Introducing Our Hogwarts Professors

“Yer a wizard, Harry!”
Happy birthday to Harry Potter! In Rowling’s books, July 31st, 1991 was the day that Hagrid showed up to introduce Harry to the wizarding world. It seemed like July 31st would be a fitting day to introduce you, our readers and patrons, to the professors of Hogwarts University. This is our line up of speakers for the Harry Potter’s World series, roughly in their order of appearance on the schedule. You can find the full schedule of events–including the Opening Reception and Halloween Ball!–at our site here: http://libguides.alfred.edu/harrypotter
chocolatefrogcard_johndange
 
John D’Angelo
Hogwarts House: Gryffindor
Favorite Subject: Potions
Patronus: Monkey
Potions Lecture – “What If Magic Were Real?: Modern Technology, Love Potions, Veritaserum, Elixirs of Life, Liquid Luck, and Liquid Death”
Thursday, September 3rd  • 7:30 pm  • Scholes Library Second Floor Classroom
 
chocolatefrogcard_kevinfers
 
Kevin Ferst
Hogwarts House: Hufflepuff
Favorite Subject: Herbology
Patronus: Porcupine
Herbology Lecture – “Counteracting Spells Using Classic Chinese Herbal Formulas”
Thursday, September 10th • 7:30 pm  • Herrick Library Seminar Room
 
chocolatefrogcard_cheryldem
 
Cheryld Emmons
Hogwarts House: Hufflepuff
Favorite Subjects: Herbology and Potions
Patronus: Owl or snake
Herbology Lecture – “How to Identify Plants”
Sunday, September 13th • 4:00 pm • Scholes Library Second Floor Classroom
 
chocolatefrogcard_bethjohns
 
Beth Johnson
Hogwarts House: Ravenclaw
Favorite Subject: Muggle Studies
Patronus: Rat
Muggle Studies Lecture – “But It’ll Be Fascinating to Study Muggles from the Wizarding Point of View!”
Sunday, September 20th • 4:00 pm • Herrick Library Seminar Room
 
chocolatefrogcard_daviddegr
 
David DeGraff
Hogwarts House: Ravenclaw
Favorite Subjects: Charms and Flying
Patronus: Adelie penguin
Arithmancy Lecture – “Time Turners and Time Travel are Totally True”
Sunday, September 27th • 4:00 pm  • Herrick Library Seminar Room
 
chocolatefrogcard_danielleg
 
Danielle Gagne
Hogwarts House: Slytherin (despite the sorting hat’s attempt to put her in Hufflepuff)
Favorite Subjects: Muggle Studies, Care of Magical Creatures, and Dark Arts
Patronus: Elephant
Charms Lecture – “Invisibility”
Thursday, October 1st  • 7:30 pm  • Scholes Library Second Floor Classroom
 
chocolatefrogcard_bridgetri
 
Bridget Riley
Hogwarts House: Ravenclaw
Favorite Subject: History of Magic
Patronus: Cat
History of Magic Lecture – “The Hereford Mappa Mundi: Features and Creatures”
Sunday, October 4th • 4:00 pm • Scholes Library Second Floor Classroom
 
chocolatefrogcard_lauriemcf
 
Laurie McFadden
Hogwarts House: Gryffindor
Favorite Subject: History of Magic
Patronus: Leopard
History of Magic Lecture – “If These Walls Could Talk”
Thursday, October 8th • 7:30 pm • Steinheim Castle
 
 
And, for the heck of it, and because you’ll be hearing a LOT from me in the coming Harry Potter-filled weeks/months, here’s me, your “Harry Potter’s World” coordinator and local Ravenpuff:
chocolatefrogcard_evasclipp
 
 
Eva Sclippa
Hogwarts House: Ravenclaw (with Hufflepuffian sympathies)
Favorite Subjects: Potions and Care of Magical Creatures
Patronus: Pterodactyl

"Harry Potter's World" Coming to Scholes Library

Illustration of an alchemy workshop;  Courtesy National Library of Medicine

Illustration of an alchemy workshop;
Courtesy National Library of Medicine


I’m pleased to announce that the Scholes Library will be hosting the “Harry Potter’s World: Renaissance Science, Magic, and Medicine” exhibit from the National Library of Medicine, from August 31st through October 10th! The exhibit will be accompanied by opening and closing receptions, contests, a series of lectures and events, and much more.
The Harry Potter’s World exhibit is a traveling piece that focuses on the Renaissance traditions–scientific, philosophical, and mythological–that influenced the magic and culture in the world of Rowling’s books. Including images of primary sources on topics from alchemy to botany and magical beasts, the National Library of Medicine’s materials will be supplemented by items from our own collection. Items such as the Magiae Universalis Naturae et Artis (as seen below), a 17th century text from special collections, will be on display, tracing the relationships between alchemy, metallurgy, and chemistry.
A page from the Magiae Universalis

A page from the Magiae Universalis


We’re planning an extensive program of activities to accompany and enrich the exhibit, and there should be something for everyone. (Butterbeer! Costume contest! Music! Chocolate frogs! Prizes!) For right now, though, we’d like to reach out to all of you, our patrons and readers, and open the door to your involvement in this event.
As part of the Harry Potter’s World Exhibit, the libraries are seeking professors, staff, and community members of all walks of life to come speak on a topic related to Harry Potter–or to put on a demonstration of a relevant skill, or lead a workshop, or almost anything else you can imagine. While lectures directly about Harry Potter are obviously welcome, this concept is very flexible, and we welcome all proposals and suggestions. Maybe you want to take your inspiration from Professor Sprout’s Herbology class and talk about medicinal herbs; maybe you have some insights into the history of witchcraft in England; maybe you’re feeling crafty and want to teach people how to make their own wands. It’s all open!
Several other institutions have held lecture series while hosting this exhibit. Here are just a few of their titles, to help inspire you:

  • “Magic, Illusion, and Ghosts: The Marketing of Science and Psychotropics,” Dr. Glen Spielmans, Metropolitan State University
  • “Quick Quotes and Quibblers: The Role of the Media in the Wizarding World,” Lola Burnham, Eastern Illinois University
  • “Magic, an Anthropological Perspective,” Dr. Don Holly, Eastern Illinois University
  • “Character, Structure, Perspective…and a Castle: A Medievalist Reads Harry Potter,” Dr. David Raybin, Eastern Illinois University
  • “Immortality,” Dr. Thomas Duffy, Yale University

Obviously this is just a tiny selection of the possible range! Let your imaginations run wild; we’re eager to hear your ideas. If you have an idea, a suggestion, a question, a full-fledged proposal, or you’d just like to get involved in some way, please send me an email to sclippa@alfred.edu.
Looking forward to hearing from you!
 

Trading Cards from Harry Potter’s World Exhibition Courtesy National Library of Medicine

Trading Cards from Harry Potter’s World Exhibition
Courtesy National Library of Medicine

Mayan Hearts: New Artist's Book

Just a quick note for those interested in artists’ books–or in Mayan art and culture, for that matter.
The Smithsonian Libraries very kindly passed on to us an extra copy of the artist’s book Mayan Hearts by Robert Laughlin, an anthropologist at the National Museum of Natural History and specialist in the Mayan language of Tzotzil.
Mayan Hearts has its origins in the 16th century, at least, when an anonymous Dominican friar created a Tzotzil-Spanish dictionary. The original dictionary was lost in 1914, when the Mexican revolutionary army used its housing library as a stable (removing and destroying the books in the process), but a copy had been made shortly beforehand on the orders of Bishop Francisco Orozco y Jimenez. Upon encountering the dictionary in the vaults of Princeton University’s library, Laughlin was struck in particular by the Tzotzil use of heart-related metaphors to discuss emotion, and sought to illustrate and compile these evocative turns of phrase.
You can encounter these Mayan metaphors and their modern illustrations–by Uruguayan artist Naul Ojeda–in our Special Collections room, along with the rest of our artists’ book collection.
MayanHearts

New books on Japanese art

Researchers, fans, and students of Japanese art and culture–rejoice! Scholes has just added 24 new books on Japanese art to the collection (with more on the way)!
This exciting addition is due to a grant secured for the library by Professor Meghen Jones and myself (Art Librarian Eva Sclippa). The grant, from the Northeast Asia Council of the Association for Asian Studies, was awarded to help the Scholes Library update and expand its collection in the subject area of Japanese art. Upon arriving at Alfred University this past year, Dr. Jones quickly drew my attention to the limited scope of our offerings on the topic; upon further research, we discovered that over 75% of our books on Japanese art were published prior to 1975–the collection was desperately in need of revitalization. We’re very grateful to the NEAC for the support of this grant.
The books are currently out on the new books shelf in the lobby of the library, just as you walk in the front doors. We encourage you to browse them and see if any catch your interest; there are some really beautiful items out there! Here are some short profiles of a few especially interesting ones, selected entirely on my personal whims:
kimono

Kimono: A Modern History

Terry Satsuki Milhaupt
Reaktion Books, London, 2014
ISBN: 1780232780
The kimono is one of the most famous items or images associated with Japanese culture, and certainly with traditional Japanese clothing. But how much do you actually know about them? How did they become such an iconic garment? How are they used and worn today? And, regardless of all those other questions, do you want to see lots of beautiful pictures of really beautiful kimonos?
Of course you do. Go pick up this book.
 
utamaro

Utamaro and the Spectacle of Beauty

Julie Nelson Davis
University of Hawaii Press, Hawaii, 2008
ISBN: 0824831993
If you want to go a bit further back in time in your studies of Japanese art, Davis’s book on Utamaro is one great way to do it. Utamaro was one of the most famous artists of the ukiyo-e (“floating world”) genre, known especially for his portraits and images of beautiful women. In this work, Davis considers Utamaro and his art in the context of the period, particularly the commercial print market.
 
 
rinpa
Designing Nature: The Rinpa Aesthetic in Japanese Art
John Carpenter
Metropolitan Museum of Art, New York, 2012
ISBN: 0300184999
Earlier still are the lavish artworks in the Rinpa style, featuring bold, colorful images and plenty of shiny gold. This book reproduces images of Rinpa artworks beautifully, allowing the reader to sink into their luxuriousness. Carpenter also studies the influence of the Rinpa aesthetic on Western art.
 
brittledecade
The Brittle Decade: Visualizing Japan in the 1930s
John Dower, Anne Nishimura Morse, Jacqueline Atkins, Frederic Sharf
MFA Publications, Boston, 2012
ISBN: 0878467696
Japan may be more famous for the screens of the Rinpa aesthetic or the woodblock prints of the Edo period, but turning some of your attention to a less-studied era may be rewarding. In The Brittle Decade, the authors explore the vibrant art of Japan in the 1930s, a period full of curious mixtures of old and new–like a kimono patterned with images of tanks.
 
Of course this is only a small sampling of the new materials we have for you! Come in and take a look at the new books shelf, hopefully before they’re all checked out.
2015-02-11 11.29.23

The Library is Full of Fakes

Hang on, I promise this is a good thing.
We’ve talked about some of the genuine, original artistic creations housed in the Scholes Library before, in the form of the artists’ books in Special Collections. While artists’ books have a fairly old history, the first true artists’ books weren’t created until the 20th century. We’re going to go further back in this post; in fact, we’re getting downright medieval.

A page from the Stundenbuch aus Nordfrankreich : Handschrift auf Pergament--that is, a book of hours from Northern France. Spec. Coll. Oversize ND3363.N67 S79 1985

Closeup of a page from the Stundenbuch aus Nordfrankreich : Handschrift auf Pergament–that is, a book of hours from Northern France. Spec. Coll. Oversize ND3363.N67 S79 1985


A full page view of the same folio from the Stundenbuch.

A full page view of the same folio from the Stundenbuch.


Alongside the artist’s book collection at Scholes is a collection of manuscript facsimiles. Facsimile–the origin of the word “fax,” for the curious–just means an exact copy of something, but in the books and manuscripts world it becomes something much more fabulous. A manuscript facsimile is an exact reproduction of a particular manuscript, often down to the tiny details of the cover, the irregular shapes of the pages, holes, smudges, signatures, stamps, and all the other quirks that make a unique manuscript unique. It becomes a way of experiencing a rare, unusual, or important manuscript when the original is miles away in another country, or too fragile to be handled. For both scholars and the casually curious, this is incredibly valuable. As books, manuscripts are meant to be experienced in three dimensions, with the reader moving from page to page in context rather than staring at flat images projected on a screen; facsimiles are sometimes the only way the average reader can experience them in this fashion.
A two page spread from the facsimiles of the Farnese Hours, a Renaissance manuscript. Spec. Coll. ND3363 F35 C57 1976

A two page spread from the facsimiles of the Farnese Hours, a Renaissance manuscript. Spec. Coll. ND3363 F35 C57 1976


Many of our facsimiles are of medieval or Renaissance books, and present a beautiful array of illuminations and illustrations, often literally sparkling with gold. Not all of them a “true” facsimiles in the sense of being a complete, unaltered replica. Some are individual pages, perfectly reproduced down to the tears in the corners; some are bound together with commentary and a new cover; all are worthwhile parts of our collection.
However, not all the facsimiles in our collection are of such aged and venerable materials. A facsimile can be an exact copy of any rare or valuable document, and that also definitely applies for our copies of Jackson Pollock’s sketchbooks. The originals of these remarkably large books (the full folio is significantly larger than my entire torso) are currently held in the Metropolitan Museum of Art, but patrons of the Scholes Library can flip through identical, full-size copies of them right here in Special Collections. Those who do explore them will be rewarded not only with the abstractions that might be expected from Pollock, but also glimpses of representational art of great vitality.
One of the pages from the Jackson Pollock sketchbooks. Spec. Coll. Folio NC139.P6 A4 1997

One of the pages from the Jackson Pollock sketchbooks. Spec. Coll. Folio NC139.P6 A4 1997

Another page, and view of some of the closed sketchbooks.

Another page, and view of some of the closed sketchbooks.


The experience of flipping through an artist’s sketchbook isn’t limited to modern artists, either. Also in our collection is a two volume copy of the sketchbooks of Hiroshige. As with Pollock’s sketchbooks, the structure of these works has also been reproduced, in this case a long accordion fold of images on creamy paper that sometimes meld into each other. Any patron interested in artistic process would be strongly advised to investigate these and other facsimile treasures.
A few glimpses of the folded pages of Hiroshige's sketchbooks, including a fox mask dance. Spec. Coll. ND2073 A48 A4 1984.

A few glimpses of the folded pages of Hiroshige’s sketchbooks, including a fox mask dance. Spec. Coll. ND2073 A48 A4 1984.


Accessing the Special Collections room is fairly simple; just ask a librarian, or, if you can’t find one, ask one of the student workers at the front desk to find you a librarian. Special Collections is not set up as a casual browsing collection, so it may help to have a list of certain works you’d like to see before you go. You can try searching our catalog from our website, or you can contact one of the librarians for help finding materials in your area of interest.
We hope you’ll come see us soon!

Students' Illuminated Manuscript Experience in Scholes

Avocado.  Bone ash.  Copper.  Egg whites.  Pumice powder.  Sumac.  Vinegar.  Walnut.

Some of the students' creations.

Some of the students’ creations.


This isn’t some bizarre, arcane shopping list–it’s a sampling of just a few of the ingredients used by students in Kate Dimitrova’s Medieval Illuminated Manuscripts class.  A few more modern materials, such as newsprint and coffee, pepper the list, but for the most part the students stuck diligently to their incredibly difficult mission–to create their own illuminated manuscript pages using techniques and recipes from the Middle Ages.
Given the arduous process of producing their basic materials, much less designing and painting the actual illustrations, this was no small task.  Each student was given a scrap of vellum to start with, then was directed to medieval recipes for pigments, inks, and even tools–some of which the students made by hand, as in the case of a home-crafted brush with human hair.
Students working with some of our manuscript facsimiles.

Students working with some of our manuscript facsimiles.


When their works of art were complete, they were put into a display case here in the Scholes Library, and the students were given the opportunity to experience the next best thing to an original manuscript–high quality manuscript facsimiles.
A facsimile is a very detailed reproduction or replica of an original manuscript, in this case medieval and Renaissance illuminated manuscripts.  Though the specifics can vary depending on the quality and completeness of the facsimile, an ideal manuscript facsimile reproduces every facet of the original, from the cover to the uneven and sometimes torn pages.  Facsimiles are valuable in that they provide the rare opportunity to experience the manuscript as it was intended to be experienced–not as a flat, disconnected projection on a wall, but as part of a whole work.
Patrons who wish to see facsimiles from our collection can contact me, Eva Sclippa, at sclippa@alfred.edu, for a list of available facsimiles and information on accessing Special Collections.  If you’d like to see the students’ beautiful work, it will be on display until April 30th, next to the reference desk–so be sure to get in before then!
The full group with their works on display.

The full group with their works on display.

New illuminated manuscripts display in Scholes!

This isn’t a full blog post, just a heads up–come check out the new display in Scholes, in the case by the reference desk!  Students from Kate Dimitrova’s illuminated manuscripts class used medieval recipes and techniques to decorate their own pieces of parchment, and the results (along with two pages from our own facsimile collection) are on display.
A full post with pictures of the event artists and their work will be posted later.

Art From Books, As Books

On a Tuesday morning at the end of January, nearly 100 students congregated at the Scholes Library, meeting in front of the circulation desk but quickly spreading out into multiple lanes of busy traffic throughout the building.  Though they were not here to work on research papers or look up biographical information on artists, they were here to begin a project centered around the library and its collections.  Every area of the library was opened to them, with rare and unusual items from the archives and special collections on display–but for inspiration, not information.

OneHundredSteps2

“One Hundred Steps,” Samantha Calkins


OneHundredSteps3

A glance at the typography of “One Hundred Steps”


The students were here as part of the Freshman Foundations program, a first-year experience for BFA students.  At the beginning of each term, Foundations students have a week to produce a work of art within parameters set by their professors, typically parameters about the format their work will take.  Unbeknownst to the students coming back from winter break, their professors had met with the librarians at Scholes during the fall term to put together a project that would bring students into the library and have them creating artwork inspired by and using library resources.  The assignment they settled on that fall was books; not just any books, but artists’ books–the perfect meeting of book and art.
WolfsBite1

Interior view of “Wolf’s Bite” by Kelsey Mayo


WolfsBite2

Cover, “Wolf’s Bite”


At the end of the week, we here at the library were invited to the Foundations classroom to see the finished books, and the results were truly impressive.  Using everything from books of patterns and decorative motifs to scans of magazines, encyclopedias, and survey texts, the students had created an array of artworks that ranged from traditional narrative books to the wildly experimental.
The forms, materials, and methods that students made use of were just as varied as the content.
"The World is Bigger Than Me or You -- and That's Okay," and accordion fold book by Mikaela Suders.

“The World is Bigger Than Me or You — and That’s Okay,” and accordion fold book by Mikaela Suders.


Scattered amongst the neatly side-bound volumes were creations that pushed the edges of what a book can look like, works that expanded in lengthy accordion folds or were cut to match the shape of their subject.  Some of the students’ works played with form in a way that affected the meaning or perception of the book as a whole, altering the movement from page to page.
Materials provided an even richer field of experimentation.  The majority of the works were made of paper, but others unfolded on sheets of fabric, plastic, or even glass.  Still others were made of traditional materials, but contained small samples of the unexpected–a sachet of lavender, an old map, a splash of glaze.
"What is in a Bottle," Ruby Wisniewski

“What is in a Bottle,” Ruby Wisniewski


Perhaps most rewarding for the librarians involved in the project, some of the works showed signs of inspiration from the materials in the library that the students had been perusing just a few days before.  Works like A Humument, the modified Victorian novel mentioned in our first post on artists’ books, echoed in the selectively concealed and revealed words of books like “Alice,” pictured below.
"Alice," Julianna Metz-Root

“Alice,” Julianna Metz-Root


Even more exciting, soon the students’ art and the works that inspired them will be able to sit side by side.  Within the next few weeks, the students’ books will be delivered to the Scholes Library and housed in special collections alongside our other artists’ books.  Once the books have been delivered and cataloged for our collection, they will be on display to the public–and be sure we’ll make an announcement as soon as they’re available!

Artists' Books at the Scholes Library

You’d expect a library of art and engineering to have many books about art, but what you might not expect–or be aware of–is that the Scholes Library also has a significant collection of books that ARE art.  More commonly called “artists’ books,” these volumes are works of art in and of themselves, and often are not restricted to the typical book format.

"The Sick Rose," a poem from Songs of Innocence and Experience by William Blake.

“The Sick Rose,” a page from Songs of Innocence and Experience by William Blake.


How you define the history and chronology of artists’ books depends largely on how you define artists’ books themselves.  Illuminated manuscripts have existed for centuries, of course, some merging art and text in ways that would now be clearly recognized as belonging to the world of artists’ books.  However, William Blake’s work in his Songs of Innocence and Experience is widely considered the most direct ancestor to the modern artist’s book.  Unlike medieval illuminated manuscripts, which were generally highly collaborative, each copy of Songs of Innocence and Experience was written, printed, illustrated, and bound by Blake and his wife.
Some contemporary artists’ books could still be considered illustrated narratives or collections of poetry, like Blake’s work, but the majority do not present their content in such a linear fashion, or even draw such distinct lines between form and content.  This may in part be due to the artist’s book’s strong historical connection to–and development from–the Dadaist movement, in which they took their place alongside performance art and published manifestos as a core part of the movement.
ruscha

Every Building on the Sunset Strip, a Ruscha book in our collection that, according to the Getty’s “Pacific Standard Time” blog, “reinvented the artist’s book.”


The modern artist’s book, however–that is, the artist’s book as we know it today–can be in large part credited to the avant-garde and postmodern artists of the 50s, 60s, and 70s, most notably among them Dieter Roth and Ed Ruscha.
We happen to have significant collections of the works of both of these artists right here at the Scholes Library!  A walk into our special collections room (after speaking with one of the librarians on duty) will reveal several works by Ruscha and Roth, including Ruscha’s Some Los Angeles Apartments and Roth’s Stupidogramme.
Ruscha’s work in particular plays with the format of the book, frequently expanding it into the accordion folds seen in Sunset Strip.
memoryloss2
memoryloss1
This alteration, denial, or subversion of the book form appears frequently in the works we have in our collection.  The accordion fold, for instance, is crucial to the functioning of Scott McCarney’s Memory Loss.  Printed on both sides and barely two inches wide when shut, Memory Loss reads differently depending on which angle you choose to view it from, seemingly orphaned words leaping across the folds of the paper to construct sentences along the length of the book.
Still other works maintain the standard book form, humument1but use art to explore writing itself.  In A Humument, Tom Philips took as his starting point an obscure Victorian novel by W.H. Mallock, A Human Document.  By altering every page with painting and collage, he created an entirely new work, and brought out meanings from the text that the original author never would have intended–but which he nevertheless wrote.
humument3

A page from A Humument.


If you’re interested in learning more about artists’ books, I’d also recommend checking out A Century of Artists’ Books.  Written by Riva Castleman and published on the occasion of the MoMA exhibit of the same name, it is an excellent introduction to the art form.  And, of course, feel free to search the Scholes collection for yourself!

-Eva Sclippa