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Center for Archival Research and Training (CART)

2018-2019 Projects: Artwork of the Grateful Dead

Artwork and Material Culture of the Grateful Dead

 

 

One CART Fellow is organizing, describing, and preserving the Artwork series of the Grateful Dead Records, and collaboratively curating an exhibit. This series contains striking visual materials created by numerous professional and amateur artists; some gifted to the Grateful Dead, some created by the band members themselves, and some created for albums and other projects by the Grateful Dead. The series includes over 80 linear feet of framed items and boxed material, and covers a variety of artists, media, and formats.

During Summer 2018, the CART Fellow is aiding in the proper storage, preservation, and organization of artwork, and completing an inventory for publication in the collection guide. In 2019, in collaboration with Special Collections staff, the Fellow will collaboratively curate an exhibit in the Library’s gallery space, Dead Central, featuring materials from the Artwork series and other components of the collections. This exhibit will be on view for one year starting in 2019. 

For more information on the Grateful Dead Archive, consult the UCSC Grateful Dead Archive website and the Grateful Dead research guide, and visit the Grateful Dead Archive Online (GDAO).

 

Photos of Dead Central exhibit space

2018-2019 Projects: Trianon Press Archive

Trianon Press Archive

 

 

Four CART Fellows are processing the archives of the Trianon Press, a publisher of exceptional art and fine-press books founded by Arnold Fawcus in Paris, which operated from the mid-1940s through the 1980s. Most known for its close relationship with the William Blake Trust and its production of fine facsimiles of Blake’s illuminated works, Trianon Press also produced publications such as Le Dur Desir de Durer by Paul Éluard, with illustrations by Marc Chagall; The Haggadah for Passover, illustrated by Ben Shahn; Sur Marcel Duchamp by Robert Lebel; Gislebertus, Sculptor of Autun; Les Baigneuses by Paul Cézanne, with text by Jean Cassou; and Miserere by Georges Roualt. To make Trianon’s virtually indistinguishable facsimiles, Fawcus employed two intricate techniques in the printing process: collotype, a photographic printing process using light-sensitive sheets of gelatin; and pochoir, a stencil process used to hand color the collotype prints, which sometimes involved as many as 42 individually applied layers to produce a single plate.

The full Archive contains over 500 boxes of materials from the Press, including stencils, negatives, maquettes, plates, and other materials from the entire printing and production process up to the final publication, for both completed and uncompleted projects. Also included are correspondence with authors and artists such as Aldous Huxley, Robert Graves, Marcel Duchamp, and Ben Shahn; business records; craftsmen’s color notes and time sheets; and photographs.

During Summer, Fall, and Winter quarters, fellows are aiding in the proper storage and preservation of these works and describing materials in a collection guide, then will curate an exhibit in the Special Collections 3rd floor gallery space during Spring quarter. This exhibit will be on viewbeginnin in June 2019 through Fall quarter 2019.

For more information on the Trianon Press, consult Recollections of Trianon Press, an oral history given by Julie Fawcus.