to achieve the desired results.

Three of the artists' books on display represent Goldyne's recurrent collaborations with designer/printer Peter Koch, Berkeley, whose archive is also in Stanford's Special Collections. Five Ripe Pears (1996), a limited edition of the bittersweet children's story by William Saroyan, incorporates ten intaglio prints by Goldyne. Oda a la Tipografía | Ode to Typography (1998) by Pablo Neruda, translated by Stephen Kessler, is typeset in Spanish and English on facing pages and sequenced with six small-format aquatints.

Ink will still be wet on Hard High-Country Poems (2015) by Michelangelo Buonarotti Simoni, selected and translated into English by renowned Canadian author and translator Robert Bringhurst. The book includes a drypoint portrait of Michelangelo by Goldyne and is printed letterpress on vintage paper from hand-set Vicenza & Arrighi type formerly in the collection of Adrian Wilson at The Press in Tuscany Alley, San Francisco. It is issued with a companion volume about the type, The Typographic Legacy of Ludovico degli Arrighi.

Exhibition Catalogue
In conjunction with the exhibition, Joseph Goldyne: Catalogue Raisonné of Books, Portfolios, and Calligraphic Sheets, forthcoming in October, includes an essay by Robert Bringhurst and contributions by several of Goldyne's collaborators, among them designer/printer Peter R. Koch; Master Printers Robert Townsend and Kay Bradner, and Master Calligrapher Thomas Ingmire. http://library.stanford.edu/depts/spc/pubs/index.html

Access
Exhibit cases are illuminated daily from 10 a.m. to 6 p.m. The gallery is accessible whenever Green Library is open; hours vary with the academic schedule.To confirm library hours, call 650-723-0931 or go to http://library.stanford.edu/libraries_collections/hours_locations.htmlFor a map of campus and transportation information, go to http://www.stanford.edu/dept/visitorinfo/plan/maps.html

Note
The exhibition is free and open to the public; first-time visitors and those without Stanford ID must register at the entrance to Green Library before entering the building.

A new exhibition in Stanford’s Green Library, curated by Stanford Ph.D. candidate in history Mackenzie Cooley with contributions by undergraduate students in her fall, 2014 course, “History/Femgen 29S: The Animal Other: Humans and Animals in Western History,” explores the interdependence between humans and animals through the lens of book culture. The exhibition of rare books and manuscripts from the Stanford University Libraries' Special Collections will be on display in the Peterson Gallery and Munger Rotunda, Green Library Bing Wing, April 6 through August 22, 2015.

Presented thematically in historical perspective, the exhibit considers diverse aspects of humans’ recorded encounters with and thinking about animals. Among the topics explored and illustrated are monsters of the deep as depicted in sixteenth-century maps; medieval bestiaries and Christian theology, natural history in the ancient, medieval, and early modern periods; animals in the New World; horsepower and equine training; bullfighting, masculinity and the culture of hunting; animals as metaphor in the fables of Aesop; Descartes and the “beast-machine;” ethics of consumption of animal flesh; and animals in children’s literature.

The exhibition draws out changes in the nature of animal-human relationships as Western society shifted from domesticity into a post-domestic world, and shows how human knowledge was written onto animals, literally and metaphorically. While medieval manuscripts recorded knowledge on parchment, animals metaphorically functioned as “the other” — the non-person, against which the characteristics of personhood and humanity were defined. Through natural histories, philosophers grappled with the diversity of the natural world, questioning and reaffirming what (if anything) made human beings special within it. By collecting and analyzing animal bodies, humans have continued to define their purpose and uniqueness within the world.

Notes Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University, “The exhibition invites you to think about the long history of beasts in books from antiquity to the present day. It explores the wealth of rare materials in Stanford University Libraries related to this subject, selecting some of the most interesting items that permit us to trace this theme between history, science, fiction, graphic illustration, and lived experience. There will always be beasts in books. How and why animals haunt our imagination and challenge our understanding of our world – and our place within it in relation to them – lies at the heart of this delightful and thought-provoking exhibit.”

Viewing hours are Monday through Sunday from 10 a.m. to 6 p.m. Green Library closures vary with the academic schedule. To confirm library hours, call 650-723-0931 or go to http://library.stanford.edu/libraries_collections/hours_locations.html

NOTE: Visitors without Stanford ID must register with a government-issued ID at the entrance to Green Library before entering the building.

For a map of campus and transportation information, go to www.stanford.edu/home/visitors/maps.html

Photographs of key moments in American civil rights history and farm worker organizing of the 1960s and 1970s by Watsonville, California photographer Bob Fitch are on exhibit in the Peterson Gallery and Munger Rotunda of Stanford's Green Library from September 30, 2014 through March 18, 2015. The exhibition, Movements for Change: The Bob Fitch Photography Archive at Stanford Libraries, marks the Libraries' acquisition of the Fitch archive of close to 275,000 images for use by students and scholars, and celebrates the people whose lives and work Fitch documented.

In 1965, Bob Fitch was an Anglo seminary student at the Pacific School of Religion in Berkeley, California when he read James Baldwin's The Fire Next Time as a class assignment. The experience moved him to pursue work as an activist rather than to minister from the pulpit. He purchased used professional camera equipment and began to photograph, working first with Glide Church in San Francisco and then as a volunteer for the Southern Christian Leadership Conference (SCLC) in Atlanta from 1965 to 1968. In the South he worked closely with Dr. Martin Luther King Jr. and others, documenting civil rights activities and serving as a wire service-“from camera click to stamp lick”- for the African American press, which could not risk sending their own correspondents into the field. Along the way, he deepened his commitment to social justice activism and his appreciation of the people who make up movements for change. 

He continued to photograph for the next fifty years, documenting the work of Cesar Chavez and the United Farm Workers, Dorothy Day and the Catholic Worker Movement, the Vietnam War draft resistance movement, and Ron Dellums's first congressional campaign, among many other social justice-related subjects. Most recently, Fitch photographed Luis Alejo's 2010 campaign for California State Assembly.

Iconic Fitch photographs from the mid-1960s through the mid-1970s are displayed in Movements for Change: The Bob Fitch Photography Archive at Stanford Libraries. The exhibit offers a window into the work of a lifelong photographer who views himself as “an organizer who uses a camera to tell the story of the work.” Some of the images, such as that of Martin Luther King Jr. in his office (used as a basis for the King memorial in Washington, DC), of Coretta Scott King comforting daughter Bernice on her lap at her husband's funeral, and of Dorothy Day passively resisting armed police from a folding stool, will be familiar to many. Other lesser known images, of African American voter education and registration efforts, marchers and hecklers along the route of the Mississippi Meredith March, the King family in the days immediately following King's assassination, United Farm Workers organizing, the Vietnam War draft resistance movement may alternately surprise and move those who view them.

Viewing hours are Monday through Sunday from 10 a.m. to 6 p.m. Green Library closures vary with the academic schedule. To confirm library hours, call 650-723-0931 or go to http://library.stanford.edu/libraries_collections/hours_locations.html

For a map of campus and transportation information, go to www.stanford.edu/home/visitors/maps.html

NOTE: Visitors without Stanford ID must register with a government-issued ID at the entrance to Green Library before entering the building.

The Circle of the Sun: Secular Medieval and Early Modern Manuscripts

For a map of campus and transportation information, go to http://www.stanford.edu/dept/visitorinfo/plan/maps.html

NOTE: The exhibition is free and open to the public; first-time visitors and those without Stanford ID must register at the entrance to Green Library before entering the building.