Whether insignificant objects or works of art in their own right, books create through their different forms and stories a unique bond with those who read, consult and own them. This almost physical connection was the reason for creating The Shelf Journal. The Shelf Journal is a French-English annual review about the art of books and their design, that gives the voice to book makers and writers specialized in that field.
In form of interviews, in-depth articles, portfolios, studies, etc. the magazine explores the different questions that relate to the contents and the shapes of books, their creation and collection, by showing ancient as well as contemporary examples.
Part place of worship and reflection for paper lovers, part experimental platform for designers, typographers and other graphic designers, The Shelf Journal explores the essence of our libraries’ charm: the limitless variations in form of this unique object.
The translation of an exhibited work into a published work presents major challenges; reflection on these two methods of dissemination and expression of art, and the relationships that they have with each other.
Discussion about French book clubs between Alex Balgiu, Thierry Chancogne, Jérôme Dupeyrat, Damien Gautier and Catherine Guiral. All illustrated with examples showing one of the most striking and original period in French book design history.
Born in San Francisco in 1981. Tauba Auerbach holds a degree in visual arts from Stanford University. Her work as an artist focuses on the breakpoints of structures and logical systems. She expresses herself through many media, ranging from installation art to type design. Her explorations in the field of book design led her to found the Diagonal Press publishing house in 2012. Her works have been exhibited by institutions such as the MoMa, the Kunsthalle Wien and the Musée d’Art Moderne de la Ville de Paris.
RDI (Royal Designer for Industry), he studied typography at the Central School under Anthony Froshaug and subsequently taught at several Art Schools. During the 60’s he was art director of Town and Nova magazines and designed many Penguin Books covers. He has designed books on chess, wine and for Monty Python, as well as catalogues raisonnés on Rothko, Georgia O'Keeffe, Frank Auerbach and in 2000 a prayer book for the Church of England.
Writer, etc., and author of a multifaceted œuvre which circulates between writing and publishing, film and theatre, and visual arts and design. Daniel Canty is the “book director” of the La table des matières trilogy and numerous other books. His novel Wigrum led to the creation of a typeface. He continues to write and produce the online series Costumes nationaux (costumesnationaux.com) and an “auto-science-fiction” cycle in which earlier futures of “Mont-reality” reappear. He was born in Lachine towards the end of the 20th century and has lived in Vancouver, New York and London. Today he lives in Montreal and has many projects underway.
Sebastian Carter joined his father Will Carter at the Rampant Lions Press in Cambridge in 1966, and later ran the Press until 2008. His Narrative Catalogue of the Press’s 321 books is published by Oak Knoll Press. His Twentieth Century Type Designers (1987) has become a standard work. He has contributed to the Oxford Companion to the Book and the Cambridge History of the Book in Britain. He received the 2013 laureate award from the American Printing History Association.
Established in 2007 in Belleville, castillo / corrales is a space managed collectively by a group of artists, curators, critics and graphic designers. The article This is not a best of was written by Laure Giletti, a freelance graphic designer, co-founder of the Eurogroup studio in Brussels, and Roman Seban, a freelance graphic designer and teacher at the Pôle Métiers du Livre [Book Trade department] at Paris West University Nanterre La Défense.
Alexandru Balgiu is a graphic designer and professor at the École nationale supérieure des beaux-arts of Lyon (ENSBA), and a knowledgeable collector. Thierry Chancogne is a professor of applied arts specialising in graphic design at ESAAB and ENSBA, and a fan of Janine Fricker. Jérôme Dupeyrat is an art historian and professor at the École des beaux-arts of Toulouse, and an expert on the Club du livre de la femme. Damien Gautier is a graphic designer, type designer, editor, and professor at ENSBA, and is a collector and book club devotee. Catherine Guiral is a graphic designer and professor at ENSBA, and is currently writing her thesis on the work of Pierre Faucheux at the Royal College of Art, London.
Lecturer in art history and visual arts at the Université de Haute-Alsace, Mulhouse. She is also a permanent member of the crem research centre on mediations based at the Université de Lorraine and an associate member of the EDITH research programme at the École Supérieure d’Art et Design Le Havre-Rouen (ESADHaR). Her research explores the history of art multiples in contemporary times and the relations between printed and digital works in publishing.
Paul Dijstelberge (1956) is a book historian who works in Amsterdam at the Special Collections of the University of Amsterdam. Before he became a assistant-professor and curator he worked as an expert bibliographer. He also was a restaurant cook for 14 years. Het lives with his wife Ellen and his two daughters Emilia Anna and Cécile Oriane in Leiden, the Netherlands. He loves all thing beautiful.
Art historian and critic. His activities include writing, publishing, exhibition curating, research and teaching, often as part of collective initiatives. Following his research on artists’ books (Les livres d’artistes entre pratiques alternatives à l’exposition et pratiques d’exposition alternatives, a thesis under the supervision of Leszek Brogowski, Université Rennes 2, 2012), his fields of interest have expanded to include the links between art and publishing as well as the image seen from an intermedial and mediological perspective.
(1880-1956). American graphic designer, calligrapher, book and font designer. Known for his advertisements and illustrations, he wrote Layout in Advertising in 1928, considered the reference text of the day. He introduced the vitality of his advertising work into book design through calligraphic and decorative details. He famously painstakingly built his own miniature theatre and carved marionettes out of wood for it.
Antiquarian bookshop, located in Paris and founded in 1998 by Pascal Antoine, a member of slam (Syndicat du Livre Ancien et Moderne). Feu Follet stocks a large collection of rare and precious books, including one-off editions dedicated by the author, original editions on special paper, unpublished manuscripts and works featuring hand-painted illustrations and original prints. It also provides bibliophilic advice for the creation of prestigious
book collections and offers a free book valuing service on request. All works can be viewed at the store or on its website edition-originale.com.
PhD in Applied History, “Private libraries in Besançon in the 18th century” (1982); librarian at the Imprimerie Nationale library (1982-2002); manager of the historical library at the French Ministry of Finance (2002-2011); currently documentation centre manager at the Institut de la Gestion Publique et du Développement Économique within the same ministry. Has published many articles on printing and on books in various journals and collaborative works, including the Dictionnaire de l’Imprimerie et de l’Édition.
Graphic designer and teacher, born in 1978. After discovering the Graphis journals of the 1960s he became a book collector and in 2008 created the website designers-books.com, which is devoted to the history of graphic design as seen through books and magazines. He is also an active member of the “Archives Graphiques” facebook group and has produced several typefaces for VTF. His most recent project was curating the website agfronzoni.com.
Belgian painter and film producer based in Antwerp, born in 1942. In the early 1960s, he described himself as an avant-gardist and experimented with happenings, pop art and films. Maintaining this rebel attitude, from 1974, he devoted himself to his first love: painting. In the pictorial oeuvre of Dr. Hugo, there is no boundary between the abstract and the figurative, the objective and the subjective, or between memory and imagination.
Hugo Hoppmann (born 1988 in Cologne) is a multidisciplinary graphic designer who graduated from ÉCAL in Lausanne / Switzerland in 2011. Alongside his studies he made internships at Bureau Mirko Borsche and worked for Berlin based culture magazine 032c. After working full-time for one year at Meiré und Meiré in Cologne he decided to become independent pursuing his many own projects.
PhD student in contemporary art history. She is currently working on a monographic thesis of the oeuvre of Philippe Thomas, at the Sorbonne. She was the 2013 winner of the Centre Pompidou’s art history scholarship under which she produced an inventory of the Philippe Thomas Collection for the Bibliothèque Kandinsky. In May 2014, she organised an exhibition on Thomas’ work ab at the Mfc-Michèle Didier gallery in Paris. She is a member of the editorial committee of the journal of aesthetics Marges (PUV).
Editor-in-chief of Art Press magazine from 1991 to 1999, he also hosted two contemporary art programmes on Arte (TV channel) between 2002 and 2006. He taught contemporary art at the University of Paris VIII from 1996 to 2003. The organiser of numerous exhibitions in France and abroad, he is also the author of several essays (L’Usage des ruines, L’Idiotie: art, vie, politique, Armand Silvestre, poète modique, Artistes sans œuvres, I would prefer not to). Since 2008, he has devoted himself to the cycle of conferences entitled L’Encyclopédie des guerres (The Encyclopaedia of Wars) held at the Pompidou Centre and the Comédie de Reims theatre.
Patricia Belen and Greg D’Onofrio are designers, writers and partners at Kind Company. Display (thisisdisplay.org), the website they founded in 2009, is a platform for research, writing and discoveries in graphic design history featuring a curated collection of important modern, mid 20th-century graphic design books, periodicals and ephemera.
Leslie Anne McGrath obtained her M.L.S. (1984) from the University of Toronto, where she obtained a Ph.D. (2005) in Information Studies, and in the collaborative program in Book History and Print Culture. She began working at Toronto Public Library in 1985, and has been the head of the Osborne Collection of Early Children’s Books since 1995.
Author, born in 1961. In the 1980s and 90s, he took part in the non-violent, anarchist anti-nuclear movement in Germany and in 1998 published Ursprung der Revolte. Albert Camus und der Anarchismus [Origins of revolt. Albert Camus and anarchism]. In 2001, he moved to Marseilles where he became a member of the International Centre for Research on Anarchism (cira de Marseille), then in 2008, published Albert Camus et les libertaires: 1948–1960, (Marseilles, Égrégores éditions), which was re-edited with Indigène Éditions in 2013. In Le Monde Libertaire, № 1658, of 2–8 February 2012, he criticised Michel Onfray’s interpretation of Camus as a “libertarian capitalist”.
An autodidact, Robert Massin is a French graphic designer, typographer and artistic director renowned for his work in publishing. He created the graphic design for books published by Le club français du livre and Le club du meilleur livre. In the 60s, he held the post of Artistic Director at Gallimard, significantly contributing to changing the publishing house’s image. Later on, he held important posts in Hachette / Réalités, followed by Editions Denoël, and finally at Editions Robert Laffont.
Stanley Morison (1889-1967) was a typographer, type designer, author and editor, and a major figure in 20th-century British typography. Recognised above all for his work as typographic consultant for the Monotype Corporation, his numerous writings on typography are essential works of reference.
Founder and artistic director of Laurel Parker Book, a studio specializing in the design and production of custom-made artist’s books and presentation materials. Her studio collaborates with artists, publishers, institutions and luxury brands. Laurel Parker fell in love with artist’s books during her art studies at the School of the Museum of Fine Arts, Boston and Tufts University. She currently teaches at the EESAB school of art in Rennes, at the National Institute of Heritage (INP), and on the Higher Diploma of Applied Arts course (DSAA) of the Nouvelle-Aquitaine center of higher design studies. She plans to soon create her own publishing house with her assistant Paul Chamard.
After obtaining a DMA Illustration (vocational illustration diploma) at the École Estienne in Paris, then a DNSEP (art degree) at the École Supérieure des Arts Décoratifs (ESAD) in Strasbourg, Tristan Pernet ended up becoming a publisher alongside practising drawing – a micro-publisher of connected objects whose aim was to break free from the constraints of traditional publishing. This led to the creation of independent publishing house FrenchFourch as the most apt way of distributing the work of those who inspire him on a daily basis.
Kai von Rabenau is the founder and publisher of mono.kultur magazine. He studied graphic design at Central Saint Martins and the Royal College of Art in London, and has been working as an art director and photographer in Berlin since 2001.
As curator of the archives and documentation of the Bibliothèque Kandinsky and Manager of the catalogue raisonné of Centre Pompidou exhibitions, Stéphanie Rivoire is an expert in private archives and in collecting oral accounts. She is particularly interested in the status of archives within museums, their link with works and their contextualisation in artists’ work.
Artist, born in 1962 in Bourg-Saint-Maurice. Fascinated by the dizzying nature of fragments and the temptation of the encyclopedist, his work brings to light aspects of our everyday life that are in most cases overlooked. He is attracted by travel as his primary space of experimentation and, from his stays, produces series of photos, drawings, and installations that reach their culmination in the form of published works and artist’s books. His interest in border zones drives his explorations which combine anthropology, scientific investigation, cartography, travel writing and poetic reverie.
American artist, born in 1937 in Omaha (Nebraska). Ed Ruscha graduated from the Chouinard Art Institute in 1960. He uses a wide variety of medium in his oeuvre and is known for his artist’s books employing photographic images of everyday places and for his work on the subject of language. He strives to interpret American vernacular and positions himself between pop art and conceptual art. His works are collected by museums all over the world. His personal exhibitions have been shown by venues such as the Whitney Museum of American Art in New York, the Jeu de Paume in Paris, the Haus der Kunst in Munich and the Moderna Museet in Stockholm.
British artistic director and graphic designer, born in 1955. Peter Saville began his career producing record sleeves for the Manchester-based music label Factory Records, in which he was a partner. He is recognized for his reappropriation and recontexualization of images. Over the years, he has worked on a freelance basis, set up various agencies and worked at others such as Pentagram. His work was exhibited at the London Design Museum in 2003. A book by Rick Poynor and a soundtrack by New Order were created for this occasion.
Fascinated by comic books, he became a self-taught graphic designer and typographer. Since 1983 he has self-published Qui ? Resiste as a vehicle for his experiments with writing and images. A leading graphic designer in France, he has designed a number of experimental typefaces, including Minimum, Gararond and Quantange. He taught at the École Supérieure des Arts Décoratifs in Strasbourg (ÉSAD) from 1997 to 2010, and teaches today at the Haute École d’Art et de Design (HEAD) in Geneva.
Nick Sherman is a Brooklyn-based typographer and designer at Font Bureau. After his undergraduate degree project on type presentation and organization, he redesigned MyFonts, the world’s largest collection of fonts. He currently designs the website and specimens for Webtype, Font Bureau’s webfont service, as well as The Dale Guild Type Foundry, a producer of metal type for letterpress printing.
Danish editor and founder of Plethora Magazine, where he is in charge of creative and editorial direction. Peter Steffenson studied photography at Central Saint Martins College of Art and Design, cognitive psychology at Birkbeck, University of London, and holds a Masters degree in Philosophy, Perception of space within neo-modern architectural design, from the University of Copenhagen. In 2011, he worked as an editor and creative director for the photography journal The Manipulator.
Vier5 is a graphic design agency based in Kassel and in Paris. Among other things, they have worked on the creation of the signage systems for the Festival international de l’affiche de Chaumont [Chaumont International Poster Festival] and documenta 12 art fair, in addition to designing books like Le fonds Paul Destribats or the I’ve heard about... (c) catalogue for the R&Sie(n) exhibition held at the City of Paris Museum of Modern Art. They are resident artists at CAC Brétigny where they are responsible for visual communication. They also publish Fairy Tale fashion magazine and create clothing for their ready-to-wear brand.
Maximilien Vox (1894-1974) was an illustrator, publisher, graphic designer and typographer. He is famous for his typographic classification system, which was officially adopted by the Association Typographique Internationale in 1962.