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Senior Lecturer

BFA, University of North Carolina, Greensboro

MFA, Book Arts/Printmaking, The University of the Arts

Since 2003 Julianna Foster has taught in various departments at UArts, MFA Book Arts/Printmaking, Media Arts, Foundation, Fine Arts, Continuing Education and Pre-college programs, and sat on Fulbright and Graduate Thesis Committees. She has also been a guest lecturer at Rowan University and Temple University.

She has been an artist member of Vox Populi Gallery in Philadelphia since 2006, where she has had two solo exhibitions, In a Vale and From Morning On and participated in group exhibitions in London and NYC. In addition to her individual ventures, over the years she has collaborated with various artists on projects that include creating artist multiples, artist books and series of photographs. Most recently, Foster collaborated with artist and UArts faculty member Lori Spencer on a multi-media project, titled Fair Ophelia, that was funded by a Faculty Enrichment Grant from the University of the Arts and was exhibited in 2010. Foster also received a Faculty Professional Development Grant from the Pre-College Programs to attend classes at the International Center for Photography. Exhibitions in Philadelphia include Philadelphia Art Alliance, Painted Bride Art Center and Rosenwald Wolf Gallery. Other recent exhibitions include Bulk, Hanes Fine Art Center, Chapel Hill, NC; Landing Place, Lorca, Spain, and X-Initiative’s No Sale for Sale, A Festival of Independents.  

My most recent work includes a series of images that represent distinct narratives; which are informed for the most part by my interest in cinema and its relationship to photography. The selected work reflects an ongoing investigation into the ways that the photographic image can portray a psychological relationship between the characters in each image or series of images and of course between the viewer and the subject. By exploring how the individual image can transcend its own limits, and by association, provide the opportunity for a pictorial narrative to unfold I hope that each story forms something of a larger narrative that continues to reveal itself in a variety of forms, be it a photograph, book or video. All of which rely on the fundamentals of narrative to examine and comment on the human experience.

Master Lecturer

BFA, Oberlin College

M.Ph., Yale University

MLS, Columbia University

James N. Green is Librarian of the Library Company of Philadelphia, where he has worked since 1983. He studied literature at Oberlin and Yale, rare book librarianship at Columbia University, and worked in libraries at Harvard and the University of Chicago. He has taught the History of the Book course in the Book Arts program since 1989.

 His scholarly interest is in early American publishing history, and he has published three essays on that subject in volumes one and two of the five-volume collaborative History of the Book in America (University of North Carolina Press and the American Antiquarian Society, 2000-2010).  He is the author (with Peter Stallybrass) of Benjamin Franklin, Writer and Printer (Oak Knoll Press and the British Library, 2006), and he curated exhibitions of the same title at the Library Company (2006) and the Grolier Club in New York (2008).  He has also curated many other Library Company exhibitions. He was the Rosenbach Lecturer at the University of Pennsylvania  on “Book Publishing in Early America” (1993), the 70th George Parker Winship Lecturer at Harvard on  “Thomas Bradford and his Philadelphia Circulating Library: a late colonial urban reading community,” (1999), and the 500th Book Arts Press Lecturer at Rare Book School, University of Virginia on “‘All Sorts of Printing at Reasonable Rates’: Franklin’s Way to Wealth as a Job Printer” (2007).  He has presented papers at many conferences and seminars, most recently at the Penn Seminar on Material Texts on “Publishers Bookbinding in America, 1700 – 1830.”  In 2011 he began teaching a course in the history of the book in America at Rare Book School at the University of Virginia. 

Senior Lecturer

AB, Dartmouth College

MFA, University of Pennsylvania
When the Photographers are Blinded

At present, besides teaching in the MFA Book Arts/Printmaking program at UArts, Daniel Heyman is teaching in the Printmaking Department at RISD and in the Visual Arts Department at Princeton University. He is also a regular visiting graduate critic at the Pennsylvania Academy of Fine Arts. He has had numerous solo exhibitions and group exhibitions. He received a 2010 Guggenheim Fellowship and a 2009 Pew Fellowship in the Arts. Other grants include three RISD Professional Development Grants, a Princeton University Travel and Research Grant, an Independence Foundation Grant, and residencies at Yaddo, MacDowell, and Millay. The Los Angeles Times, New York Times, Art in America, The Chicago Tribune, NPR, Philadelphia Inquirer; and The Boston Globe have all reviewed his work. He has a nationally touring show, “Daniel Heyman: Bearing Witness.” He is also presently one of four artists included in Collateral: Printmaking as Social Commentary, the University of Auckland, New Zealand.

From 2004-2009, I made images about the torture of Iraqi prisoners at Abu Ghraib Prison. I traveled to Jordan and Turkey interviewing over 45 former detainees from Abu Ghraib, painting their portraits while recording in paint each victim’s own version how he was tortured by American soldiers. In 2007 and 2008 I met and drew the portraits of survivors of the September 16, 2007 Blackwater attacks at Nasoor Square in Baghdad. From 2008 on I have drawn portraits of homeless war veterans, ex-inmates from the Philadelphia prisons, and female American service personnel raped by their male colleagues.  In 2009-2010, I spent a year creating a 10’x14’ etching on plywood installation that explores the US wars in Iraq and Afghanistan in more metaphorical visual terms. A paper version of this work will be on display at the Philadelphia Museum of Art in the fall of 2011. I am currently working on a series of seasonal self-portraits made of large etchings. 

BA, University of Chicago

MLS; MA, University of Alabama

Peter Kruty is proprietor of Peter Kruty Editions, an artist collaborative and commercial letterpress studio in Brooklyn. He has created artist's books with, among others, Lesley Dill, Shelagh Keeley, Mikhail Magaril. Frances Jetter, and Robert Petersen. He has taught letterpress printing workshops nationwide including at Penland School of Crafts, Columbia College, Center for Book and Paper Arts in Minnesota, The Center for Book Arts in New York, Pyramid Atlantic, and Arts and Rutgers RCIPP. His letterpress studio has been featured on cable television, public television and in a major motion picture from Miramax films.

Diploma, Werk-Kunstschule, Wiesbaden, Germany

Hedi Kyle retired as Head Book Conservator of the American Philosophical Society in 2003. She continues to instruct students in the field of book arts at the University of the Arts. The latest exhibition venues include the University of the Arts, The Hybrid Book and the James A. Michener Art Museum in Doylestown, Transforming the Ordinary: Bookworks by Hedi Kyle. Until recently she conducted workshops at numerous locations in the USA, Canada, and Europe. Her one-of–a-kind book constructions are in public and private collections. She has exhibited her work frequently over the past thirty years.

She is an honorary member of the Guild of Book Workers and a co-founder of Paper & Book Intensive (PBI).

My work focuses on the book as a three-dimensional object, still holding traces of historical predecessors. I am drawn to unusual forms to free the book of its traditional purpose and explore new ways of reading and viewing. I take in what I see, I experiment, adapt, and divert to re-build. I take the freedom to concoct features and materials from many sources. The book as a mechanical object of extraordinary diversity never loses its fascination and inspires me to an ongoing quest for form and function.

Associate Professor

BS, College of Saint Rose

MA, University of Wisconsin-Madison

Mary Phelan established the Irish Pig Press in 1978 while studying in Madison, Wisconsin. In the years since that time she has published both her own work as well as collaborating on projects with other artists. Projects have been exhibited nationally and internationally and are part of many museum and university collections, such as the Bibliotheca Alexandrina, Egypt, the New York Public Library and the Victoria and Albert Museum in London. In 2008 she was a founding member of the College Book Art Association and served as Treasurer from 2008-2011.

A member of the faculty at the University of the Arts since 1981, she served as Director of the MFA Book Arts/Printmaking program from 1990-99, and coordinated the undergraduate Printmaking/Book Arts program from 2005 - 2008. She continues to teach classes in letterpress, printmaking, book concepts, and professional practices in both the graduate and undergraduate programs. In 2002 she helped establish a letterpress studio at Swarthmore College, where she teaches a book arts class once a year.

Over the years she has taught workshops at such places as Penland and the Women's Studio Workshop. She regularly curates exhibitions on contemporary book arts; her most recent exhibition, Social Remarques, was shown at the University during the SGC International Conference in March 2010. Examining issues of social injustice, the show featured artists from around the world.

Senior Lecturer

BS, Moore College of Art

Winnie Radolan is a nationally known papermaker/artist/educator who runs Winnie’s Paperworks, an itinerant teaching papermill. Since 1989 she has been involved with papermaking as an art form and educational vehicle. Former Director of Papermaking and Education at Historical RittenhouseTown, she teaches and conducts many workshops locally and nationally for artists of all ages. She is an artist-in-residence for both New Jersey and Pennsylvania Councils for the Arts. She is Founding Director of the Philadelphia Guild of Papermakers and former officer in the Friends of Dard Hunter Inc., a national papermaking organization. Her paper and book works have been exhibited internationally and are in private collections.

My artistic expression has always sprung from a need to understand and celebrate my connection to the world of nature. Many years ago when I learned to make my first sheet of paper by hand I felt such an affinity for the process and connection to the materials that I was driven to continue working in this way, almost towards the exclusion of other methods and materials. I’ve done extensive experimentation with turning a variety of plant materials into special papers. I’ve worked both two and three dimensionally with pulp, layering colors in a painterly way and sculpting around forms. Early experiences with sewing combined with a fascination for books has led me to assemble my unique papers into hand bound journals and sculptural book forms. I am now working with seed bead embellishments.

Associate Professor

BA, Immaculata College

MA, Philadelphia College of Art

Patricia M. Smith is a printmaker and book artist working in Philadelphia. She was director of the Book Arts/Printmaking program for five years. She is a master printer in the Borowsky Center for Publication Arts where she has worked with a number of visiting artists to produce original offset lithographic prints. She currently teaches offset lithography, stone and plate lithography, and relief and monotype in both the graduate and undergraduate programs. Her artist's books are in numerous collections including the special collections libraries at Kent Institute, Kent, England; the University of California, Santa Barbara; McCabe Library at Swarthmore College; and the University of Washington, Seattle. Her books and prints have been exhibited nationally and internationally. She has worked as a curator or co-curator for several exhibitions. including The Strength of Collections, an exhibition of artists' books from the collections of libraries and private collectors in the Philadelphia area.

Associate Professor

BFA, Purchase College, State University of New York

MFA, Book Arts/Printmaking, the University of the Arts

Lori Spencer is currently Chair of the Fine Arts Department and Coordinator of the Printmaking Department at the University of the Arts. She teaches graduate and undergraduate book arts and printmaking classes. Her imagery is often computer generated and then realized in the printmaking process. She gravitates towards mediums and formats that support narrative. Recently she has been exploring the narrative potential of video in her work.

In 2010 she had a residency at Soaring Gardens and received a Faculty Enrichment Grant from the University of the Arts. She had a second residency at Soaring Gardens in 2011.

Recent shows include Fair Ophelia (a collaboration with Julianna Foster), Vox Populi Gallery, Philadelphia; Landing Place, Villa Huerto Ruano, Lorca, Spain; Pulling From History: Letterpress, The Print Center, Philadelphia; Extra-Dimensional Printmaking Invitational, Nexus, Philadelphia; Production, Not Production: Offset Printed Artist’s Books, at The Center for Book Arts, New York.

Her work is in a number of public collections such as Cleveland Institute of Art, Walker Art Center, Minneapolis, MN, and the Special Collections Library at Yale University.

We live our lives constantly fluctuating between states of being. We are continually responding–and in that response we exist. The character of that response determines our state of existence. My work evolves from a meditation on some of those responses and states.

Master Lecturer

BA, University of Maryland

MFA, University of Maryland

Besides teaching at the University of the Arts, Lynn Sures is Associate Professor at Corcoran College of Art & Design, where she has taught since 1986; she was Visiting Artist in Residence, Columbia College Chicago Center for Book and Paper Arts, Spring 2005. She has taught workshops at such places as Haystack Mountain School of Crafts, Penland School of Crafts, Arrowmont School of Arts and Crafts, Frogman's Print and Paper, and the Museum of Paper and Watermark in Fabriano, Italy. She has curated both handmade paper and artists’ book shows, and in 2002 she coordinated the Pryramic Atlantic Book Arts Fair. Her articles have appeared in Hand Papermaking journal. Her books have been featured in Fiberarts Magazine and The Penland Book of Handmade Books. Her work is represented in numerous national and international collections. www.lynnsures.com

Professor

AB, Bryn Mawr College

MA, University of North Carolina at Chapel Hill

PhD, Bryn Mawr College

Susan Viguers is Director, since 2005, of the MFA Book Arts/Printmaking program. She also teaches in that program.

She came to art-making rather late. She has a PhD in English, has published extensively—scholarship (primarily in Renaissance drama), creative non-fiction (most important, With Child, with Harcourt, Brace, Jovanovich) and poetry—and for many years taught literature and headed the University Writing Program at the university. In 1991 she joined the MFA Book Arts/Printmaking faculty to teach a course that focused on text and its relation to image and structure. The move into the program proved for her a conceptual and creative breakthrough.

Since 1994 she has made books. They have been exhibited in numerous juried and invitational shows (group and solo), and are included in Special Collections at many institutions, among them Yale, Columbia, Smith, University of Pennsylvania, Wellesley, Oberlin, RIT, Virginia Commonwealth, Carleton, University of Washington, Swarthmore, University of California at Irvine, University of Wisconsin at Madison, RISD, MICA, Bibliotheca Alexandrina, King St. Stephen Museum (Hungary), and Kyoto Institute of Technology. In 2010 she had a artist’s book residency at Women’s Studio Workshop. Among the workshops she has taught was a recent one at a school for the children of migrant workers in Beijing.

In the past ten years her critical publications and papers have been primarily in the area of artists’ books. She is a recipient of a number of awards, including two that she particularly prizes, the Lindback Award for Distinguished Teaching and the Richard C. von Hess Faculty Prize.

I come to book arts and printmaking through language. For me the first, partial, manifestation or embodiment of an idea, or sensation, or narrative forms itself in words. Their inadequacy demands and reveals a shape that is visual, spatial, and tactile. The look of the words, the physical qualities of the pages, the images, the color, the structures of the books (and enclosures) are the flesh that gives context and form to the words.

Structure is essential. Frequently it participates metaphorically in the content of the book. But even when it does not, it defines spatial and temporal timing; it orchestrates the relationship of parts.

Books are designed to be read—and to be closed up. I love books on the shelf, books holding their essence, displayed, but still private. The intimate relation of reader to book is for me intrinsic. Something happens in that space quite different from the experience of a painting or a movie or a play. My work is in part about private space, what happens inside, although, of course, only when that space is shared is that vision realized. “A great garden,” says James Rose in Gardens Make Me Laugh, “is more like silence than like speech. It is the something between the lines.” When I create books, my goal is to create the lines for a “something.”

Senior Lecturer

BFA, Moore College of Art

MFA, Book Arts/Printmaking, The University of the Arts

Susan White lives in Philadelphia and currently teaches Non-Toxic Printmaking Methods at the University of the Arts and Printmaking at Drexel University's College of Media Art and Design.  Recent solo exhibitions include Between a Rock and a Hard Place, a window installation at Liberty Place in conjunction with Art Front Partnership (September 2010); disorder (2009) at the Print Center; and read  (2009) at the Crane Building.  Recently, her work has also been included in The Book: A Contemporary View  (2010-2011), Delaware Center for Contemporary Art and the Center for the Arts Gallery, Towson University, Maryland; Landing Place (2010), Lorca, Spain; Multi-Dimensional Print Invitational, Nexus Center for Contemporary Art, Philadelphia (2010); and Paper Works! (2010), Art in City Hall, Philadelphia. 

She also served from 1999 until 2002 as the Assistant Director of The Print Center, a Philadelphia-based non-profit arts organization that focuses on printmaking and photography. 

As an artist, my main interests lie in the manipulation of the book as an object. I enjoy taking books apart and re-assembling them to situate them into a new context. I create installations that are "essentially" deconstructed books. I use manipulated book pages to create structures. Text, images and writing on the surface of the book pages are visible in parts. Marbleized endpapers are enlarged to become screen printed forms that are wheat pasted to the walls creating an ethereal sense of movement and space. Text is often found in the form of small (1/4") rubber bumpers that contain words lifted from the pages of books. These small dots are arranged to form phrases or sentences, often composed during the installation process. The text evolves spontaneously and can resemble concrete poetry. I also carve into books to reveal words or phrases. The challenge lies in finding something in the text, title or appearance that I am able to play upon and highlight.