The Bridwell Quarterly Spring 2022 & The Bridwell Quill Issues 44–46

Please enjoy “The Ballad of Time Travel” issues 44–46 of Anthony Elia’s newsletter The Bridwell Quill along with Issue 15 of Bridwell Library’s The Bridwell Quarterly (Spring 2022).


If you have comments or questions, please feel free to contact us at Happy reading!

Bridwell Edible Book Festival (BEBFest May 3, 2022)

Bridwell Edible Book Festival

— BEBFest 2022 —

Tuesday, May 3 • 1:30pm–3pm

Gill Hall, Bridwell Library



Thank you to all who participated & voted in this year’s BEBFest.

We are excited to announce the BEBFest 2022 winners!


1. MacBeth Cake by the “MacBakers”

2. Tell Tale Heart by Rachel Holmes

3. La (Fo)-Caccia di Diana by Aria Cabot

4. Queer Lessons by Michelle Ried


Congrats to all and thanks again for your participation.

Winners will soon be contacted with information about their prizes.



“The Tell-Tale Heart,” Edgar Allen Poe

Created by Rachel Holmes

“I then took up three planks from the flooring of the chamber, and deposited all between the scantlings”

“Villains!” I shrieked, “dissemble no more! I admit the deed! – tear up the planks! – here, here! – It is the beating of his hideous heart!”




“La (Fo-)Caccia di Diana” by Giovanni Boccaccio.

Created by Aria Cabot

A taste of Boccaccio’s first literary work, Diana’s Hunt, more salty than salacious, with more yeasts than beasts.




Macbeth Cake from Act 4, Scene 1

Created by the “Macbakers”

Caroline Roman, Simone Melvin, Kennedi Watts, and Sylvia Bloom (Senior English Majors at SMU)

We were inspired to make this cake when our Shakespeare professor (Dr. Dan Moss) sent us an email with the competition information. He knew we were bakers because we had brought cookies to class one day, haha! Macbeth is one of the tragedies we read in class that we are very partial to. Dr. Moss suggested we make following cake:

“I think [Caroline] and Simone should bake an edible book using all the ingredients of the Witches’ brew in the cauldron scene. Pretty sure the English Department has a supply of newt eyes, frog toes, Tartar’s lips and birth-strangled babes in the main office, if you can’t find those in grocery stores due to supply-chain issues. Just ask Matthew [Biggin].”

The cake is just that, with the famous “Double, double…” passage on the pages of the book. We made a fondant tongue, lips, nose, and intestines, to name a few.

There are now two iterations of the masterpiece of Macbeth in the world.




“Queer Lessons for Churches on the Straight & Narrow: What all Christians Can Learn from LGBTQ Lives” 

By Cody J. Sanders

Created by Michelle Ried 






Bridwell proudly announces its 2nd Annual Bridwell Edible Book Festival (BEBFest). In our first year we held an Edible Book Festival “test run” within Bridwell only and had our entries exclusively online (due to COVID safety issues), where staff shared their images in a Box folder. Because of its success, this year we are opening up the field to a larger crowd and welcome entries from the entire SMU community. We will continue with the online submissions and sharing; though, for those who wish to bring their edible books in person, Bridwell will host an event on May 3rd where entrants may share their edibles with others in a party format.  This will take place in Bridwell Library’s Gill Hall.

Below, entries from Bridwell’s first BEBFest: Anthony Elia’s Book of Genesis, “God created” (in Hebrew sounds like “brie cheese”), Arvid Nelsen’s Leaves of Grass, Jane Elder’s Murder on the Orient Express, by Agatha Christie, and Michelle Ried’s Dead Sea Scrolls made of Rugelach.



The rules for the Edible Book Festival are as follows: 

  • Entries must have a book or library related theme and may have a short description accompanying them 
  • Entries are usually comical, clever, witty, or have double-meanings, but they don’t have to be
  • Entries must be made of something edible, but do not have to be entirely edible (i.e. you can have props!)
  • Entrants may be from anywhere within the entire SMU community
  • Entrants may only submit one entry
  • Group or team projects are welcome, one entry per group
  • Submissions in the form of digital photograph will be sent to Michelle Ried in Bridwell at ( by Tuesday, May 3rd, 2022 at 2PM, but can be submitted earlier
  • For those who wish to participate in the in-person event, it will be held in front of Bridwell—weather permitting—on May 3rd at 1:30-3PM.  After 2PM, and once you’ve submitted your digital image of the edible book, edible book artists may offer their works up for community consumption or sampling
  • All members of the SMU community are eligible to vote, whether or not you’ve submitted an entry  
  • A voting link will be available on the Bridwell News Blog from Tuesday, May 3rd at 4pm through Friday, May 5th at noon (Central Time).
  • Judges will be asked to vote on their top 3 picks and the winners will be announced at the end of the week.



Maître d’art Didier Mutel Lectures at SMU April 7 & 8

Maître d’art Didier Mutel Lectures at SMU


RSVP: April 7, 11:00 a.m.–12:30 p.m.


RSVP: April 8, 10:30 a.m.–12:00 p.m.



*Lectures are free and open to the public

French Maître d’art Didier Mutel to Speak at SMU April 7 and 8, 2022

The book artist, engraver and printer Didier Mutel, who has been making books and engraved prints since 1988, is also an instructor at the Institut Supérieur Des Beaux Arts, Besançon, France, where he is training the next generation of engravers and book artists.  Didier’s dual role in the world of engraving as both a printer and a teacher has led him to think carefully about the history of engraving as well as its future.

His first talk will address the history of his atelier (founded in 1793), contextualizing its activities from 1793-present. He will further touch on the history of the artist book in France to 1991. This talk will take place at the Smith Auditorium of the Meadows Museum from 11:00 a.m. to 12:30 p.m. on Thursday, April 7, 2022.

Using concrete examples of his work held by Bridwell Library Special Collections, Mutel’s second talk will address the production of artist books in his own studio practice – a practice which, since 1988, has sought to redefine the parameters of printmaking and artist books, incorporating historical perspective and awareness with modern-day technique and forward-looking methodology. This talk will take place in the Blue Room of Bridwell Library from 10:30 a.m. to 12:00 p.m. on Friday, April 8, 2022.




Founded in 1793, ATELIER DIDIER MUTEL is the oldest etching studio in France. From a historical and artistic point of view it represents centuries of knowledge and a very high level of handcraft production. The studio is well recognized in France and abroad. The studio is highly specialized in traditional etching and printing processes, from conceptualization through to the final execution. Through very specific projects the workshop mixes traditional techniques and skills with contemporary techniques. The aim is to reopen the artistic field of etching and to carry on very challenging projects. Didier Mutel apprenticed to the studio in 1988, joining there his master Pierre Lallier who ran it from 1968 to 2008. The studio moved from Paris to the Jura and after 5 years of renovation and its grand opening took place in 2014. 


DIDIER MUTEL has been producing artists books and engravings since 1989. Born in 1971, he entered the Ecole Estienne at 15, then studied at the Ecole Nationale Superieure des Arts Decoratifs in Paris, and continued his studies at the l’Atelier National de Création Typographique à l’Imprimerie Nationale. From 1997 to 1999, Didier Mutel was in residence at the Villa Medici in Rome where he produced two collaborative books. In 2008, the Atelier Georges Leblanc closed, and Pierre Lallier transferred a significant portion of the historical equipment to Didier Mutel. In 2009, Didier Mutel purchased space in Orchamps in the Jura, where he reinstalled the workshop. Since 2003 Mutel has been teaching at the Institut Supérieur des Beaux Arts of Besançon and is regularly invited by American universities for presentations and special courses.


ATELIER DIDIER MUTEL is a Member of the Grands Ateliers de France, and in 2013 Didier Mutel received the prestigious title of Maître d’art. Most recently, he was awarded the Prix Liliane Bettencourt pour l’Intelligence de la Main, a juried prize for “exceptional talent” that recognized his recent book, R217A (2016), as a work “resulting from a perfect mastery of techniques and savoir-faire of artistic craft” as well as demonstrating “innovation, and contributing to the evolution of this knowledge.” His most recent work includes the monumental The First Atlas of The United States of Acid (2017), Sidereus Nuncius (2018), Melencholia (2021), and the ongoing series, The Birds of Acid (2019- ).


The Bridwell Quarterly Issue 14 Winter 2022 & The Bridwell Quill Jan-Mar 2022

Please enjoy “The Carpenter & the Fig Tree” issues 41–43 of Anthony Elia’s newsletter The Bridwell Quill along with issue 14 of Bridwell Library’s The Bridwell Quarterly (Winter 2022).









Friends and colleagues who will be in the Dallas area March 7–9, please join us for our one-of-a-kind avant-garde festival of music, lectures, food, artists’ books, poetic performances, and exhibits related to John Cage and his musical world! Bridwell Library and Perkins School of Music presents ~ A FESTIVAL OF FORM: John Cage & the Infinite Human at Bridwell Library (SMU)—March 7-9, 2022.

RSVP for some or all events. FREE and open to all.

Theology & Art of the Score: An Exhibit Accompanying A Festival of Form



An Exhibit on Cage’s Musical World

Bridwell Library

Theology and Art of the Score is an exhibit that comes out of various interdisciplinary projects that took place at Bridwell Library over the last year.  During the Dante Festival in late August 2021, the musical work produced by composer Gabrielle Cerberville titled “the sky is falling” blended together elements of literature, history, theology, art, and music in a provocative and unorthodox manner through the production of musical scores without notation or paper, but instead of acrylic paints on plexiglass.  Out of the tradition of John Cage and later Earle Brown (1926-2002) and George Crumb (1929-2022), this form of composition and notation continues to bend historical ideas of form and push the limits of composition and the score.  Brown advocated open form notation and is most known for his work December 1952 (left), a graphic score of image rather than traditional staves and notes, while Crumb split apart and reassembled the notation system into particularly radical representations for interpretation and performance (below right).

During the Fall 2021 semester, Meadows music classes visited Bridwell Library to view various historical and modern representations of musical notation, scores, and metal printing blocks for printing sheet music.  The lectures and discussions with students focused on how industrialization and technology facilitated the evolution of musical instruments (e.g. more metal in pianos), the growth of orchestras, and the experimentation with musical sound, silence, and noise at the same time that developments in printing technology were occurring.  This also prompted us to question how emergent technologies affected what constituted not just experimentation, but a complete dismantling of forms, whereby music, art, literature, history, theology, and the world itself were being restructured down to their subatomic essences.  At the start of the 20th century this included Schoenberg and Stravinsky in music; Matisse and Picasso in art; Joyce and Woolf in literature; Braudel in history and Tillich in theology.  The world that people knew of in the early part of the last century was ruptured on all accounts during the First World War, and the succeeding 1920s onward left open a door to an infinite potential for form.

It is no surprise then that the current Bridwell Symbiosis exhibit begins with works of this period, around the time of the First World War, and that some of the works we will hear at the March 9th evening concert will feature music written between 1910 and 1930.  In the process of working with students and discussing with colleagues these various themes, it became apparent that by contending with ideas of form we were able to be more critically engaged in the the work of a university and its parts.  And this is no more present in Bridwell Library, where the elements of theology on a grand scale transcend any divisional category or discipline.  Theology, therefore, becomes the fluid, organic, and holistic realm of all arts, a category with and without classifications, because it is meant to be the fullness of human expression—at least for those engaged in its systems of belief!

To be clear, many of those composers and writers and artists featured in both the Symbiosis exhibit and the Theology and Art of the Score exhibit were neither religious nor theological.  But their works provide vision and opportunity for the many students, scholars, clergy, and lay people seeking higher meaning in their quotidian practices and spiritual lives.  The Art portion of …Art of the Score signals the variegated creativity that each of these composers has offered, some more modestly than others.  Yet, each enlivens the notion of what constitutes the process of development, writing, and artistic execution in writing music and the score itself.  Overall, Theology and Art of the Score is meant to be an exercise of participation, where people today can come together and experience the notions of form that spread across the narratives of time and space, of color and style, and of context and realities—all of which may give us slight hints or forceful suggestions that the worlds we live in are not always clear and what we expect, but instead full of ambiguity and uncertainty.



The works in the exhibit Theology and Art of the Score represent primary sources related to John Cage and his world.  Works include letters and ephemera by some of Cage’s influences and teachers, such as Igor Stravinsky, Henry Cowell, Arnold Schoenberg, and Lazare Lévy, acquired by Bridwell for this event.  Selections of writings and drawings by Cage are on display, as well as a chamber (slide) opera by Dave Jones and William Kent, which is a pivot between the avant-garde notions of early 20th century modernist music and its contemporary movements represented in the artist books found in our major Bridwell exhibit Symbiosis of Script, Font, and Form (in the Prothro Galleries).

*Navigate to our A Festival of Form blog learn more and to RSVP.

A Festival of Form: John Cage & the Infinite Human (March 7–9)


Bridwell Library & Perkins Sacred Music Program Present


John Cage & the Infinite Human

March 7-9, 2022



An avant-garde festival of music, sound, silence, art, and books 

at Bridwell Library and Perkins Chapel 



A 16-hour performance of Cage’s Organ2/ASLSP 

“As Slow as Possible”


Lecture and music by composer, music critic, 

and Cage scholar Kyle Gann


and viewing of Bridwell’s current exhibits




Theology and Art of the Score


Free and open to the public 

March 7-9, 2022 on the SMU campus 

 For registration details go to the

SMU Libraries Events Calendar


View the Program for the Festival of Form


DAY 1: Monday, March 7, 2022   (RSVP)

Welcome to A Festival of Form at Bridwell Library, Blue Room

5:00PM Light Refreshments

5:30PM Introductory Remarks: Dean Sam Holland (SMU Meadows School of the Arts) and Dean Holly Jeffcoat (SMU Libraries)

5:45PM Lecture: “Infinite Sound, Infinite Human: How Form in Arts, Theology, and Music Strengthen our Understanding of the World” by Anthony Elia

6:15PM Panel Discussion on John Cage and his Legacy by SMU Meadows Music Faculty

6:35PM A Sonic Welcome to A Festival of Form with Dr. Courtney Brown (“John Cage & the Dinosaur”)


DAY 2: Tuesday, March 8, 2022  (RSVP)

6:00AM-10:00PM Performance in Perkins Chapel of Organ2/ASLSP  ~  “As Slow as Possible” – Christopher Anderson, Marcell Steuernagel & Ruth West

View Live-Stream Performance

*This work will be performed continuously and will be open to the public beginning at 6AM. As it is comprised of both long intervals of sustained notes on the organ and short stretches of silence, visitors may enter the chapel and experience the sound (or its absence) within the space over those 16-hours.  Student assistants will meet visitors at the entrance of the chapel and guide them to seats inside.  We offer and recommend the use of blindfolds (which you may keep), in order to allow visitors to focus on the sound of the space only, but this is not required for entrance. 









DAY 3: Wednesday, March 9, 2022

1:00PM Custer and Sitting Bull, opera by Kyle Gann. (RSVP) Film screening in Perkins Chapel with Q&A with Mr. Gann to follow

2:30–3:45PM (RSVP) Lecture: “John Cage in Dallas and Beyond” by Kyle Gann Bridwell Library, Blue Room      

3:45–4:00PM Break

4:00–4:30PM Interlude: Microtonal works on altered electronic piano in Bridwell Library, Blue Room (Anna Bulkina, piano)

4:30–5:00PM Lecture on Nothing by John Cage (Introductory Comments by Kyle Gann). Performed by SMU Music students in Bridwell Library, Blue Room

5:00PM Reception & Exhibition Viewing at Bridwell Library

6:00PM (RSVP) Concert in Perkins Chapel ~ Cage’s World of Musical Form: Ancestors, Cage, and Gann



A Concert of 20th & 21st Century Works

Perkins Chapel, March 9, 2022 ~ 6PM


Introductory Video Montage                       


PART I: Ancestors

Arnold Schoenberg, Sechs kleine klavierstücke, 1913  

Leo Ornstein, Suicide in an Airplane, 1918-19

Igor Stravinsky, Rag-Dance-Music, 1919  

Henry Cowell, Three Irish Legends, 1922  

George Antheil, Piano Sonata No. 2 “The Airplane,” 1923 

Lazare Lévy, Berceuse, 1955  


Short Break


PART II: John Cage

Three Pieces for Two Flutes, 1935 

In a Landscape for Piano, 1948 

4’33”, 1952

Dream for Vibraphone, 1948


INTERMEZZO: George Brecht, Drip Music, 1959 


Part III: Kyle Gann

Siren for Five Flutes, 1978   

Summer Serenade for Organ, 2014

Olana for Vibraphone, 2007 

Kierkegaard, Walking for Flute, Clarinet, Violin, Cello, 2007

RSVP: Reception Feb 2, 2022 at Bridwell Library

You are invited to attend a reception and special viewing of


with an introduction to the exhibition

by R. Arvid Nelsen at Bridwell Library

Wednesday February 2, 2022, 3:00 to 5:00 p.m.


Bridwell Library

Perkins School of Theology and SMU Libraries

Southern Methodist University

6005 Bishop Boulevard

The Bridwell Quarterly Fall 2021 & The Bridwell Quill Issues 39–40

Please enjoy “The Mystic & the Muse” issues 39–40 of Anthony Elia’s newsletter The Bridwell Quill along with issue 13 of Bridwell Library’s The Bridwell Quarterly (Fall 2021).


All issues of our publications can be viewed on our Bridwell Quarterly blog site.

If you have comments or questions, please feel free to contact us at  Happy reading!

Symbiosis of Script, Font, and Form: A Selection of Artists’ Books

Bridwell Library announces the opening of the first gallery exhibit in the library since 2019. Symbiosis of Script, Font, and Form: A Selection of Artists’ Books is a look at books from Bridwell Library Special Collections in which artists or circles of collaborators have integrated corporeal elements of the book form into the literature in sensitive and sometimes astounding ways.

The exhibit features 41 volumes illustrated by over thirty-five artists who have chosen well-known works to enhance or have created their own stories through text illustration. Artists include Henri Matisse, Richard Diebenkorn, Pablo Picasso, Henry Moore, Sonia Delaunay, Sam Gilliam, Rufino Tamayo, Salvador Dalí, and Jasper Johns. The finished books offer words that can be spoken and heard, paper that can be weighed in the hand and felt on the fingertips, ink that is forever as rich on the page as it had been on the press, geometry that cuts through the book page by page, a flow of alphabetic characters familiar and then seen for the first time, all enmeshed, all bound in organic synthesis, together surpassing any individual contributions.

The exhibited selections are in no way comprehensive as an array of twentieth- and twenty-first-century artists’ books. No particular thread in the history of printing or Western book arts was tracked. No succession of artists was deliberately followed. Rather, each book was included for its own sake, on its own terms, in its appeal to human hands, minds, and spirits.


The Elizabeth Perkins Prothro Galleries

Bridwell Library, SMU Libraries, and Perkins School of Theology, SMU

On view through March 31, 2022

Hours and more information 


Bridwell Library Presents a Christmas Concert

Bridwell Library Presents a Christmas Concert

Art Greenhaw & The Light Crust Doughboys

December 16, 2021, 6:00 PM–8:00 PM at Perkins Chapel

Reception to follow at Bridwell Library

Free and open to all!



Bridwell Library Christmas Concert: Art Greenhaw and The Light Crust Doughboys

Dallas (SMU) — Bridwell Library of SMU Libraries and Perkins School of Theology, Southern Methodist University announces a free Christmas Concert for all to attend. The Light Crust Doughboys will perform at Perkins Chapel on December 16, 2021. The concert will begin at 6:00 PM and will be followed by a reception at Bridwell Library. RSVP and indicate the number of people in your party.

The Light Crust Doughboys initially began by singing commercials for the Burrus Mill Flour Company in 1931 and later rose to fame as they introduced the genre of Texas Western Swing. The band began with Texas music legend Bob Wills and has changed leadership several times. Since 1983, the band has been led by Grammy Award-winning artist and producer Art Greenhaw. The Light Crust Doughboys celebrated ninety years of music this year, making it the longest running band in recorded history.

For more information, contact Bridwell Library’s Assistant to the Director, Michelle Ried, 214.768.3483 or For more information about Bridwell Library:, 214.768.1866.

Information about public parking at SMU (including maps of the SMU campus):