The book is an object, a form and a medium. Its history is the history of civilisation: gathered written records have been made for thousands of years in many shapes by many cultures. Books are essential to the knowledge practices of almost all disciplines and fields. As a subject for study and as a meeting point between disciplines, books are unparalleled. I have studied and published in the field of history of the book, and I have worked and trained in the publishing industry. Book arts and word and image studies in an expanded field have long been of interest to me: I have made artists’ books and exhibitions about the book and the letterform, and I have also taught book arts in several contexts.

History of the Book + Book Arts + Publishing

Collections-Based Research: University of Reading

Collections-Based Research PhD Programme, University of Reading (first cohort 2013-2014) An increasing number of researchers from the humanities and beyond understandably want to work directly with material culture: this new programme is focused on skills training to enable
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Allan Fleming Project

Allan Fleming Project: Publications, Research, Archive Management (2007-2011)   History of Graphic Design is a budding field that touches everything from advertising to artists’ books, from word and image studies to printing technologies. I first learned about these
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The Publishing Industry and The Book Trade

From very early on I have been as interested in the making and distribution of books as I have been in books themselves and what might be contained within them.  I attribute this in part to the primacy
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Letters and Figures: the book object and the human body

Letters and Figures: relationships between the book object and the human body as metaphor-clues to an epistemology of the book MA Thesis in History of the Book, University of London (Commonwealth Scholarship, 1998)   Eschatology and bookbinding are
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Anglia Ruskin University, Cambridge

Visiting Lecturer, Visual Culture for BA Graphic Arts and Illustration, Anglia Ruskin University (1996 to 1998)   With lecture seminars such as ‘Phylactery,’ about the relationship between inscription and the sacred,  and ‘Names and Letters,’ concerning letterforms as
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Camberwell College of Art MA in Book Arts

Visiting Tutor, Camberwell College of Arts MA in Book Arts, University of the Arts London (1996 to 2000)   This programme attracts a widely varied group interested in the theory, materiality and potential of the book form –
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Open Book

Open Book: Dulwich Picture Gallery and the Science Museum (1996)   This object exchange between an art museum and a science museum was a meditation on the communicating vases of matter and spirit. I brought together Joshua Reynolds’
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Ruskin School of Drawing and Fine Art, Oxford

Research Residency, Ruskin School of Drawing and Fine Art (1996 to 1998)   The Laboratory at the Ruskin School has been at the forefront of articulating the research activities of artists and making the case for its value.
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The Spirit and The Letter and The Evil Eye

The Spirit and The Letter and The Evil Eye, Bath Festivals Trust ‘WellSpring’ (with Lyne Lapointe, 1994)   Bookbinding, marbled paper, letterforms, the printed word, eye-hand coordination, amulets, craftsmanship, inkhorns and more all came under scrutiny in this site-specific
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© Martha Fleming : arts | sciences | humanities : interdisciplines