Danish artist Hanne Stochholm‘s “assemblages”, which garnered first prize in the 7th International Artist’s Book Triennial Vilnius 2015, have cousins far afield — geographically and chronologically.
Geographically, this merging of book and metal finds common cause in the US (see Andrew Hayes’ works) and Israel (see the work of Neil Nenner and Avihai Mizrahi, represented — as is Hayes — by the Seager/Gray Gallery).
Chronologically, the hold that books and metal have had on one another reaches far past the moveable type of Gutenberg’s Bible and Master Baegun‘s earlier Jikji.
Those metal “feet” embedded in the front and back covers kept the bottom edges of upright books chained in lectern libraries from wearing out.
Of course, those 11th century metal fittings probably passed unnoticed by studious readers. Not so with these studious artists in the 21st century whose imaginations have seized on the contrast of materials to recast the book object as an art object.
Julia Chatfield, a young Englishwoman, brought the scrapbook in question to Ohio in 1845. Over 170 years later, Cincinnati bookbinder and conservationist Gabrielle Fox restored the centerpiece with fine wheat starch paste and reassembled the binding with goatskin leather. It is housed in the archives of the Ursulines of Brown County, founded by Chatfield. If the craft and artistry exhibited in the original is more than outstanding, it is then a reminder that the book art of the 20th and 21st century has its hidden traditions.
The spectrum of modern and contemporary Artists’ Books in Reed College’s Special Collections and collected on this website include traditional letterpress printed books of poetry, conceptual book works, sculptural and visual works, concrete poetry, and magazine works. This unique collection, which holds significant 20th century and contemporary artists’ books, gives students and the broader population insight into the significant role artist’s books have played among the avant-garde of Eastern and Western Europe, Asia and the United States, from the turn of the last century to the present. This includes livre d’artiste works by David Hockney, avant-garde works by Sonia Delaunay, conceptualist works by Sol LeWitt, and contemporary works by Xu Bing.
A search of the general library catalog with the term “artists’ books collection” yields over 1700 items, not all of which are in the Special Collection. This website offers visitors an organized way to browse the collection and enjoy access to individual sites for select items as shown here:
This 18-video playlist at the Otis College of Art and Design covers a 2014 exhibition highlighting around 120 works in the Artists Book Collection. The playlist contributes to the collection’s goal:
The goal of the Otis Artists’ Book Collection is not to create a comprehensive archive, but rather to provide a valuable teaching resource available to artists and students. Since the collection is available on only a limited basis, providing access to the books via an online image database is a continuing project, one that we hope will assist those with interest in researching our collection as well as the medium in general.
Some videos are better than others, and all benefit from viewing without the background music. Having handled both Susan E. King’s Lessons from the South and J. Meejin Moon’s Absence, I can vouch for the corresponding videos’ effectiveness.
The Lessons video could be closer to the experience of handling the work if the transitional zooming were replaced with a 360 circumferential shot or angled stills to reveal more of the work’s intricacies — for example, this overhead shot taken at the old Corcoran Gallery in Washington, DC:
The Absence video comes much closer to a hands-on experience, but the exchange in the Comments section highlights how inclusion of some description by voiceover or bibliographic entry would aid viewers’ appreciation.
Vesper Von Lichtenstein 10 months ago It’s a memorial to 9/11, and the cut out parts are the Two Towers going from the top down…at the end of the book you see the placement of the two towers within the context of the rest of the buildings on a city block. The music seems a bit… upbeat for such a somber book.
Critiques aside, the playlist and site warrant multiple revisits and a thanks to Otis College.
Containing over 700 items, the Arnolfini artists’ book collection is one of the largest UK collections of contemporary book art. It leans toward the 1970s and 1980s. The US-based Franklin Furnace Archive Artists Book Bibliography is representative, as are European works such as those of Vito Acconci, Marcel Broodthaers, Stanley Brouwn, Hanne Darboven, Jan Dibbetts, Helen Douglas, Dieter Roth and Telfer Stokes.
The collection is not without later representative works such as those by SooMin Leong, Jonathan Monk and Grayson Perry, but there seem to be no works after 2012. The Arnolfini, Bristol’s center for contemporary art, also hosts the biennial Bristol Artists Book Event.
A search of Lafayette College’s Artists’ Books Collection on the genre yields 1284 entries, including works by Alicia Bailey, Julie Chen, Maureen Cummins, Steven Daiber, Karen Hanmer, Margaret Kaufman, Clifton Meador, Lois Morrison, Werner Pfeiffer, Gerhard Richter, Maryann Riker, Edward Ruscha, Buzz Spector, Barbara Tetenbaum, Erica Van Horn and Sam Winston.
Check out the archives for the Werner Pfeiffer exhibition.
Worth a visit to the Skillman Library if you’re in Easton, PA.
Harriet Bart and Jon Neuse are curating the intriguing exhibition “Wallpaper”. They invited twelve artists, known for their engagement with the art of the book, to participate in an experiment. The artists were each given a copy of the book Wallpaper: A Collection of Modern Printsby Charlotte Abrahams and tasked with using it, its form and/or content, to deliver an original work.
The result of the Neuse/Barton effort is a mixed media exhibition well worth pondering. Below is a sampling of photos from the exhibition (links lead to the artists’ sites).
As always with book art, there is the self-reflexive, self-referring humor: Jon Neuse’s pun on the book scroll housed in a house-shaped codex in which miniature scrolls of wallpaper are housed and Scott Helmes’ pronunciation-entitled work subtitled with a joke to which the work’s sculpture is the punchline. The exhibition also covers a good variety of the forms book art has taken and may pursue even further in the future: Vesna Kittelson’s carving, Joyce Lyon’s accordion book, Doug Beube’s excavated book (not shown), and Harriet Bart’s painted-book homage to Charlotte Perkins Gilmore’s short story “The Yellow Wall-Paper” and Yu-wen Wu’s digital take on the challenge.
Rotch Library offers a small but growing collection of contemporary artists’ books. The collection focuses on artists’ books published from the 20th century to the present and explores a range of techniques and technologies employed by the books’ creators.
Yellow Submarine? Monty Python? Heath Robinson? Rube Goldberg? Hieronymus Bosch? Albrecht Durer? Quentin Massys? Whatever the influence, David M. Moyer has created choice work under The Red Howler Press. MIT has chosen well.
Errantry, a 27-foot scroll housed in a howitzer shell casing, is inspired by Der Triumphzug Kaiser Maximilians or The Triumphal Procession of the Emperor Maximilian (1515), a series of 130 woodcuts by Hans Burgkmair the Elder (1473-1531) and others, about which Pfeiffer comments: “One of the dominant features in this document is the militant nature of many of the characters depicted, as well as their posture in parading their arms on horse, by carriage or on foot.” The text in Errantry draws from a poem of the same name in J.R.R. Tolkien’s Middle Earth mythology. The source poem, composed by Bilbo Baggins, describes one of his quest adventures in the usual self-aggrandizing yet self-pitying tone. As a model for Pfeiffer’s text, it makes the digitally printed images of war all the more horrible.