Category Archives: Patron interviews

Patron Interview: Krysta Black on doing research with manuscript facsimiles

The 10th century in Spain was a hectic time to create an illuminated manuscript.  In the south, the Umayyad Caliphate ruled from Cordoba, while in the north, a series of kings attempted to define themselves and their struggling kingdoms.

Art History PhD candidate Krysta Black, who recently sat down with me to talk about her research, feels that this climate of social upheaval helps to explain some of the odd quirks about her manuscript of choice: the Leon Bible of 960.

The Leon Bible of 960

The Rare Book Collection's facsimile of the Leon Bible of 960, on display at an event in the Art Library on Nov. 9th.

Krysta described one of her first experiences studying the facsimile of the Leon Bible, which is held in the Rare Book Collection in the Wilson Special Collections Library:

“… one of the things that I noticed that I hadn’t really gotten from any of the literature on the manuscript, was the way in which certain books of the Bible were far more heavily illustrated than others.   Because it’s something that is really striking when you’re actually leafing through the book.  You’re like ‘Okay, I’m going through Genesis, there are a couple of little illustrations, that’s cool, that’s cool…’ I get to Exodus and the book just explodes!” 

Since then she has been exploring, among other issues, the connection between the heavy illustration of the Book of Exodus–a book entirely focused on the escape from slavery–and the political climate at the time.

Krysta emphasized not only that she could not have made this discovery without the facsimile, but also just how much the facsimile helped to dictate her future course of study.  In choosing a manuscript to work with, she gravitated toward those works the UNC libraries had available in facsimile form.

Krysta Black speaking on her chosen manuscript.

Krysta Black in action, presenting the facsimile of the Leon Bible of 960.

“So, Rare Books had recently acquired a facsimile of the Leon Bible of 960, the most densely illustrated bible before the year 1000.  After looking at what books the UNC collection had, I saw that and said ‘Okay, that’s what I’m going to work on.’  I would say that the collection here directed me to what I studied rather than the other way around.”

Much like Professor Chatterjee noted in my previous interview, Krysta has discovered that manuscript facsimiles provide a way to connect with the experience of the book as it was originally intended, and to learn from that experience:

“I think working with facsimiles really facilitates being able to study those experiential aspects of manuscript illustration.  Whereas, if you’re just dealing with excised images, you’ve completely lost the entire context of what the book is about. ”

The audience enjoying firsthand experience with manuscripts at the Art Library facsimile event.

Finally, there is the issue of access.  To Krysta, facsimiles are important not only for the ways in which they open up new avenues of thought about the manuscripts, but also the ways in which they bring the user one step closer to actually accessing the original–which can be very difficult.

“I studied in Spain to do just that, and even when you gain access to these  things you have maybe a couple of hours with them.  So, [working with the facsimile in the library] helps you to prepare for actually getting to see the real thing. But also if you can’t make it to see the real thing the facsimile is, of course, the next best thing. ”

Krysta, along with Professor Dorothy Verkerk, gave us a great introduction to “the next best thing” when they gave a facsimile talk in the Art Library on November 9th.  With the generous assistance of the Rare Books Collection they were able to present the Leon Bible facsimile in the Art Library in all its glory.  Keep following us here to learn of more such events in the future as well as for further interviews!

– Eva Sclippa

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Filed under Events, Illuminated manuscripts, Manuscript facsimiles, Patron interviews, Special collections in the Art Library

From the Studio to the Stacks: a Conversation with Travis Donovan

This post is the second in a series focused on MFA students and their research.

Travis Donovan (MFA 2011) makes sculpture that is powerfully infused with cross-disciplinary research.  Recently, I was able to sit down with him to learn a bit about how he integrates a wide variety of sources into his working process.

"Molt", by Travis Donovan. 2011 (Materials: Down Feathers, Mattress, Mechanical Components. Dimensions: Variable.)

Donovan’s interest is in creating “poetic image[s] through the exploration of materials and processes.” In his current work he is dissecting feathers from a multitude of angles, examining “comfort, sensual qualities, but at the same time this history of loss.” His creative process involves gathering a wide variety of information, then “letting that come together in an image – a new experience but referencing back to its echoes in history.”

Although his undergraduate work focused on ceramics, Donovan’s research process has become increasingly cross-disciplinary during his time at UNC.  In his first year in the Master’s program he began to explore materials and processes more broadly. His research has taken him all over the UNC library system, including to the Kenan Science Library and the former Brauer Math/Physics library. Delving into scholarship ranging from philosophy to fluid dynamics, he’s interested “not just in the scientific and mathematical properties of material, but also the symbolic, poetic, and literary connections they might carry.”

Current reads? “Fragments of a Poetics of Fire” by Gaston Bachelard, and various works by preeminent phenomenologist  Henri Bergson. He has also been researching whiskey distillation and the thermal properties of certain minerals in North Carolina clays used for brick-making.

"Illuminationem", 2010. (Materials: Monofilament, Light, Motors, Wood. Dimensions: 20’ x 16’ x 17’.)

Of the resources that have proved especially useful, UNC Master’s theses and dissertations from various disciplines rank high on his list. “They present such a specific, condensed form of research – and local as well.”  While Donovan’s research draws on materials from across campus, Sloane Art Library is his home base:  “This library is my hub – where I start research, but also the place to get stuff and bring it back…it’s allowed me to feel comfortable checking out strange, odd books I wouldn’t otherwise access because I don’t know where they’re at.”

"Prometheus", 2009. (Materials: Fire, Acetone, Steel, Glass. Dimensions: 6’x 8’x14’.)

What would he check out if the library’s collection expanded beyond the usual media? “There are certain tools like microscopes that I wish were available – everything from electron microscopes to vibration sensors, things that allow for the dissection of a phenomenon.  It’s hard to get access to tools like that if you’re not in that field of study.  In an ideal world, there would be some access to those types of tools – with training, of course.”

– Madeline Veitch

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Faculty Interview: Paroma Chatterjee on using manuscript facsimiles

You look at books, right?

Dr. Chatterjee sharing an illuminated manuscript facsimile with one of her classes.

That is to say, whatever form they take, you probably think of books as something you take in almost wholly through the sense of sight.  In a world of “disembodied” books on Kindles, Nooks, Crannies (which do not exist just yet), and other e-readers, it is easy to get used to the idea of a book as a visual phenomenon divorced from a physical, touchable, smell-able shape.  In my work with manuscript facsimiles, however, I’ve had the opportunity to speak with some of our patrons about how they use our facsimile collection.  As it turns out, some of them have very different ideas about how best to experience a book.

Professor Paroma Chatterjee has been teaching medieval and Byzantine art here at UNC for the last three years.  Her particular interests are in “textual and pictorial narrative, concealment and revelation, the creation (and sometimes destruction) of cult images, the delights and discontents of illusionism, and silent cinema.”  When we met, she explained the benefits of bringing her classes to the library to use our manuscript facsimile collection — which she does at least once each term.

“For them to actually see the stuff and to touch it, and to use it, to see how even the shape and the weight of the folio is different from a regular book, that is what I’ve tried to do.”

The unique physical experience of these facsimiles is not limited to books, either.  For example, there is also the Codex Vaticanus Palatinus Graecus 431 — better known as the Joshua Roll. The Joshua Roll is a large scroll facsimile which Professor Chatterjee enjoys showing the students because it exposes them to an alternative form of the book.

The Joshua Roll in action.

“A lot of the students are very unsure of how to use this object; and then there’s the whole box in which it’s kept, so you open the box, and it has those rollers… but then you begin to play with it and they get more comfortable,” she said, describing the experience.

The “experience” seemed to be the most important part of our facsimile collection for Dr. Chatterjee, and the ways in which that experience differs from more typical means of viewing manuscripts.

“You realize how much your body is implicated in that (handling a manuscript).  I’ve had to lift some of these facsimiles to show, and I can tell you it really was a workout.  And then there are these tiny ones, which also require your body, because you literally have to peer (at it); there’s so much detail and you feel clumsy compared to it, your size is so out of proportion to these beautiful little things. That is what I want the students to get a sense of, there’s NO way a slide lecture does that.  There’s no way a museum does that either, because you can’t actually touch it.  That’s the fun thing about the library, that’s what I try to make them see: look, you can touch it, you could tear it if you wanted!”

“Which we won’t!” she hastily added.

Feeling the love.

Apparently her approach works, too.  Professor Chatterjee described situations in which students simply could not stop handling the facsimiles, staying even after class had ended.  I’ve attended a few of these sessions myself and their excitement is palpable.

If you’re interested in learning more, Professor Chatterjee will be presenting some of our illuminated manuscripts at the Art Library on the evening of October 11 at 6 p.m. I’ll also be continuing to explore our facsimile collection in a series of similar interviews here on the blog. Stay tuned for more discoveries and insights!

– Eva Sclippa

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Filed under Events, Illuminated manuscripts, Manuscript facsimiles, Patron interviews

From the Studio to the Stacks (and Beyond!)

Talking about research with MFA student Neill Prewitt

If there’s one thing I’ve learned from talking with UNC graduate students in studio art, it’s that their research process knows no bounds.  From colleagues to community members to obscure volumes in far corners of the UNC Chapel Hill library system, these students take an ambitious and tentacular approach to source gathering.

Working at Sloane, I’ve been lucky enough to witness small moments in this unfolding narrative. Curious about the bigger picture, I will be writing a series of blog posts about MFA students and their research – both in the library and beyond.

Dream Acts (installation view) at the former Chapel Hill Museum

Neill Prewitt, a second year MFA student, recently co-organized the exhibition “Dream Acts.” “Dream Acts” was a project featuring art made by and with residents of the Abbey Court apartment complex in Carrboro. The show was held at the former Chapel Hill Museum in June and July, and featured a wide variety of media.  Walls were covered with portraits of Abbey Court residents posing in front of fantastical backdrops. Fully furnished living rooms evoked a sense of home, while video footage made in collaboration with children from Abbey Court danced over walls and floors.  On the night of the opening, the space was filled with the sounds of celebration and sharing – communities meeting in a liminal, creative space.

I asked Prewitt how he prepared for the project: “There was a lot of primary research, visiting Abbey Court two or three times a week for a while before we started,” he explained.  He and collaborators Eleanor Blake and Lincoln Hancock also worked with UNC professors from a variety of disciplines.  Judith Blau, a professor of sociology at UNC who also serves as director of the Chapel Hill and Carrboro Human Rights Center, was a particularly important resource. The Center, which is located right at Abbey Court, has collaborated with residents on projects such as festival-planning, computer literacy programs, and fair housing advocacy.  Prewitt feels strongly about learning through interaction and dialogue: “So much comes out of it – it’s a living relationship that just grows and grows.”

Yuxtapongo Translucence, The Block Gallery, 2009

When Prewitt heads to the library for resources, he casts a wide net. “It’s hard to know what’s going to be useful…  I’m a big fan of checking out like 12 items and then maybe one of them might work out.” Though he reads a wide variety of literature (at the time of our conversation he was looking at two Bertolt Brecht plays and “The Shadow Factory” by James Bamford), there are particular sections of the Art Library that he frequents for both targeted and serendipitous finds.  “It’s important for information to be online but there’s no substitute for being in an environment like this [where you can] stumble across something on your way to getting what you were looking for.”

Hot tub for checkout.* (*Not yet available at time of publication...)

In an ideal world, what else would he like to check out from the library? “I would love a tool-sharing library along the lines of the tech shop in Durham – though that would require instruction.”  On a more serious note:  “I want to check out a hot tub for the weekend.”

-Madeline Veitch

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Filed under MFA student work, Patron interviews