An Edition of Two (2014)

die wiese|the meadow & juniperus communis

die wiese|the meadow (2014)
herman de vries, susanne de vries and peter foolen
juniperus communis (2014)
herman de vries
Box folder of 36 postcards & box folder of juniper berries. Edition of 216, of which this is 189. Acquired from Peter Foolen Editions, November 2014.
Photos of the works: Books On Books Collection.

April 2012

February and November 2013

February 2014

This “edition of two”, as Peter Foolen terms it, gives the reader/viewer slices of two much larger works. The first was a 320-page hardback edition of 750 copies, also entitled die wiese / the meadow but involving Marion Reissner for the concept and photography. Two copies of the special edition, signed and numbered, also included dried leaves that de vries selected from the 4000 square meters — the meadow — that is one of de vries’ most important works of art. In the Steigerwald near Eschenau, Germany, where they live, he and susanne de vries, his wife, started this work of nature’s sculpture in 1986. A peninsula anchored on the forest and surrounded by farmland, the meadow boasts a barrier of cultivated aspen and hedges. Within, a variety of shrubs, trees and wildflowers abound. A work of art in and of itself, it is also the source and palette for smaller works made of selections of leaves, arrays of briars and pressed vegetation. The dried juniper berries in juniperus communis signal that aspect of his art.

In small, juniperus communis reflects another important aspect: exhibitions and installations.

infinity in finity (2013)

infinity in finity (2013)
herman de vries 
Softcover, sewn. H166 x W210 mm. Edition of 1000. Acquired from Éditions incertain sens, 27 June 2020.
Photos of the work: Books On Books Collection.

In the Books On Books Collection, infinity in finity occupies a mid-point between die weise|the meadow and argumentstellen. Whereas die weise|the meadow draws its art directly from nature or the artist’s interaction with nature, argumentstellen draws its art from the artist’s interaction with a book of philosophy and his visual translation/illustration of it through the book arts. Except for the photo of herman de vries as naturalist-cum-naturist, infinity in finity belongs more to that side of his work that focuses on wordplay and the book arts.

The single photo and the phrase “infinity in finity” point more toward intangible, abstract nature rather than the tangible nature of a meadow and handful of juniper berries. The strand under the artist’s feet and the repeated phrase evoke the lines of Blake’s “Auguries of Innocence”:

To see a World in a Grain of Sand 

And a Heaven in a Wild Flower 

Hold Infinity in the palm of your hand 

And Eternity in an hour

Grafix Centrum Poligrafii (Gdańsk, Poland) has precisely executed the genius of the design that aligns the repeated phrase across the double-page spread, into and out of the gutter, and sends it off the top, bottom and fore edges. The meaning of the words and form of the book align perfectly. The reader/viewer holds infinity in the finite form of a book held between two hands.

les très riches heures de herman de vries (2004)

les très riches heures de herman de vries (2004)
herman de vries
Perfect bound softcover. H148 x W217 mm NL 131 illustrations. Edition of 300, of which this is #128. Acquired from Vögele Kultur Zentrum, 8 January 2024.
Photos of the book: Books On Books Collection.

de vries excels at those twists and allusions that subtly transform a set of postcards or book of photos into an artist’s book. Here, the twist is that all of the photos have been taken from a fixed position in a forest over a period of four hours. The allusion is to Les Très Riches Heures du Duc de Berry. As Anne Moeglin-Delcroix points out, what links the twist and the allusion is that there are 131 miniature illustrations in Duc de Berry’s book of hours, and four hours is the amount of time it took de vries to take 131 photos of whatever struck him from his vantage point.

Seven sequential images of the book to show the artist’s shifting focus.

One of the more luxurious of de vries’ works, its photos are printed on 135 gsm Job Parilux Matte White, and amusingly, the cover is 250 gsm Gmund Cannabis Essence.

argumentstellen 1968 / 2003 (2003)

argumentstellen 1968 / 2003 (de wittgenstein — tractatus — ) (2003)
herman de vries
Casebound, softcover. H296 x W210 mm. Edition of 1250. Acquired from Éditions incertain sens, 27 June 2020. (The first date 1968 is the year the artwork was conceived and drawn; the second date, the year it was published.)
Photos: Books On Books Collection.

Argumentstellen (German for “arguing” or “making an argument”) roots itself even more in abstraction, allusion and the book arts than infinity in finity. Other than the title and colophon, there are no words in argumentstellen. Still, the little text on which it relies looms large.

The Dutch naar and French de translate as “after”; so argumentstellen is “after Wittgenstein — tractatus — 2. 0131 …” Here are English translations for the text from section 2.0131 of Wittgenstein’s Tractatus Logico-Philosophicus:

From Wittgenstein’s Tractatus Logico-Philosophicus,
Side-by-Side-by-Side Edition, curated by Kevin C. Klement, Department of Philosophy, University of Massachusetts – Amherst

Unlike most paintings and prints entitled “after [fill in the blank]” — but like many instances of inverse ekphrasis in book art — argumentstellen is simultaneously a visual translation and interpretation of referenced text, not another artist’s visual work. Rather than the ekphrastic text/poem that proceeds from the visual or sculptural work of art, this is visual book art that proceeds from philosophical text. On each rich, thick, white page, the black dot (the “point in space”, full stop or period?) appears once but in different places from page to page. Against the texture and color of the page, each black dot almost performs a trompe l’oeil that surrounds it with ghostly text — implying that it marks the space or place where a statement or argument occurs, which differs from place to place, from perspective to perspective.

In the same year as the drawing for this work occurred, so did that for the lines (1968/1995). De vries’ comments on the lines shed light on argumentstellen as well as return our thoughts to walking into the ocean or through the meadow:

the position of a single line in the surface determines our experience of these surfaces, so that with another position of the line, an extension or a shortening, our experience of the surface is changed.

like every primary picture element, the line has its own unique effect. 
a point, for example, determines the space around it, creates an area of ​​tension out of it. a line does that too, but it is clearer that the line divides the area.

lines are like dams in water. the eye must overcome it like an obstacle. 
but it can also go around, flow. Another option is to follow the line, walk on the embankment and notice the changes in the area. because the place where the eye is located is a point of perception in relation to the surface. 
in this way the line is a series of 'arguments'. Walking along, around or over here means changing your perspective and viewpoint. — herman de vries. Accessed 30 June 2020.

At which William Blake and those other Romantics — those ambler poets — John Clare, Samuel Coleridge and William Wordsworth must be nodding and smiling.

Further Reading

“Jacqueline Rush Lee”. 8 October 2019. Books On Books Collection. More on inverse ekphrasis.

“Barbara Tetenbaum”. 26 June 2013. Bookmarking Book Art. More on inverse ekphrasis.

Fehr, Michael. 1992. herman’s Meadow. A Museum. Accessed 29 June 2020.

Gooding, Mel. 2006. herman de vries: chance and change. London: Thames & Hudson.

Moeglin-Delcroix, Anne. 2015. Ambulo Ergo Sum: Nature as Experience in Artists’ Books. Buchhandlung Walther König. See pp. 28-30.

Sackner, Martin and Ruth. 2015. The Art of Typewriting : 570+ Illustrations. 2015. London: Thames & Hudson. P. 325.