Urgent Museum Notice

Now Open—Julie Chen: True to Life

Blog Category:  NMWA Exhibitions
A close up photograph of an artist's book. Each layer of blue paper has an organic, irregular shape cut out of the middle so the layers form a tunnel. A line of text is printed in small type on each page, receding into the tunnel like an underwater cavern.

“I’m interested in both a reading experience and an art experience,” says Julie Chen (b. 1963), a renowned book artist and associate professor at Mills College in Oakland, California. More than a dozen works from throughout Chen’s 33-year career are now on view in Julie Chen: True to Life in NMWA’s Betty Boyd Dettre Library and Research Center. Chen’s extensive work within the field of artists’ books continues to push the boundaries of what a book can be.

Inspired by Joseph Cornell’s shadow boxes and William Kentridge’s stop-motion animation, Chen pursued book arts at Mills College. She founded Flying Fish Press in 1987 and has published more than 40 three-dimensional works of art, some in collaboration with other artists and poets. Chen aims to produce one book a year and sometimes works seven days a week brainstorming a topic, determining design, and assembling as many as 100 copies per book.

Multiple colorful objects sit spread out against a neutral background, including a rectangular box filled with more small objects, two small books spread open, a small box resembling a game, and other folded paper objects.
Julie Chen, Bon Bon Mots, 1998; Letterpress on paper, Fimo, polymer clay, and Plexiglas, 2 x 13 5/8 x 10 in.; NMWA, Museum purchase: Library and Research Center Acquisition Fund; © Julie Chen

The idea that experiencing a book should be physically engaging, not simply textual, motivates Chen’s work. Her books are still books, despite a lack of conventional pages, spine, and cover. Maps stand in for pages, silk fabric replaces spines, and anything from a box to a stand serves as a cover. Bon Bon Mots: A Fine Assortment of Books (1998) contains five books, each finely shaped as tiny origami desserts, nestled inside of a confectionery box. The books contain commentary on the concepts of life and time, combined to suggest a metaphor about the place the narrator hopes to fill in society.

Her most recent work, Wayfinding (2019), explores the relationship between physical and mental learning. Chen found ways to engage a reader’s multiple senses, creating a three-dimensional alphabet and using handmade paper that makes a rattling sound when turned. “It took [a long time] to figure out what I was trying to say, and I had to learn all kinds of new techniques to [create] the pieces,” Chen explained. “I’m very proud of that piece.”

An open artist’s book resembling two open books connected end to end. The four inner cover panels feature small sculpted brown shapes, small indented shapes, and a rocky-looking panel. The two groups of pages feature different patterns that resemble rock climbing walls.
Julie Chen, Wayfinding, 2019; Courtesy of the artist; © Julie Chen

While not limiting herself to distinctive themes and maintaining that she is not a “political artist,” Chen’s work touches on both personal and universal topics. Chrysalis (2014) addresses grief, illustrating how the brain changes in response to trauma. The work is housed in a box and held together with magnets; it opens to reveal a book designed in the shape of a brain and text that describes the topic. Panorama (2008) explores the urgent message of climate change. Through the use of pop-ups and interactive folded messages about the state of the world, it communicates feelings of both hope and helplessness. The physical beauty of Chen’s books intersects with the messages within their pages.

Chen has extensively documented her process and creations, including in the book Reading the Object: Three Decades of Books by Julie Chen (2016). Her commitment to book arts extends beyond creation and into making the complex genre understood and more widely accessible.


Julie Chen: True to Life is open by appointment only, Monday through Friday, 10 a.m. to 5 p.m. Please purchase your timed tickets online, then email lrc@nmwa.org to schedule your appointment.

Related Posts

  • Behind the Scenes: RECLAMATION

    Posted: Apr 28, 2021 in NMWA Exhibitions
    Melani N. Douglass, NMWA director of public programs, details her process curating the online exhibition Reclamation, which examines the power of food as creative medium and connector.
    A black-and-white photograph of two women and two girls, all with medium-dark skin tones, together at a dining table set for dinner. A lamp hangs over the table and a mirror hangs on a wall behind them. The woman on the left is standing, while the other three sit at the table.
    Blog Category:  NMWA Exhibitions
  • Reclamation: Q&A with Jenny Dorsey

    Posted: Apr 19, 2021 in Artist Spotlight
    Chef, writer, and artist Jenny Dorsey talks with us about her process and work, part of NMWA's new online exhibition RECLAMATION: Recipes, Remedies, and Rituals.
    A light-skinned woman of Asian descent stands behind a large, wooden kitchen table that is full of two white dishes of finely plated food and various small, plastic to-go dishes., alongside a small bronze French Press coffee maker. The woman smiles and wears a grey tshirt under a black and white vertical striped apron.
    Blog Category:  Artist Spotlight
  • Forming a More Perfect Union

    Posted: Apr 14, 2021 in Advocacy
    Web designer Sue Anna Joe created the central magnolia motif on Mississippi’s new state flag, which recently replaced the original flag’s Confederate imagery. We asked Joe to consider Sonya Clark’s own Confederate battle flag and truce flag works.
    A photograph of two figures standing side by side, unraveling the threads of an American Confederate battle flag. The figure on the left has light skin, and the figure on the right has darker skin. They face away from the camera, with their hands in the center of the image pulling loose the threads.
    Blog Category:  Advocacy