Daniel Knorr’s Expiration Movement (2017), an installation work for Documenta 14 held in Kassel, Germany and Athens, Greece, received good coverage in The Art Newspaper:
Knorr’s work in Greece, meanwhile, entails collecting discarded objects from the streets of Athens, then inserting and pressing them into books. They will be sold during the show and will finance the production of the smoke in the Fridericianum in Kassel.
Romanian Knorr is known for his eyebrow-raising political installations such as STASI Stones (made of Stasi documents pulped à la Dieter Roth, mixed with water and oil, and then displayed in Berlin). Those “litter press” books sold to finance the smoke machine atop the Fridericianum, built in 1779, one of the oldest public museums in the world, and host to documenta since 1955) further secure the added accolade “book artist”.
Like the many layers of meaning that book art can convey, smoke billowing from a chimney in Europe, in particular Germany, evokes several responses: concentration camps, book burning, a pope’s election. Also, books incorporating Athens’ litter allude to the protracted socioeconomic difficulties Greece has had in its relationship with the EU, again in particular Germany (both the debt and refugee crises). Knorr’s work has much in common with the atmospherics of the work of another eyebrow-raising artist, Anselm Kiefer, well-known for his book art.
Knorr’s production line creating the “litter press” books makes for quite a contrast with that over 500 years ago.
Ed’s books are a delight: witty and/or thoughtful ideas cleverly presented in unusual structures. Ed is a great believer in designing the form to suit the content, so no two books are alike. Some basic forms re-occur, but there are tweaks to the basic structures that individualize them for each version.
Miller’s review in Byopia Press is also a delight, providing multiple links and routes to information about Ed Hutchins as well as to other reviews of his work. Below are images of the catalog for Stand & Deliver, curated by Hutchins in 2003.
Engineered by Kyle Olmon and designed by John DiLorenzo, the catalog demonstrates great inventiveness in the pop-up structure and mechanism that nudges the two booklets from the left and right sleeves as the catalog is opened. Note also the use of colors to demarcate its sections that follow the themes Hutchins used to organize this exhibition: Intriguing Shapes, Revealing Folds, Uplifting Pages. And note the distinctive and subtle shifting placement of colors in the right-hand booklet: at the top on the orange page, a white bar that shifts to the right on the green page as an orange bar marks the end of the previous section on the facing verso page. For an exhibition that traveled to five different locations, a more appropriately and intricately mobile catalog could hardly have been devised.
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.
Since 2005 Reymond has created book art installations associated with the annual used book fair held in Romainmôtier, Switzerland.
The installation Rosace, highlighted above, enhances the architectural features of the village. (For commentary to accompany your visit to Rosace, see My Modern Met.) Another, more surreal installation Livritins populates the village with book-citizens (the “livritins”) engaged in exercise, descending from the church spire by umbrella gondolas, listening to a sermon, fishing, dancing and much more. That year, tourists would be forgiven for believing that all of the bookstore and library bookshelves in the village and canton stood empty.
The New Concrete: Visual Poetry in the 21st Century is a testament on where this art made of letters has been and where it goes. We have put a sharp focus on the word ‘new’ in our title, exploring how image manipulation, cut and paste, digital text and the internet have all influenced work in this area. One of the most exciting strands can be seen in the work of James Hoff and Eric Zboya who use algorithms and viruses to form work in which text is in the back – rather than foreground; the ghost of the machine of visual poetics. This isn’t a book that could have been made through simply surfing the web. We asked all 106 contributors to suggest names of poets or artists that we should consider for the book. Visual poets spiralled into more visual poets. We have looked at well over 500 possible candidates. Enjoy the knowledge with us.
Burtner’s whimsy seems irrepressible as is evident from this undated 100 Best Books, Abridged, composed of the first and last sentences from each of Random House Publishing’s “Best 100 Books of the 20th century” — and from her site’s motto – “Art for my sake”.
Pictured above is the back cover of dongghab, a sort of self-portrait in book art in that its content derives from events occurring in 1963, the year of the artist’s birth. The back cover is not just “another conversation” with Ed Ruscha, but one with American culture, as is the book as a whole.
Why do some books of photography lodge themselves in our minds as book art or artist’s books? Ed Ruscha’s books have done that, so much so that it seems almost odd to call them photobooks, although their deadpan presentation as such is essential to their artistic status. Why do works like Sean Kernan’s The Secret Books and Abelardo Morell’s A Book of Books defy relegation to the coffee table?
In juxtaposing his photos with text from John Lloyd Stephens, the 19th century explorer of Mesoamerica, Charles Agel positions Monuments to the Industrial Revolution (1998) as more than a book of photos. Quite a different conceptualizing strategy from the typologizing pursued from the 1970s onward by Bernd and Hilla Becher, mentioned by photographer John Pfahl in his introduction to Monuments.
Seeking the differences and similarities in strategies of composing the works as well as those of composing the photos adds to the appreciation and understanding of them.