Good Reads

As a library, I think it is important to advertise avenues for book lovers. If you like books and you like libraries then you have probably already heard of good reads. In case you haven’t, this is our Christmas gift to you. Enjoy!

Good Reads is an online social platform for people to share and build book lists. It is one of the worlds largest sites for book recommendations and book lists. The site allows you to build book wish lists and reading lists, as well as keep tabs on books you’re in the process of reading. You can look at specific genres you are interested in reading, collaborate in book clubs. You can even choose to judge a book by its cover if you wish and search one of the many image based lists (including “Best cover of all time”, “Breathtaking book covers” or “Horrible covers”). Good Reads even has a focus for academic life or the art world. Here is a book list for some of OCAC’s craft departments. Check them out. If you find a book you really like, please come into the library and we will try to track it down for you.

Book Arts: Not represented, create one!








Wood: Not represented, make your own list!


Simon Peers quote: “If we hadn’t made this permanent …”

[Byline: The Golden Spider Silk at the V&A showcases the world’s largest pieces of cloth made entirely from spider silk].

“Simon Peers explains the spectacle before us. ‘If we hadn’t made this permanent, this silk would be webs in the wind. That’s part of the magic. Something so ephemeral and yet somehow we’ve managed to capture it.'” (24)

Jones, Denna. “World Wide Web.” Embroidery. May | June, 2012. pgs 24 – 27.

Andre Woodward Quote: “My work is definitely time-based. There are about three different…”

Michael Amy: Your work is also about time.

Andre Woodward: My work is definitely time-based. There are about three different timelines going on in each piece. The tree grows. In the sound pieces, you need to consider the duration of the soundtrack, and in the pieces that incorporate lighting systems, you have that time going on as well. And then you have the time during which you are interacting with the work. I produce sculptural work because, with sculpture, there is you and the piece. There is not a flat divide—you and the piece occupy the same space. Once you realize that the sculpture is alive, something happens. You start to be sympathetic to the life-force. It isn’t merely an object. It’s a living thing. (29)

Amy, Michael. “A Living Thing Shouldn’t Be There: a Conversation with Andre Woodward.” Sculpture. Vol. 31, No. 4, May, 2012. pgs 26- 33.

Glenn Adamson Quote: “Of course, big corporations are just as adept…”

“Of course, big corporations are just as adept at manipulating the rhetoric of sustainability as young makers. But craft does have a special advantage. In the effort to promote more self-aware ways of living, the simple act of making by hand signifies direct engagement with an object, and therefore a degree of personal responsibility. Certainly, not every craft object is made sustainably; we have to get real about that. But the lesson of postmodernism is that the power of the image is not to be denied. It’s not enough to make things responsibly; we need to call on mass media to constantly remind the public of what responsibility might look like.” (023)

An excerpt from Glenn Adamson’s response to the questions: Is there a sustainability aesthetic? If so, how would you describe it, and which artists exemplify it?

“The Big Questions with Glenn Adamson: What Responsibility Might Look Like.” American Craft. Vol. 72, No. 02, April/May 2012. pg 023.

Peter Shelton quote: “This whole figurative versus abstract stuff comes from faulty thinking …”

“Marlena Doktorczyk-Donohue: Would you concede that you create zany correlates of the body that maneuver between the abstract and the figurative?

Peter Shelton: This whole figurative versus abstract stuff comes from faulty thinking after World War II, suggesting that Modernism was fundamentally a battle between representation and abstraction. I don’t see it as one leading to the other or exceeding the other. It comes down to achieving some core expression, and the “hows” of getting there follow from that.

MDD: Do you mean that idea trumps process?

PS: Nothing is that simple. I mean that it’s inaccurate to see my work as growing linearly from abstract to real or simple to complex, or the reverse. Unlike many of my formalist predecessors, I don’t work linearly, evolving from project and situation to the next project and situation–ideas continue to circulate […]” (41)

Doktorczyk-Donohue, Marlena. “Simple Simply Isn’t.” Sculpture. April 2012. pgs. 38-45.

47. “DIY in PDX” compiled by Iris Porter and illustrated by Lily Gilbert.

Renowned entrepreneur and designer, Sandy Chilewich, will be giving a talk today at the Oregon College of Art and Craft in the Vollum Drawing and Painting studios from 12:45 – 1:45pm. She is known world-wide for modern reinterpretations of underutilized materials and manufacturing processes. Learn how she designed and brought to market award-winning products made in theUSAand sold globally. Chilewich Sultan LLC, a New York based company, has transformed how people dress their tables at home and in restaurants around the globe, while their floor and wall coverings provide a clean contemporary alternative in the design community. Some of her designs are also on display in the OCAC retail craft gallery, so be sure to stop by and check them out on your way to the lecture!

To learn more about Sandy Chilewich, we encourage you to visit her website:

Thinking about entrepreneurship, we were reminded of the work of a former OCAC student in Book Arts, Iris Porter.  She published a book on the DIY (Do-It-Yourself) culture inPortlandthat compiles the stories of 28 local artists, writers, musicians and other entrepreneurs. It is a fascinating culmination projects and essays, including Eleanor Whitney’s text on “The Creative Process and Radical Potential of DIY,” Chloe Eudaly’s “How to quit your job, get a life, and word harder than you ever imagined,” and “Promoting small press books with little or no money” by  Kevin Sampsell, among other interviews and small business spotlights.

Here’s how one reviewer described the book: “DIY in PDX is mostly an ongoing discussion and how-to manual. You’ll hear from Molly Sprenglemeyer, volunteer coordinator for North Portland’s SCRAP (School & Community Reuse Action Project) and Portland DIY veteran (she remembers a time when clothes at the Goodwill bins were 49 cents a pound!). You’ll get book recommendations from the effervescent Chloe Eudaly, founder of Reading Frenzy (she remembers P-town’s ’80s book cafes Howling Frog and Umbra Penumbra). You’ll read encouragement and advice from countless organizers of craft bazaars, zine symposia and CD compilations (one is even included in the pages of the book). And by book’s end, you’ll be inspired to bust out the four-track recorder and warble your way to self-sufficient stardom.”—from Elizabeth Dye’s review in the Willamette Week (here).

Perhaps in today’s economic climate, the DIY movement and the stories of successful entrepreneurs might be all the more significant.  Decide for yourself. Come to today’s talk with Sandy Chilewich and check out DIY in PDX!

Library Love – Long Live Analog

The North East Institute for Analog Studies goes into its 18th year. (2009)

Our Mission;
 Since the first shadow was cast and traced on the walls of a cave man has been drawn to the experience of projected images. Centuries of invention and experimentation have yielded a species of devices capable of creating magic with just shadows and sound.  It is our mission to ensure that each generation of artists is familiar with the luminous possibilities of these marvelous and beautiful image making machines. We are also committed to the ongoing discussion of the analog in regard to culture and technology. We embrace models for imagining the world that are fluid.  In order to further our mission, the Institute relocated to the basement of the Montserrat College of Art Hardie Building during September 2004. It is our hope that this move will mark the beginning of a new era for the Institute and it’s program of sound and image events that exist truly as “Continuous and Ever-Changing”.