Bookmarking Book Art – “Farewell Our Globalism”

Huang Yong Ping: The History of Chinese Painting and a Concise History of Modern Painting Washed in a Washing Machine for Two Minutes, 1987/1993, ink on wooden crate, paper pulp, and glass, 30 by 19 by 27½ inches. Walker Art Center, Minneapolis.

 

“Art and China after 1989: Theater of the World,” now appearing at the Guggenheim Museum in New York through January 7, 2018, includes work from Xu Bing and Huang Yong Ping. The exhibition attracted animal rights protestors and removal of works, one of which was Xu Bing’s video of his 1994 installation A Case Study of Transference. In a pen littered with books, Xu Bing presented two pigs, one tattooed with words in his now famous nonsense Chinese calligraphy and one with nonsense English words. The piece became infamous when the pigs, bored with the intercourse offered by the books, engaged in more mutually interesting discourse.

A Case Study of Transference (1994)
ⓒ Xu Bing
The exhibition also occasioned this article in “Art in America” by managing editor Richard Vine. He has held up art’s hard mirror to us all in this essay.

Bookmarking Book Art – Helen Malone and Jack Oudyn

Selected for the 2017 Manly Library Artists’ Book Award exhibition in New South Wales, Australia, The Future of an Illusion by Helen Malone and Jack Oudyn demonstrates an effective collaboration in a field of art densely populated with — almost defined by — collaborative efforts:

The Future of an Illusion (2017)
Helen Malone and Jack Oudyn
Acrylic, soluble carbon, gouache and transfer ink jet images on 185 gsm Arches watercolour paper. Sculptural tunnel book structure in a card box, 2 x 8 double sided leporello.
Cover: 200gsm Cansons black card, waxed thread for binding.
295 x 260 x2 mms

Edouard Manet and Stéphane Mallarmé; Bertrand Dorny and Michel Butor; Dorny and Michel Deguy; Barbara Fahrner and Kurt Schwitters; Ron King and Roy Fisher; Telfer Stokes and Helen Douglas; the Art + Language Group (Terry Atkinson, David Bainbridge, Michael Baldwin, Ian Burn, Harold Hurrell, Joseph Kosuth, Christine Kozlov and Mel Ramsden); Tom Rollins + K.O.S.; Julie Chen and Clifton Meador; and Chen and Barbara Tetenbaum.

That list is by no means comprehensive nor representative – chronologically or categorically — but it flags the strength of the tradition. One pair that is particularly apropos for Malone and Oudyn is Sonia Delaunay and Blaise Cendrars. Over a century ago and half a world away, they collaborated on La Prose du Transsibérien et de la Petite Jehanne de France, also in the leporello, accordion or concertina format. Malone writes that it “has always been very influential generally on my work.”

As described by Claire Kelly of Melville Books,

Cendrars as poet and publisher and Delaunay as painter were interested in achieving what they called simultaneisme, or a “simultaneous book.” They wanted to create a form of art in which painting and text could be united in expression. Delaunay painted the left column of color and abstract shapes guides us through the text, which is set in various typefaces, allowing for movement as the reader mimics the journey across the page as described in the train ride in the poem.  Claire Kelly, Melville Books

The Future of an Illusion springs from two imaginations struck by two literary works: Sigmund Freud’s eponymous book on belief in an afterlife and Jim Crace’s novel Being Dead. 

It delivers an emotional simultaneity that echoes the different kind of simultaneity Sonia Delaunay and Blaise Cendrars achieved. Malone and Oudyn have the advantage of their subject — death, decay and the afterlife — that provokes simultaneously conflicting emotions and states of mind. Fear, humor, sorrow, hope, despair, etc.

The choices of two texts, the double leporello and techniques — and the way they are applied — play with that emotional simultaneity beautifully. The use of Crace’s text (and the “reverse-ekphrastic” influence of the whole novel, which documents the decomposition of a dead body left in nature) adds to the work’s physicality. The choice of title from Freud’s book centers the artwork’s perspective on death — the void toward which the central tunnel leads.

The Future of an Illusion appeared in exhibition at Grahame Galleries in Paddington, Brisbane, and a copy resides in the collection at the State Library of Queensland.

Name Index for Bookmarking Book Art

Aarons, Philip

Abecedarian Gallery

Agel, Charles

Albert-Birot, Pierre

Alechinsky, Pierre

Alexander, Jody

Allen, Thomas

Allix, Susan

Ambe, Noriko

Arnal, André-Pierre

Artaud, Antonin

Auerbach, Tauba

Avery, Regan

Bach, Laurence

Barer, Cara

Barrett, Virginia

Bartley, Mary Ellen

Barton, Carol

Bee, Susan

Becher, Hilla and Bernd

Bendtsen, Tom

Berger, Paul

Bernstein, Dennis

Best, Suky

Beube, Doug

Bierut, Michael

Blais, Jean-Charles

Bodman, Sarah

Boekie Woekie

Boltanski, Christian

Boni, Paolo

Boom, Irma

Borsuk, Amaranth

Boyd, Louisa

Brannan, Mandy

Braunstein, Terry

Broaddus, John Eric

Broel, Elisabeth

Broodthaers, Marcel

Brunner, Helen

Buckley, Kat

Burtner, Caryl

Butor, Michel

Cage, John

Carrión, Ulises

Cendrars, Blaise

Center for Book Arts (New York)

Center for Book and Paper Arts (Columbia College)

Chen, Julie

Chen, Long-Bin

Chong, Laurie Whitehill

Chopin, Henri

Closky, Claude

Cohen, Sarah

Collis, Stephen 

Coppel, Georges

Coyne, Jerry

Craig, Melissa Jay

Crombie, John

Cumer, Eleonora

Daiber, Steven

Dannenbaum, Claire

Dautricourt, Joelle

De Bournazel, Diane

De Campos, Augusto

Delaunay, Sonia

Dettmer, Brian

Dodd, Julie

Dorny, Bertrand

Douglas, Helen

Drucker, Johanna

Eason, Andrew

Eddy, Heather

Eluard, Paul

Ely, Timothy

Epping, Ed

Ernst, Max

Essig, Dan

Fahrner, Barbara

Fairbairn-Edwards, Jan

Finlay, Ian Hamilton

Fisher, Roy

Foer, Jonathan Safran

Folkerts, Thilo

Forte, Paul

Frost, Gary

Fry, Ben

Fu, Colette

Gardner, Casey

Gerhardt, Ida

Gerz, Jochen

Gessert, George

Gilbert & George

Gjerde, Eric

Golden, Alisa

Groborne, Robert

Guillevic, Eugène

Gunn, Mandy

Guo, Leilei

Hamady, Walter

Hancock, Emily

Hayes, Andrew

Hazard, Scott

Heldén, Johannes

Henry, Barbara

Hera Gallery

Hitchcock, Meg

Houle, Kelly

Hoyem, Andrew

Hunter, Heather

Iliazd

Irland, Basia

Jacobs, Diane

Jarry, Alfred

Jóhanns, Ragnhildur

Johnstone, Julie

Jones, Nicholas

Jones, Samuel Levi

Kelm, Daniel E.

Kernan, Sean

Kidd, Chip

Kiefer, Anselm

Kiernan, Frances

King, Ron

King, Susan E.

Kirkpatrick, Kyle

Klass, Margot

Koch, Peter

Korzer-Robinson, Alexander

Kosuth, Joseph

Krén, Matej

Kruithof, Anouk

Ku, Michelle

Kuchenbeiser, Bernd

Kwon, Suwon

Labisse, Félix

Lacalmontie, Jean-François

Lagos, Miler

Lamelas, David

Laramée, Guy

Lathrop, Danielle

Latourelle, Rodney

Law, Bob

Laxson, Ruth

Le Gac, Jean

Lee, Jacqueline Rush

Lehrer, Warren

Lemaire, Jacques

Liao, Tien-Min

Lloyd, Emma 

Lohr, Helmut

Lole, Kevin

Long, Richard

Lovejoy, Margot

Lown, Rebecca

Lux, Thomas

Luzinterruptus

Lyons, Joan

Mabille, Pierre

Maffei, Giulio

Malgorn, Jacques 

Mallarmé, Stéphane

Malone, Helen

Maloney, Martin

Mandiberg, Michael

Manet, Edouard

Mansour, Joyce

Manzoni, Piero

Marchetti, Walter

Martín, Alicia

Martinez, Roberto

Masson, André

Matta, Sebastian

McCarney, Scott

McClain, Anne

McEvilley, Thomas

McInerny, Greg

McKenna, Terence

McLean, Bruce

Meador, Clifton

Merz, Mario

Messager, Annette

Miller, Cathryn

Minujin, Marta

Mlászho, Odires

Monahan, Math

Moonbot Studios

Morell, Abelardo (personal site)

Morris, Robert

Mutel, Didier

Myriapod Productions

Mystery Book Artist of Edinburgh

N.E. Thing Company

Nauman, Bruce

Nerhol (the collaboration persona of Ryuta Iida and Yoshihisa Tanaka)

Newell, Peter

Oldenburg, Claes

Ono, Yōko

Oppenheim, Dennis

Osborn, Kevin

Oudyn, Jack

Paolini, Giulio

Paolozzi, Eduardo

Pappenheim, Carl

Park, Simon F.

Pastine, Francesca

Pauly, Bettina

Penck, A.R.

Penone, Giuseppe

Pfeiffer, Werner

Philippson, Simon

Phillips, Tom

Pilkington, Philip

Pistoletto, Michelangelo

Polkinhorn, Harry

Posavec, Stefanie

Prieto, Francisca

Prini, Emilio

Printed Matter, Inc.

Queral, Alex

Rafal, Pauline

Rahmani, Aviva

Ramsden, Mel

Reed, Justin James

Reese, Harry

Rice, Felicia

Rimbaud, Arthur

Rixon, Ros

Robert, Francois

Robson, Joanna

Roehr, Peter

Rollins,Tim + K.S.O.

Romanée, Vienna

Rosace, Jan Reymond

Rosenau, Jim

Rosenberg, Maddy

Roth (or Rot), Dieter

Rowe, Justin

Ruff, Donna

Rullier, Jean-Jacques

Ruppersberg, Allen

Ruscha, Ed

Russell, Georgia

Ruston, Chris

Rusty Squid

Santin, Mary Ann

Schilling, Wilber

Scott, Jordan

Seager-Gray Gallery

Seidel, Ines

Senn, Holly

Schatzman, Merrill

Shaw, Diane

Sicilia, Jose Maria

Skinner, Jonathan 

Sligh, Clarissa

Smith, Keith

Sonnier, Keith

Spector, Buzz

Spoerri, Daniel

Stackpole, Julie B.

Staeck, Klaus

Staritsky, Anna

Stemper, Diane

Stezaker, John

Stilkey, Mike

Stillman, Kylie

Stochholm, Hanne

Stoian, Ioana

Stokes, Telfer

Susskind, Irwin

Tacha, Athena

Taylor, Emma

Taylor, Finlay

Tetenbaum, Barbara

Thame, Angela

The, Robert (draft)

Thomas, Abigail

Titus-Carmel, Gerard

Tory, Geoffroy

Tuttle, Richard

Tuulia, Saara

Vamp & Tramp Booksellers

Van Elk, Ger

Van Horn, Erica

Van Nice, M.L.

Van Vliet, Claire  (video of Gospel of Mary)

Van Zanten, Merike

Vautier, Ben

Venet, Bernar

Visual Editions

Walker, Anne

Walther, Franz Erhard

Warhol, Andy

Webster, Sandy

Wegewitz, Olaf

Wei, Liu

Weiner, Lawrence

Wells, Vita

Wightman, Thomas

Williams, Wendy

Winston, Sam

Witthus, Rutherford

Xu Bing

Yentus, Helen

Yoon, J. Meejin

Young, La Monte

Yvert, Fabienne

Zelevansky, Paul

Zimmermann, Philip

Zubeil, Francine

Zumthor, Paul

Zweig, Janet

Bookmarking Book Art – An Online Annotation of Germano Celant’s “Book as Artwork 1960/1972”

Where to go to compare and contrast the book art in Germano Celant’s pioneering “catalogue” of the Nigel Greenwood Gallery exhibition in London (1972) with that of the last half century?

Being a sort of small and portable catalogue and curator’s explanation for the gallery’s exhibition of ca. 300 works, Celant’s Book as Artwork is arranged chronologically and then alphabetically by artist. Presumably it was organized to match the exhibition’s organization (note the year 1967 in upper left of the photograph below and the distinctive Hidalgo cover, fifth from the left). With no photographs of the works, Book as Artwork gives no easily accessible visual sense of the 300 works in that exhibition. If we had that starting visual touchpoint, it would be easier to “place” the period or individual works in relation to book art from the 80’s onward.

Book as Artwork 1960 – 1972 – Exhibition Nigel Greenwood Gallery B, 1972..

 

Stephen Bury’s Artists’ Books: The Book as a Work of Art, 1963 – 2000 (2015) includes, by design, only a handful of the artists and works selected for the Celano/Greenwood exhibition.

Lucy Lippard’s Six Years: The dematerialization of the art object from 1966 to 1972 (1973, 1997) — a “bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically” — comes as close as one might hope in black-and-white print for a starting visual touchpoint. Lippard’s scope, however, ranges beyond book art, so the number illustrated limits systematic visual comparison and contrast with the book art of the ensuing decades.

Phaidon’s Artists Who Make Books (2017) provides good coverage and bridges the 1960s to the 21st century. The essays and descriptions bring the book art off the page and into the mind’s hands.

Best of all is Lynda Morris’s mini-memoir of her role in organizing the Celant/Greenwood exhibition.

Germano had sent Nigel [Greenwood] a wonderful, arty handwritten letter in pink capitals … on December 22, 1970:

DEAR PUBLISHER I AM PREPARING FOR A NEW INTERNATIONAL MAGAZINE A COMPLETE ANTHOLOGY OF BOOKS MADE DIRECTLY BY ARTISTS. 

…Nigel had met Germano and had his telephone number in Genoa. I was sitting beside him when he phoned and proposed Book as Artwork exhibition for September 1972. Germano immediately agreed.

For sources of book art since the close of the Celant/Greenwood exhibition, we are spoilt for choice. Print and digital, image-rich aggregations of book art abound. We can return to the Phaidon and Bury books. We can turn to the well-illustrated print and online publications from the Centre for Fine Print Research at the University of Western England, online library collections such as the MassArt Library or Chicago’s School of the Art Institute, the websites of dealers such as Zucker Art Books displaying their wares, the dozens of websites for recurring book art fairs such as International Artist’s Books Triennial Vilnius (1997 – present) and CODEX International Book Fair (2007 – present) and community sites such as Artist Books 3.0. Present-day online access challenges Mallarmé’s dictum: ”Everything in the world exists to end up in a book.” Now it seems:

Everything in the world exists to end up on the web.

As far as that premise holds, this annotation and rearrangement of Celant’s bibliography — a “webliography” — offers an online starting point for connecting the book as artwork 1960/1972 with the book as artwork since. In providing some images of the works and links to images, the webliography offers anyone interested in book art the means to gain a more colored impression of the period’s book art.  That the primary impression is still black and white underscores the impact of xerographic technology on artists then as well as that of conceptualism driven by text or photograph. A webliographic approach also offers the opportunity to link the book art of the Celant exhibition with book-oriented Web-art or Net-art such as that of Amaranth Borsuk, Taeyoon Choi, Gunnar Green, Johannes Heldén, Bernhard Hopfengärtner and many others referenced below.

The reorganization here of Celant’s and Morris’s list — by artist alphabetically then chronologically — makes it easier to see the curators’ tendencies in selection as well as the influence of practical factors. The curators’ selection is obviously more Western, less Eastern European and even less Middle Eastern and Asian. Individuals’ prodigality surely played a role in whom and what was included. As Morris’s essay in the Phaidon book reveals, the geographical proximity of works available to be chosen played a role; so, too, the influence of the then-contemporary art network played a role (Atkinson, Beuys, Celant, Dwan, Greenwood, Hansjorg Mayer, Walther König, Maenz, Siegelaub, Sperone and the many other personalities of the Art-Language, Arte Povera, Conceptualist and Fluxus movements); and even the size of suitcases and availability of transport for bringing the artwork into the UK played a role. 

Generally the online links for the artists’/authors’ names lead to biographies, either in their official websites, Wikipedia or other news sources. Where an artist/author is listed multiple times, the links vary from instance to instance to provide a wider range of information about the individual and, in some cases (such as Dieter Rot’s), more images. The links behind the publishers’ names go to publishers’ websites or Wikipedia entries about them. The links that follow each entry resolve to images of the work, videos, audio, interviews or essays relevant to the work. For selected entries in Celant’s list, a compare/contrast takes the user to websites or works whose juxtaposition might shed light on the similarities or differences between the item in Celant’s list and book art of the subsequent decades.

The webliography also supports the haptically as well as digitally inclined. The links behind the titles of the works provide information on the nearest library location of the work (although not all titles could be located).  Be sure to enter your own location and refresh the results. And when you visit, be sure to take a copy of Germano Celant’s little book, which, thanks to 6 Decades Books is possible by download and, thanks to online used-book sellers, can still be purchased in print.

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A “webliography” for

Germano Celant’s Books as Artworks 1960/1972

2nd edition, published by 6 Decades Books, 2010, and 1st edition published by Nigel Greenwood, Inc., 1972.

______. Manifestos. New York: Great Bear Pamphlets, 1966. [Contributors: Ay-OPhilip CornerRobert FilliouJohn GiornoAl HansenDick HigginsAllan KaprowAlison KnowlesNam June PaikDiter RotJerome RothenbergWolf VostellRobert Watts, and Emmett Williams] [Images] [Compare/contrast with Jessica Lack’s Why Are We ‘Artists’?: 100 World Art Manifestos]

Acconci, Vito. Transference: Roget’s Thesaurus. New York: 0 to 9 Books, 1969. [Image] [Video] [Essay] [Compare/contrast with Sam Winston’s Darwin, 2015]

Agnetti, Vincenzo. 14 Proposizioni sul Linguaggio Portatile. Turin: Sperone Editore, 1972. [originally published in Flash Art]

Andre, Barry, Huebler, Kosuth, LeWitt, Morris and Weiner.  The Xerox Book. New York: Seth Siegelaub, Jack Wendler, 1968. [Image] [Video, Jack Wendler] [Compare/contrast with Michael Mandiberg’s Print Wikipedia, 2015, and Paul Soulellis’ Library of the Printed Web, 2013 to present]

Andre, Carl. Seven Books of Notes and Poetry. New York: Dwan Gallery/Seth Siegelaub, 1969. [Images] [Essay on artist] [Video, Carl Andre] [Video, retrospective] [Compare/contrast with Sam Winston’s Dictionary Story Book, 2014]

Anselmo, Giovanni. Leggere. Turin: Sperone Editore, 1972. [Images] [Compare/contrast with Leilei Guo’s The Way, 2008]

Art & Language. Olivet Discourse. Paris: Templon Editeur, 1971. [Image]

Atkinson, Terry; Baldwin, Michael. Frameworks-Air Conditioning. Coventry: Art & Language Press, 1967. [Image] [Essay] [Video of Baldwin and Ramsden, Chicago symposium] [Compare/contrast with Taeyoon Choi’s “Zero & One”, 2017]

Art & Language – Poster for Air-Conditioning Show, 1971-1972
Colección MACBA. Consorcio MACBA. Depósito Philippe Méaille.

 

Atkinson, Terry; Baldwin, Michael. Hot-Warm-Cool-Cold. Coventry: Art & Language Press, 1967. [Image]

Atkinson, Terry; Baldwin, Michael. 22 Sentences: The French Army. Coventry: Precinct Publications, 1968. [Image]

Atkinson, Terry; Baldwin, Michael. Sunnybank. Coventry: Art & Language Press, 1969. [Image] [Compare/contrast with M.L. Van Nice’s Feast is in the Belly of the Beholder, 2010]

Atkinson, Terry; Baldwin, Michael. Theories of Ethics. New York: Art & Language Press, 1971. [Image]

Atkinson, Terry; Bainbridge, David; Baldwin, Michael; Harrison, Charles; Hurrell, Harold; Kosuth, Joseph. Art-Language. Cologne: Dumont Schauberg, 1972. [Essay] [Essay]

Image result for art & language: texte zum phänomen kunst und sprache [book]

Baldessari, John. Ingres and Other Parables. London: Studio International, 1972. [Image]

Baldessari, John. Choosing: Green Beans. Milan: Edizioni Toselli, 1972. [Images][Compare/contrast with George Gessert’s Natural Selection, 1994]

Baldwin, Michael; Hurrell, Harold. Handbook to Ingot. New York, Coventry: Art & Language Press, 1971. [Image] [Video of Baldwin and Ramsden]

Barry, Robert. ”   “. Turin: Sperone Editore, 1970. [Images] [Essay] [Compare/contrast with Elisabeth Tonnard’s The Invisible Book, 2012]

Barry, Robert. Robert Barry 1969-71. Cologne: Gerd de Vries, 1971. [Compare/contrast with Elisabeth Tonnard’s A Dialogue in Useful Phrases, 2010]

Barry, Robert. Something Which Is…(30 Pieces as of 14th June 1971). Cologne: Paul Maenz, 1971. [Image]

Barry, Robert. Two Pieces. Turin: Sperone Editore, 1971.[Images]

Baruchello, Gianfranco. Mi viene in mente. Milan: Edizioni Galleria Schwarz, 1966. [Image] [Compare/contrast with Xu Bing’s Book from the Ground, 2014]

Bechner, Bernd & Hilla. Anonyme Skulpturen. Dusseldorf: Städtische Kunsthalle Verlag, 1970.  [Image] [Video] [Compare/contrast with Anselm Kiefer’s The Rhine, 1992-2013, and Helen Malone’s Ten Books on Architecture, 2012]

Blake, John. John Blake : recent work, 1969-71 : a travelling exhibition arranged by the Circulation Department of the Victoria and Albert Museum. London: Victoria and Albert Museum, 1972. [Image] [Compare/contrast with Anouk Kruithof’s The Daily Exhaustion, 2010]

Bochner, Mel;  Cherix, ChristopheWorking Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed As Art: Visual Arts Gallery, School of Visual Arts,December 2 – December 23, 1966 [New York]. Köln: Verlag der Buchhandlung Walther König, 1997. [Images] [Compare/contrast with Johanna Drucker’s All: the Books I Never Wrote or Wrote and Never Published, 1962 to 2017]

Bochner, Mel. The Singer Notes. New York: Self-published, 1968. [Images] [Compare/contrast Bochner’s notes and drawings resulting from conversations with scientists and engineers at Singer Labs in New Jersey with the Smithsonian Libraries’ online exhibition Science and the Artist’s Book, 1995]

Bochner, Mel. Misunderstandings (A Theory of Photography). New York: Multiples, Inc., 1970. [Images]

Bochner, Mel. Notes on Theory. Kingston, RI: University of Rhode Island, 1971. [Image]

Bochner, Mel. 11 Excerpts (1967 – 1970). Paris: Edition Sonnabend, 1972. [Images]

Boshier, Derek. 16 Situations. London: Idea Books, 1971. [Images] [Compare/contrast with Sascha Pohflepp’s and Chris Woebken’s Situated Sampling Set, 2017]

Derek Boshier, Situation 1 (from the ‘16 Situations’ series), photograph, 1971
See The Courtauld Institute blog.

 

Boyle, Mark. Journey to the Surface of the Earth. Stuttgart: Hansjorg Mayer, 1970. [Images and book by J.L. Locher] [Compare/contrast with New England Guild of Book Workers’ Geographies: New England Book Work, 2014]

Brecht, George. Fluxus No. 1 March 1964. New York: Valise eTRangLE, 1964. [Images]

Brecht, George. Chance-Imagery. New York: Something Else Press, 1966. [Images, including facsimiles] [Compare/contrast with Barb Tetenbaum’s and Julie Chen’s Artist’s Book Ideation Cards, 2013, and Paul Soulellis’s Chancebook #1 (Why Does It Hurt So Bad), 2013]

Brecht, George; Filliou, Robert. Games at the Cedilla, or the Cedilla Takes Off. New York: Something Else Press, 1967. [Images]

Brøgger, Stig. 21. marts 1969 = March 21 1969. Copenhagen: Jysk Kunstgalerie, 1969. [Second edition]

Broodthaers, Marcel. Image: un coup de dés jamais n’abolira le hasard. Antwerp: Wide White Space, 1969. [Images] [Video] [Compare/contrast with Doug Beube’s Veil: Secret Wars of the C.I.A., 1996, J. Meejin Yoon’s Absence, 2004, Jonathan Safran Foer’s Tree of Codes, 2010, Pauline Rafal’s Windows, 2014, and James Bridle’s Every Redaction, 2015]

Double-page spread Marcel Broodthaers Image: Un coup de dés jamais n’abolira le hasard, 1969

 

Brouwn, Stanley. 100 This Way Brouwn Problems for Computer IBM Model 95. Cologne: Walther König, 1970. [Essay] [Compare/contrast with Julie Johnstone’s 2-20% | 20-2cm, 2014]

Brouwn, Stanley. La Paz. Schiedam: Stedelijk Museum, 1970.[Image] [Images]

Brouwn, Stanley. Tatwan. Munich: Aktionsraum, 1970. [Images] [More images] [Compare/contrast with Craig Mod’s and Dan Rubin’s Koya Bound: Eight Days on the Kumano Kodo, 2016]

Brouwn, Stanley. Durch Komische Strahlen Gehen. Monchengladbach: Stadtisches Museum, 1970. [Image] [Image]

Brouwn, Stanley. Steps. Amsterdam: Stedelijk Museum, 1971. [Image] [Compare/contrast with James Bridle’s All Roads Lead to X, 2015]

Brouwn, Stanley. Afghanistan-Zambia. Aachen: Gegenverkehr e.V., Zentrum für aktuelle Kunst, 1971. [Image & essay] [Compare/contrast with James Bridle’s Where the F**k Was I?, 2011]

Brouwn, Stanley. One Step (IX-100X). Brussels: Galerie MTL, 1971. [Essay]

Brouwn, Stanley. 1 Step – 100,000 Steps. Amsterdam: Art & Project, 1972. [Image]

Buren, Daniel. Limites Critique. Paris: Yvon Lambert, 1970. [Images] [Site]

Burgin, Victor. Work and Commentary. London: Latimer Press, 1972.  [Image] [Video] [Essay] [Exhibition 2012]

Burgy, Donald. Art Ideas for the Year 4000. Andover, MA: Addison Gallery of American Art, 1970. [Video] [Compare/contrast with Gunnar Green’s and Bernhard Hopfengärtner’s 75000 Futures, 2014]

Burgy, Donald. Contexts Completion Ideas. Krefeld: Schuring, 1971. [Compare/contrast with Praxis, Museum of Nonvisible Art, 2011]

Burn, Ian. Xerox Book. n.p.: Self-published, 1968. [Compare/contrast with Paul Soulellis’s Apparition of a distance, however near it may be, 2013]

Xerox Book (1968)
Ian Burn

 

Burn, Ian; Ramsden, Mel. Six Negatives. New York: Society for Theoretical Art, 1969. [Images] [Video of Baldwin and Ramsden]

Burn, Ian; Ramsden, Mel. Notes on Genealogies. Vol. 1, No. 2. New York: Art-Language, 1970. [Essay by Thomas Dreher]

From the National Gallery of Victoria
Melbourne, Australia

 

Burn, Ian; Cutforth, Roger; Ramsden, Mel. Proceedings. Vol. 1, No. 3. New York: Art-Language, 1970. [Essay by Jo Melvin]

Burn, Ian; Ramsden, Mel. Notes on Analyses (1). Coventry: Art-Language Press, 1970. [Image]

Burn, Ian; Ramsden, Mel. Stating and Nominating. New York: Art-Language, 1970.

Burn, Ian; Ramsden, Mel. The Grammarian. New York: Art-Language, 1970.[Image]

Byars, James Lee. 100,000 Minutes, or the Big Sample of Byars, or 1/2 an Autobiography, or the First Paper of Philosophy. Antwerp: Galerie Anny de Decker, 1969. [Images] [Compare/contrast with Johanna Drucker’s All: the Books I Never Wrote or Wrote and Never Published, 1962 to 2017]

Cage, John. Silence. Middletown, CT: Wesleyan Press, 1961. [Video] [Compare/contrast with Paul Soulellis’s 273 Relics for John Cage (A Likeness Is an Aid to Memory), 2011]

Cage, John. A Year from Monday. Middletown, CT: Wesleyan Press, 1967.

Cage, John. Notations. New York: Something Else Press, 1969.

Cage, John. Diary: How to Improve the World (You Will Only Make Things Worse) Continued, Part Three. New York: Great Bear Pamphlets, 1967. [Video] [Compare/contrast with Robin Price’s As You Continue, 2011]

Carlini, Alessandro; Lang, Karl. Prozess Art, Situation Art. Berlin: Self-published, 1971.

Castillejo, Jose Luis. The Book of I’s. Constance: Castillejo, 1969. [Images] [Video] [Audio]

Castillejo, Jose Luis. The Book of Eighteen Letters. Madrid: Artes Graficas Luis Peres, 1972. [Images] [Audio]

Chiari, Giuseppe. Senza Titolo, 1971. Milan: Edizioni Toselli, 1972. [Images] [More images]

Collins, James. Revision and Prescription. New York: 98 Greene Street, 1971. [Image]

Corner, Philip. Popular Entertainments. New York: Great Bear Pamphlets, 1967. [Images] [Compare/contrast with Andrew Savage’s Savage Presents Jean Michel Jarre, 2011]

Costa, Claudio. Estratti da Evoluzione-Involuzione. Genova: Edizioni Masnata, 1972. [Image]

Croce, Giancarlo. a  a’b’  b. Rome: Edizioni Gap, 1971.[Compare/contrast with Abra: The Living Book by Kate Durbin, Amaranth Borsuk and Ian Hatcher (2014)]

 

a  a’b’  b (1971)
Giancarlo Croce
19.3 x 18.5 cm, 48 pages + cover
a  a’b’  b (1971)
Giancarlo Croce
19.3 x 18.5 cm, 48 pages + cover

 

Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1968.

Cutforth, Roger. The Empire State Building. New York: Art Press, 1969. [Image] [Compare/contrast with Helen Malone’s Ten Books on Architecture, 2012, and Mandy Brannan’s 30 St Marys Axe, 2015]

Cutforth, Roger. The Visual Book. London: Lisson Gallery, 1970. [Image]

Cutforth, Roger. CN/ET/ESB: The Non-Art Project. New York: Self-published, 1971. [Image] [Compare/contrast with Helen Malone’s Ten Books on Architecture, 2012]

Darboven, Hanne. Xerox Book. Hamburg: Self-published, 1969.

Darboven, Hanne. 6 Manuskriptie 69. Dusseldorf: Michelpresse, 1969. [Image]

Darboven, Hanne. Das Jahr. n.p.: n.p., 1971. [Unable to locate]

Dibbets, Jan. Robin Redbreast’s Territory: Sculpture 1969, April — June. New York, Cologne: Siegelaub/Walther König, 1969. [Images] [More images] [Compare/contrast with Stephen Collis’ and Jordan Scott’s Decomp, 2013]

Dibbets, Jan. Perspective Correction. New York: Multiples, Inc., 1970. [Image] [Essay] [Compare/contrast with Wendy Wahl’s Laid Open, 2017]

Dibbets, Jan. 3.12.1971 t/m 16.1.1972. Eindhoven: Van Abbemuseum, 1971.

Fabbris, Giorgio; Spiller, Giorgio. Assenza. Venice: Self-published.

Ferguson, Gerald. The Standard Corpus of Present Day English Language Usage Arranged by Word Length and Alphabetized within Word Length. Halifax: Nova Scotia College of Art and Design, 1970. [Images] [Compare/contrast with Masumi Shibata’s UED (Uncertain English Dictionary), 2008]

Filliou, Robert. Ample Food for Stupid Thought. New York: Something Else Press, 1965. [Images] [Compare/contrast with Black Page catalogue from the Laurence Sterne Trust, 2009]

Filliou, Robert. Hand Show. Villingen: Saba-Studio, 1967. [Image] [Additional images]

Filliou, Robert. A Filliou Sampler. New York: Great Bear Pamphlets, 1967. [Image]

Filliou, Robert. 14 Chansons et 1 Charade. Stuttgart: Hansjorg Mayer, 1968. [Images] [Additional images]

Filliou, Robert (with Beuys, Brecht, Cage, Iannone, Kaprow, Marcelle, Patterson and Rot). Teaching and Learning as Performing Arts. Cologne: Walther König, 1970. [Images] [Video]

Fisher, Joel. Double Camouflage. Mansfield, OH: Mansfield Fine Arts Center, 1970. [Image] [Additional images]

Flynt, Henry. Down with Art. New York: Fluxpress, 1968. [Image] [Additional images] [Compare/contrast with Doug Beube’s Breaking the Codex, 2011]

Fulton, Hamish. The Sweet Grass Hills of Montana as seen from the Milk River of Alberta. Turin: Sperone Editore, 1971. [Image] [Additional images] [Compare/contrast with Helen Douglas’s The Pond at Deuchar, 2013]

Fulton, Hamish. Hollow Lane. London: Situation Publications, 1972. [Images] [Additional images]  [Video] [Compare/contrast with Craig Mod’s and Dan Rubin’s Koya Bound: Eight Days on the Kumano Kodo, 2016]

Gilbert & George. A Message from the Sculptors Gilbert & George. London: Art for All, 1970. [Image] [Additional images] [Video]

Gilbert & George. To Be with Art is All We Ask. London: Art for All, 1970. [Image] [Additional images] [Video]

Gilbert & George. The Pencil on Paper Descriptive Works. London: Art for All, 1970. [Additional images]

Gilbert & George. A Day in the Life of Gilbert & George. London: Art for All, 1971. [Image] [Additional images]

Gilbert & George. Oh, The Grand Old Duke of York. Lucerne: Kunstmuseum Luzern, 1972. [Image] [Additional images]

Gilbert & George. Side by Side. Cologne: Walther König, 1972. [Images] [Compare/contrast with Abra: The Living Book by Kate Durbin, Amaranth Borsuk and Ian Hatcher (2014)]

Graham, Dan. End Moments. New York: Self-published, 1969. [Image]

Graham, Dan. Two Parallel Essays. New York: Multiple, Inc., 1970. [Image] [Compare/contrast with Tom Abba’s These Pages Fall Like Ash, 2013.

Graham, Dan. Dan Graham. London/Cologne: Lisson Gallery/Walther König, 1972.

Graham, Rodney. Works 1963-1969. Cologne/New York: Walther König, 1970.

Greco, Sandro. Saper Sorridere. n.p.: Self-published, 1971. [Article]

Gregory, Kathe; Landis, Marilyn; Lewis, Russell; Crane, David; Kahn, Scott. Stolen. New York: Colorcraft Lithographers/Dwan Gallery, 1970. [Images] [Compare/contrast with Andrew Savage’s Stolen White Goods, 2006, and then Cristina Garrido’s intervention White Goods, 2011]

Hamilton, Richard. Polaroid Portraits, Volume One. Stuttgart: Hansjorg Mayer, 1972. [Images] [Compare/contrast with Anouk Kruithof’s The Daily Exhaustion, 2010]

Harvey, Michael. White Papers. New York: Self-published, 1971. [Images] [Additional images]

Hemsworth, Gerard. South West Coast of England. Amsterdam, London: X-One/Nigel Greenwood, 1970.

Hidalgo, Juan. Viaje a Argel. Madrid: Zaj, 1967. [Images] [More images]

Higgins, Dick. What are Legends: A Clarification. Calais, ME: Bern Porter, 1960. [Images]

Higgins, Dick. Jefferson’s Birthday / Postface. New York: Something Else Press, 1964. [Images]

Higgins, Dick. A Book about Love & War & Death, Canto One. New York: Great Bear Pamphlets, 1965. [Images] [Video]

Higgins, Dick. Foew and ombwhnw : a grammar of the mind and a phenomenology of love and a science of the arts as seen by a stalker of the wild mushroom. New York: Something Else Press, 1969. [Images] [Video]

Huebler, Douglas. Durata Duration. Turin: Sperone Editore, 1970. [Images] [Video] [Compare/contrast with Andrew Eason’s Clock Watching, 2006]

Huebler, Douglas. Location Piece #2. New York: Multiple, Inc., 1970. [Images] [More images] [Video] [Compare/contrast with Barbara Tetenbaum’s Mining My Ántonia; Excerpts, Drawings, and a Map, 2012]

Hurrell, Harold. Fluidic DeviceCoventry: Art-Language, 1968. [Image]

Johnson, Ray. The Paper Snake. New York: Something Else Press, 1965. [Video of reprint edition]

Kaltenbach, Stephen. [Artforum Advertisements]. New York: Artforum, Issues dated November 1968 through December 1969. [Image] [Artslant interview]

Kaprow, Allan. Assemblage, Environments & Happenings. New York: Harry N. Abrams, Inc., 1965. [Images] [Video]

Kaprow, Allan. Pose: Carrying Chairs through the City, Sitting Down Here and There, Photographed, Pix Left on Spot, Going On, March 22 1969-1970. New York: Multiples, Inc., 1970. [Images]

Knowles, Alison. By Alison Knowles. New York: Great Bear Pamphlets, 1965. [Images]

Kosuth, Joseph. Four Titled Abstracts [within S.M.S. Portfolio no. 3]. New York: Letter Edged in Black, Inc., 1968]. [Images] [More images]

Kosuth, Joseph. Function. Turin: Sperone Editore, 1970. [Images] [Additional images]

Kosuth, Joseph. Notebook on Water. New York: Multiples, Inc., 1970. [Images] [Additional images]

Kosuth, Joseph. The Sixth Investigation 1969, Proposition 14. Cologne: Gerd de Vries, 1971. [Image] [Video]

Kosuth, Joseph. The Sixth Investigation 1969, Proposition 2. Buenos Aires/Cologne: CAYC/Paul Maenz, 1971. [Video]

Lamelas, David. Publication. London: Nigel Greenwood, 1970. [Images] [Video]

Latham, John. Least Event/One-Second Drawings/Blind Work/24-Second Painting. London: Lisson Gallery, 1971. [Image] [Video] [Cover of the work indicates a publication date of 1970]

Law, Bob. 16 Drawings. London: Lisson Gallery, 1971. [Images] [Audio]

LeWitt, Sol. 49 Three Part Variations Using Three Different Kinds of Cubes, 1967-1968. Zurich: Editions Bischofberger, 1969. [Images] [Video]

LeWitt, Sol. Four Basic Kinds of Straight Lines. London: Studio International, 1969. [Images][Video] [Film]

LeWitt, Sol. Schematic Drawings for Muybridge II, 1964. New York: Multiples, Inc., 1970. [Images] [Video, Veronica Roberts] [Video, Charles Haxthausen]

LeWitt, Sol. Four Basic Colours and their Combinations. London: Lisson Gallery, 1971. [Images]

Lole, Kevin; Smith, Paul. Handbook on Models. Coventry: Self-published, 1972. [Unable to locate a work of this title in WorldCat, but one with the title The Relativism of Emotion Handbook to the Model and same date of publication is described in Paul Robertson‘s “A Collection of Rare Art+ Language Books and Internal Documents – Many Unknown in Literature”, Gorebridge, Midlothian: Unoriginal Sins/Heart Fine Art, n.d.

30 x 21cm, 50pp (printed recto only) plus printed card covers. Xerox inner pages as issued. The first and only edition of this theoretical work based on a physical model (electro-shock, photo beams and electronic buzzers) acting as metaphor for analogue, theoretical and representative models. Cover is very minority marked on the front and back cover has a faint diagonal crease else VG++. From the archive of David Rushton who believes only 10 or fewer of this book was published.

 

Long, Richard. Rain Dance. New York: Multiples, Inc., 1970. [Images]

Long, Richard. From Along a Riverbank. Amsterdam: Art & Project, 1971. [Images] [Compare/contrast with Helen Douglas’s Venetian Brocade, 2010]

Long, Richard. Two Sheepdogs Cross In and Out of the Passing Shadows the Clouds Drift Over the Hill with a Storm. London: Lisson Gallery, 1971. [Images]

Maloney, Martin. Integuments. Brattleboro, VT: Press Work, 1969. [Image] [Video] [Additional outtakes]

Maloney, Martin. Fractionals. Brattleboro, VT: Press Work, 1970.

Maloney, Martin. Intervention (Five Days and Five Nights at the Galerie MTL). Brussels: Galerie MTL, 1970. [Images] [Compare/contrast with Sam Winston’s Darkness Visible, 2017]

Double-page spread from
Intervention (Five Days and Five Nights at the Galerie MTL), Martin Maloney
Brussels: Galerie MTL, 1970

 

Manzoni, Piero. The Life and Works. Glucksburg-Hamburg-Paris: Peterson Press, 1963. [Image] [Artspace essay] [Compare/contrast with Marc Straus’s White Heat exhibition, 2017]

Marchetti, Walter. Arpocrate Seduto sul Loto. Madrid: Zaj, 1968. [Images] [More images]

McLean, Bruce. King for a Day. London: Situation Publications, 1972. [Images]

Merz, Mario. Fibonacci 1202 Merz 1970. Turin: Sperone Editore, 1970. [Images] [Additional images] [Compare/contrast with Rutherford Witthus’ Anything is a Mirror, 2007, and Susan Happersett’s Box of Chaos, 2014]

Merz, Mario. Una somma reale e una somma di gente. Turin: Sperone Editore, 1972.

Morris, Robert. Continuous Project Altered Daily. New York: Multiples, Inc., 1970. [Images] [Additional images]

Nauman, Bruce. Burning Small Fires.  San Francisco.: Self-published, 1968. [Images]

Display of Ed Ruscha’s Various Small Fires and Milk, 1964, at Pliure: La Part du Feu, 2 February – 12 April 2015, Paris. Photo by Robert Bolick. Reflected in the lower left hand corner is the display of Bruce Nauman’s Burning Small Fires; in the upper right corner, the film clip of Truffaut’s 1966 Fahrenheit 451; and in the upper left, Maria Helena Vieira da Silva’s La bibliotheque en feu, 1974.

 

Nauman, Bruce. Clea Rsky. n.p.: Self-published, 1969. [Images] [Additional images] [Compare/contrast with Anouk Kruithof’s Automagic, 2016]

Nauman, Bruce. Laair. New York: Multiples, Inc., 1970. [Images]

N.E. Thing Company. A Portfolio of Piles. Vancouver: Self-published, 1968. [Images] [Compare/contrast with Alicia Martín’s Biografias, 2002 ongoing]

N.E. Thing Company. Trans VSI Connection NSCAD-NETCO. Halifax: Nova Scotia College of Art & Design, 1969. [Images] [Compare/contrast with Dennis Ashbaugh’s and William Gibson’s AGRIPPA: A Book of the Dead, 1992]

Oldenburg, Claes. Injun & Other Histories. New York: Great Bear Pamphlets, 1966. [Image]

Oldenburg, Claes. Store Days. New York: Something Else Press, 1968. [Images]

Oldenburg, Claes. Notes in Hand. London: Petersburg Press, 1971. [Images]

Ono, Yōko. Grapefruit. Tokyo, New York: Wunternaum, 1964. [Images]

©Yoko Ono

Oppenheim, Dennis. Flower Arrangement for Bruce Nauman. New York: Multiples, Inc., 1970.  [Images] [More images]

Paolini, Giulio. Cio che non ha limiti e che per sua stessa natura non ammette limiti di sorta. Turin: Self-published, 1968. [Image] [Another image] [More images]

Paolozzi, Eduardo. Metafisikal Translations. London: Kelpra Studios, 1962. [Images] [More images] [Compare/contrast with Francisco Prieto’s London 1827, 2001-13]

Paolozzi, Eduardo. ABBA ZABA. London: Hansjorg Mayer, 1970. [Image] [Images] [More images]

Penone, Giuseppe. Svolgere la Propria Pelle. Turin: Sperone Editore, 1971. [Image] [More images]

Phillips, Tom. A Humument. London: Tetrad Press, 1970. [Image] [More images] [Video] [Compare/contrast with Jonathan Safran Foer’s Tree of Codes, 2010]

Phillips, Tom. Trailer. Dusseldorf: Hanjorg Mayer, 1971. [Image]

Pilkington, Philip; Rushton, David; Lole, Kevin; Smith, Paul. Concerning the Paradigm of Art. Zurich: Editions Bischofberger, 1971. [Last author’s name corrected from “Paul” to “Peter”] [From Paul Robertson, “A Collection of Rare Art+ Language Books and Internal Documents – Many Unknown in Literature”, Gorebridge, Midlothian: Unoriginal Sins/Heart Fine Art, n.d.

“30 x 21cm, 16pp (recto only). White card covers – with offset title. A text published by Bischofberger from a theoretical document written by Kevin Lole, Philip Pilkington, David Rushton and Peter Smith (formerly Analytical Art and by this time fully regarded as members of Art & Language) which applied Thomas Kuhn’s theory of paradigm shift to art (the original theory by Kuhn being a view that revolutions in scientific thought only occurred when sufficient contrary evidence to the prevailing orthodoxy had mounted up and the original hypothesis could no longer explain the physical evidence emerging from empirical studies). It is worth noting that at this time Bischofberger bought a great deal of Art + Language material from the group and published other documents by them including some of the group’s rarest publications – storing many of the more three-dimensional works for later resale. Bischofberger did not print the books himself – rather Art and Language arranged design and publication in Coventry (for free using the University’s resources) and David Rushton drove the books over in a camper van to Switzerland (breaking down just on the edge of the city due to running out of petrol and having little money left, Rushton coasted the last mile down hill on an empty tank).

The limitations of these series of books are usually placed at c. 200 but Rushton remembers taking far fewer than that with him and this Analytical Art book was in fact only produced in 50 copies taken to Zurich plus a few retained by the artists in the UK.

That said this is one of ONLY 5 copies which were numbered in roman numerals (this one being III/V) and signed by ALL of the four writers in pencil on the first title page.”]

Pilkington, Philip; Rushton, David. Sample from a Topological Notebook. Coventry: Self-published, 1972. [Video] [From Paul Robertson, “A Collection of Rare Art+ Language Books and Internal Documents – Many Unknown in Literature”, Gorebridge, Midlothian: Unoriginal Sins/Heart Fine Art, n.d.

“30 x 21cm, 28pp carbon copy pages and printed cover. This was one of ONLY four copies made and published by the group – two copies being signed by David Rushton and Peter [sic] Pilkington and created from original typed sheets and two copies remaining unsigned and created (as here) using the carbon copies from the originals. These latter two examples were regarded by the group as artist’s proofs of the book. This is the only copy of this book available for sale anywhere as from the original four prices: one is in Paul Maenz’s archive and another two copies are in the hands of private collectors (who purchased them from ourselves). This copy is signed by David Rushton and Philip Pilkington and has been stamped on the inside front cover with the official Art & Language Stamp and also designated in blue ink “Second Copy”. Fine estate and clearly rare.”]

Pistoletto, Michelangelo. Le Ultime Parole Famose. Turin: Tipolito Piano, 1967. [Images] [Additional images]

Pistoletto, Michelangelo. L’uomo nero: Il lato insopportabile. Salerno: Rumma Editore, 1969. [Included in this anthology; searchable here] [Image] [Cover image] [Video] [Compare/contrast with Abigail Thomas’s Micro-Pages, 2010]

Prini, Emilio. Magnete. [included within Celant’s Arte Povera published by Praeger , 1969.] [Unable to verify this; an image of the work appears in Emanuela Nobile Mino’s article “Emilio Prini: Non creo, se è possibile”, Flash Art 50, 298 Dicembre 2011 – Gennaio 2012.]

Magnet / Photo Series / Group 2000 / September 1968 / (4 Phase) / Continuous Photographic Photographs Continuously Photographs Up to 20,000 Shots / Run Time work / 10 years / annual series of 20,000 elements / technique / black and white photography / leafs / 3 M / K 203 3 / each 30 x 40 / constant time setting diaphragm / fixed tilt stand / 1969 / camera used maintains the original value and adds to the artistic market.

 

Ramsden, Mel. The Black Book. [Unable to find a work under this title in WorldCat]

Ramsden, Mel. Abstract Relations. New York: Art-Language, 1968. Edition of 5. [Unable to find a work under this title in WorldCat; the 5 images on the left in this photograph from the Philippe Méaille private collection at MACBA come closest.]

‘ART & LANGUAGE Incomplet’ exhibition views, 2014. Photo: EOS-AF, Estudi Orpinell & Sánchez — Artesania Fotogràfica
100% Abstract (1968) Art & Language

 

Roehr, Peter. Ziffern: 10 Typomontagen 1965. Cologne: Gerd de Vries, 1970.

Ty-100 (1965)
Peter Roehr
Source: Artnet 29 October 2017

 

Rot, Dieter. BOK 2a. Reykjavik: forlag ed, 1960. [Images and essay] [Video, survey of Rot’s artist’s books]

Rot, Dieter. BOK 2b. Reykjavik: forlag ed, 1961. [Links in author’s name lead to image]

Rot, Dieter. BOK 3a. Reykjavik: forlag ed, 1961.

Rot, Dieter. BOK 3b. Reykjavik: forlag ed, 1961.

Rot, Dieter. BOK 3c. Reykjavik: forlag ed, 1961.

Rot, Dieter. BOK 3d. Reykjavik: forlag ed, 1961. [Video link]

Rot, Dieter. BOK 4a. Reykjavik: forlag ed, 1961.

Rot, Dieter. BOK 5. Reykjavik: forlag ed, 1961.

Rot, Dieter. Dagblegt Bull No. 8. La Louvriere: A. Balthazar & P. Bury, 1961.

Rot, Dieter. Daily Mirror Book. Reykjavik: forlag ed, 1961. [Compare/contrast with Vienna Romanée’s Data Sewing Project,  2011 to present]

Rot, Dieter. Mundunculum. Cologne: Dumont Schauberg, 1961.

Rot, Dieter. Book AC 1958-1964. New Haven: Ives-Sillman, 1964.

Rot, Dieter. Quadrat-blatt. Hilversum: Steendrukkerij de Jong, 1965.

Rot, Dieter. The Copley Book. Chicago: Bill and Norma Copley Foundation, 1965.

Rot, Dieter. Kölner Divisionen. Cologne: Galerie der Spiegel, 1965.

Rot, Dieter. Quick. Reykjavik: Self-published, 1965.

Rot, Dieter. Poetrie No. 1. Stuttgart: Hansjorg Mayer, 1966.

Rot, Dieter. Scheisse: Neue Gedichte von Dieter Rot. Stuttgart: Hansjorg Mayer, 1966.

Rot, Dieter. Die Blaue Flut. Stuttgart: Hansjorg Mayer, 1967.

Rot, Dieter. A Look into the Blue Tide, Part Two. New York: Great Bear Pamphlets, 1967.

Rot, Dieter. Siebdruckbilder (Screenprint Pictures 1-4). Stuttgart: Hansjorg Mayer, 1967.

Rot, Dieter. Mundunculum (enlarged and corrected). Cologne: Dumont Schauberg, 1967.

Rot, Dieter. Poetrie 2 (301 kleine Wolken in Memoriam big J und big G : ein fingierter Bericht aus der inneren Fremde)Stuttgart: Hansjorg Mayer, 1967.

Rot, Dieter. 80 Wolken, 1965-67. Stuttgart: E. Walther, 1967.

Rot, Dieter. Poeting 3/4 (Poeterei: Doppelnummer …). Stuttgart: Hansjorg Mayer, 1968.

Rot, Dieter. Poemetrie. Cologne: Divers Press, 1968. [Image] [Compare/contrast with Robert Kalka’s Medium, 1995]

Poemetrie (no. 4 of the review Poeterei) (1968)
19 transparent plastic bags; letterpress, printed on both sides, filled with vanilla pudding and urine; plastic cover, back cover with signed drawing a.p. (ed. of 30 + 3 a.p.)
© Dieter Roth

 

Rot, Dieter; Williams, Emmett. Still More Shit — A Supplement. New York: Something Else Press, 1968. [Still more images]

Rot, Dieter. Die Kakausener Gemeine. Stuttgart: Hansjorg Mayer, 1968. [Images]

Rot, Dieter. Die Gesamte Scheisse/The Complete Shit. Berlin: Rainer Verlag, 1968. [Images]

Rot, Dieter. 246 Little Clouds. New York: Something Else Press, 1968. [Images]

Rot, Dieter. Little Tentative Recipe. Stuttgart: Hansjorg Mayer, 1969. [Images]

Little Tentative Recipe (1969)
Approx 800 rotaprints in colour.
8.8 x 8.8 x 8.8 cm. Adhesive binding wooden box. 100 unique pieces numbered.
© Dieter Roth

 

Rot, Dieter. Poetrie 5 to 1st. London: Hansjorg Mayer, 1969. [Images]

Rot, Dieter. Icelandic Leather. Reykjavik: Self-published, 1970. [Unable to locate by this title; may be referring to Volume 5, Bok 3 of the Collected Works]

Rot, Dieter. Snow. Stuttgart, Reykjavik, London: Wasserpresse Mayer, 1970. [Images]

Rot, Dieter. Postkartenblock (Postcard Pad). Cologne, London, Hellnar: Hansjorg Mayer, 1971. [Images] [Compare/contrast with Frances Kiernan’s All the Prints I Have Made, 2010]

Rot, Dieter. 2 Problems of Our Time: An Essay. Reykjavik: Verlag Reykjavik, 1971.

Rot, Dieter. Franz Eggenschwiler: The Young Man, the Man, His Time, His Work (until today 2.5.71), An Essay. Stuttgart: Hansjorg Mayer, 1971. [Images]

Rot, Dieter. Ideogramme. Stuttgart: Hansjorg Mayer, 1971.

Rot, Dieter. Smaller Works Part 1. Stuttgart: Hansjorg Mayer, 1971. [Volume 18 of Gesammelte Werke]

Rot, Dieter. Smaller Works Part 2. Stuttgart: Hansjorg Mayer, 1971. [Volume 19 of Gesammelte Werke]

Rot, Dieter. Who Was Mozart. Reykjavik: Verlag Reykjavik, 1971.

Rot, Dieter. Who’s the One Who Doesn’t Know Who Mozart Was? Reykjavik: Verlag Reykjavik, 1971.

Rot, Dieter. A Question? Reykjavik: Verlag Reykjavik, 1971.

Ruppersberg, Allen. 23 Pieces. Los Angeles: Sunday Quality, 1969. [Images]

Ruppersberg, Allen. 24 Pieces. Los Angeles: Sunday Quality, 1970. [Images]

Ruscha, Ed. Twentysix Gasoline Stations. Los Angeles: Self-published, 1963. [Images] [Interview about the book] [Compare/contrast with Sowon Kwon’s Whiteowned Gasoline Stations, 2007]

Ruscha, Ed. Various Small Fires. Los Angeles: Self-published, 1964. [Images]

Display of Ed Ruscha’s Various Small Fires and Milk, 1964, at Pliure: La Part du Feu, 2 February – 12 April 2015, Paris. Photo by Robert Bolick. Reflected in the lower left hand corner is the display of Bruce Nauman’s Burning Small Fires; in the upper right corner, the film clip of Truffaut’s 1966 Fahrenheit 451; and in the upper left, Maria Helena Vieira da Silva’s La bibliotheque en feu, 1974.

 

Ruscha, Ed. Every Building on the Sunset Strip. Los Angeles: Self-published, 1966. [Images] [Animation] [Compare/contrast with Every Item in the Artists’ Book Collection of the Banff Centre Paul D. Fleck Library & Archives, 2013 to the present, and James Bridle’s installation Every CCTV (CC), 2017, an extension of The Nor, 2014]

Ruscha, Ed. Thirtyfour Parking Lots. Los Angeles: Self-published, 1967. [Images] [Compare/contrast with James Bridle’s Drone Shadow Handbook, 2013]

Ruscha, Ed. Nine Swimming Pools (and a Broken Glass). Los Angeles: Self-Published, 1968.

Ruscha, Ed. Business Cards. Los Angeles: Heavy Industry Publications, 1968. [Images]

Ruscha, EdStains. Los Angeles: Heavy Industry Publications, 1969. [Images] [Compare/contrast with Ellie Ga’s Classification of a Spit Stain, 2009]

Ruscha, Ed. Crackers. Los Angeles: Heavy Industry Publications, 1969. [Images]

Ruscha, Ed. Real Estate Opportunities. Los Angeles: Self-published, 1970. [Images]

Ruscha, Ed. Babycakes with Weights. New York: Multiples, Inc., 1970. [Images]

Ruscha, Ed. A Few Palm Trees. Los Angeles: Heavy Industry Publications, 1971. [Images]

Ruscha, Ed. Records. Los Angeles: Heavy Industry Publications, 1971. [Images]

Ruscha, Ed. Dutch Details. Deventer: Octopus Foundation, 1971. [Images] [Video, more images and essay]

Sonnier, Keith. Object Situation Object. Cologne, New York: Walther König, 1970. [Images] [Official website] [Video]

Spoerri, DanielTopographie Anecdotée du Hasard. Paris: Galerie Lawrence, 1962. [Images]

Spoerri, Daniel. An Anecdoted Topography of Chance. New York: Something Else Press, 1966. [Images] [Compare/contrast with Rutherford Witthus’ Anything is a Mirror, 2007]

Spoerri, Daniel. The Mythological Travels.... New York: Something Else Press, 1970. [Images]

Staeck, Klaus. Pornographie. Giessen: Anabas Verlag, 1971. [Images] [Official website]

Stezaker, John. Works, 1969 – 1971. London: Nigel Greenwood, 1972.

Stezaker, John. “0(A-F)” and Five Inherent Predicables. London: Nigel Greenwood, 1972.

Stezaker, John. “A” and Six Predicable Concepts. London: Nigel Greenwood, 1972.

Tacha, Athena. Heredity Study I, 1970-71. Oberlin, OH: Self-published, 1971. [Images] [Compare/contrast with Jan Fairbairn-Edwards’ Family Geology, 2015]

Tacha, Athena. Heredity Study II, 1970-71. Oberlin, OH: Self-published, 1971. [Images]

Tacha, AthenaSpatial Disorientation Staircases and Ramps 1971-72. Oberlin, OH: Self-published, 1972. [Image]

Titus-Carmel, Gerard. Joaquin’s Love Affair. Paris: Ericard Editeur, 1971. [Images]

Tuttle, Richard. 2 Books 1969. New York: Betty Parsons Gallery, 1969. [Images]

Van Elk, Ger. The Well-Shaven Cactus/Paul Klee um den Fisch, 1926/The Co-Founder of the Word OK/The Discovery of Sardines/The Symmetry of Diplomacy. Amsterdam: Art & Project, 1972. [Images] [More images ][Video]

Vautier, Ben. Le Livre Total: 13 propositions pour une nouvelle perception et conscience de l’objet livre. Nice: Self-published, 1963. [Image]

Vautier, Ben. Écrit pour la gloire à force de tourner en rond et d’être jaloux. Nice: Self-published, 1970. [Images]

Venet, Bernar. Astrophysics [within S.M.S. Portfolio no. 6]. New York: Letter Edged in Black Press, 1968. [Images]

Venet, Bernar. Exploited Subjects: Stimulated Raman Effect. New York: Multiples, Inc., 1970. [Images]

Walther, Franz Erhard. Objekte, Benutzen. Cologne: Walther König, 1968. [Images]

Warhol, Andy. A. New York: Grove Press, 1968. [Images] [Compare/contrast with Warren Lehrer’s A Life in Books, 2013]

Warhol, Andy. Andy Warhol. Stockholm: Moderna Museet, 1968. [Images]

Weiner, Lawrence. Statements. New York: Siegelaub, 1968. [Images]

Weiner, Lawrence. Traces. Turin: Sperone Editore, 1970. [Actual title is Tracce Traces.] [Images] [Compare/contrast Michael Winkler’s Word Art/Art Words, 1985]]

Weiner, Lawrence. 10 Works. Paris: Yvon Lambert, 1971. [Images]

Weiner, Lawrence. 10 Obras. Buenos Aires: CAYC, 1971. [Images]

Weiner, Lawrence. Causality Affected and/or Effected. New York: Leo Castelli, 1971. [Images]

Weiner, Lawrence. Flowed. Halifax: Nova Scotia College of Art and Design, 1971. [Images] [More images] [Compare/contrast with Demosthenes Agrafiotis’ The Chinese Notebook, 2015.

Weiner, Lawrence. Misschien door Verwijddering [Perhaps when removed]. Amsterdam: Art & Project, 1971. [Images]

Weiner, Lawrence. Quizas Cuando Removido [Perhaps when removed]. Buenos Aires: CAYC, 1971. [Edition of the work pirated and edited with the permission of Art & Project] [Image]

Weiner, Lawrence. Having Been Done At. Turin: Sperone Editore, 1972. [Images]

Weiner, Lawrence. Green as well as Blue as well as Red. London: Jack Wendler, 1972. [Full title is And/Or: Green as well as blue as well as red.] [Images]

Young, La Monte. An Anthology of Chance Operations. New York: La Monte Young and Jackson MacLow, 1963. [Contributors: Brecht, George; Cage, John; De Maria, Walter; Flynt, Henry; Higgins, Dick; Johnson, Ray; MacLow, Jackson; Morris, Robert; Ono, Yoko; Paik, Nam June; Rot, Dieter; Williams, Emmett; Young, La Monte; et al.] [Images] [Young soundtracks and video]

Young, La Monte; Zazeela, Marian. Selected Writing. Munich: Friedrich Publishers, 1969. [Images]

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Bookmarking Book Art – in medias res – Diane Stemper

Cell Compendium (2008-2016)
Diane Stemper
The work began with a gallery installation of Cell: Descent and 25 petri dishes filled by gallery visitors with science facts, liquid and solid matter. The installation in 2016 included 75 dishes filled with small altered found text books, drawings, and specimen objects housed in petri dishes.

In the middle of a shelf in Diane Stemper’s Ohio home, Umberto Eco’s Art and Beauty in the Middle Ages sits bookended, on the left, by two books about Francis Bacon and, on the right, by a small monograph on Pierre Bonnard and another book Art and Culture of Japan. The books are not organized alphabetically or chronologically. When she pulls the book out, it feels perfect, not too thin or thick, its dimensions and weight ideal for carrying in a shoulder bag. It has a feeling of secrets and importance.

Since discovering Stemper’s work at the Center for Book Arts (New York, 2014), I have wanted to talk to her about the themes and material that drive that work. Art and science, paper and glass, the universal and the particular, ink and watercolor, the physical and the spiritual. We finally arranged it in medias res, and she agreed to this oblique approach to her mind and art.

BoB: As you open Art and Beauty to its mid-point, what do you hear, smell or see about it or around it?

DS: Well, not sure if you mean inside of the room I am in or the memory it conjures, so I will go with memory. The words “cathedral”, “Chartres”, “vestibule”, “allegory” take me from the immediate space of my front room to the interior of a European cathedral or even perhaps as a child to the pews of St. Paul Cathedral in Minnesota during midnight mass. There is the fragrance of incense, the dark light of an imposing building, chanting and mystery. There are also the many hands of craftsmen chipping away at stone, painting glass and the laborers who put it all together and probably were not treated all that well.

Then there is that word “parabolic” and Eco’s explanation of Aquinas’ description of the arts as being literal, that the poetic image and its meaning were in the mind of the “reader” and that this association was a “matter of habit” – this reminds me that I and my viewers have different habits of mind, from the museum visitors I once toured who loved Impressionism and were hostile to Rothko, to the viewers responding to my specimen series – “why are they dead, did you kill them, that’s icky”. Surface literalism can be a matter of what one is familiar with and fearful of what one does not understand, but it can also be a “way into a piece” if the viewer is willing.

BoB: At the end of his book, Eco sums up his explanation of how the medievals looked at art with this startling statement, “They saw the world with the eyes of God”. What of today’s viewers of art and, in particular, those who look at your art?

DS: When originally picking the book from the middle of the middle shelf and then opening it to the middle, that sentence you mentioned — “The association of an image with a certain meaning is a matter of habit” — leapt out. Eco was referring to the ability of people of the Medieval period to read an image as if it were a literary text, for example, knowing instantly which animals or colors represent which biblical figure or story. However, I am reading Eco’s words from my 21st century vantage point, where there isn’t necessarily a concrete set of universal meanings assigned to objects or colors that every person understands and knows.

He also writes that the medieval mind loved a puzzle, that it was part of public discourse to figure out symbols and the inherent meaning within images. That there was adventure in the act of discovery.  And another phrase that struck me:  “Grasping reality through sense knowledge.”

Universal Sample (2014)
Diane Stemper
Edition of 4, Intaglio and letterpress on Arches

Today’s “matter of habit” is problematic when viewing art. For some of my pieces, in particular Universal Sample and my drawings and prints of specimens, the viewing can be rather cursory, a knowing, habitual glance that says, “oh I see what that is”. The glance sums up the object in very simplistic terms. In this case, for the viewer, the specimen represents death or some distasteful high school experience of dissecting a small creature, and nothing more. It is possible to look at visual art not just with visual sense but in partnership with other physical sensations conjured by the image. Looking at the work as if there is more than meets the eye, that there is an underlaying sensibility to the image that references another experience or feeling or bit of knowledge, a smell, a sound…or that of the animal or that of the instance in which the animal finds itself, or the moment that a curious person finds such an animal. Imagining that moment — “What was it like?”

So, I hope that people will approach my artwork with imagination and not as a matter of habit — to look at my work as if it is a bit of a puzzle, not a straightforward statement or concept but more of a string of thoughts, feelings and visual and sensate information to be arranged and rearranged to come to some sort of conclusion or idea about the meaning, however uncertain that may be.

BoB: Do you recall the circumstances of the book’s purchase? What were you doing when you decided to buy it?

DS: I absolutely remember. I was living in London with my spouse and family as part of a study abroad program my spouse was leading. Each day, after all were at school or otherwise occupied, I would head out in pursuit of art, medical museums, natural history oddities or any number of things and on one day I went to the British Library to see an exhibition, Royal Manuscripts: The Genius of Illumination. This was an exhibition of the several collections representing centuries of books commissioned by kings and queens and to my delight there were books on medicine, science and nature. After spending a very long time in the exhibition, I went to the gift shop where I found the Eco book. The extraordinary detail of the manuscripts I had just seen and the enormity of the exhibition itself put me in the mood to purchase the book.

BoBAs an artist whose work has an intimate relationship to “the book,” could you describe the effect this has on you when you are reading books in general or when revisiting the Eco book in particular?

DS: In general, when I am reading a book versus the screen of a device, I enjoy the structure of the book and understanding the manner in which it is assembled. The type of binding, the quality of paper, the action of the pages, do they lay flat or do they fight. I find the term “perfect binding” ironic as I am reading a book where the pages are falling out. I typically notice the condition of a book, faded covers, mildew or wear on the edges. Books with these qualities I feel a bit sorry for as I wonder where their next home will be, probably not my local library or the used book store, since here in Ohio, we haven’t many of those. Maybe they will live a short while at the Goodwill Thrift Store and from there, the recycle bin. Books are a bit like an endangered species and I am at times concerned that the youth (I have one at home) are only relating to books as they are required to do so at school and not as a place of refuge, ideas and travel. It is hard for books to compete with the ever-present screen and digital speed of information and interaction.

The Eco book in particular is a pathway back to London, to other centuries, to a time when art was the screen of the day and to the Royal manuscript exhibition. The books in the exhibition survived over centuries; the hours and hours of skill, artistry and dedication it took to not only create the books but to also preserve them gives me pause. The Eco book itself is not a great work of craftsmanship as an object, it is, after all, bound as a “perfect binding”. Still, it has not fallen apart yet, so the binders must have used a better-quality glue. Instead, the Eco book is a vessel of ideas and murmurs of what it meant to have art and beauty in one’s life hundreds of years ago. What are my intentions when opening a book? To be lifted away from the present, to enter another time period or another person’s circumstance or to be visually transported.

BoB: Turning the question on its head, when the act of creating a work rather than the act of reading is in flight, how do books feed your working process?

DS: For my series on Darwin, all seemed to fall into a flawless moment. I happened upon dozens of petri dishes and had already been thinking about Darwin’s 200th birthday. It is an instance of form and content playing together without much conflict or negotiation. From that came many books that really seemed to define themselves both in structure and content.

Cell Book #37 (2014)
Diane Stemper

My books built into petri dishes are a different viewing experience for people because the dish itself is so familiar and suddenly the viewer finds the dish in an unusual circumstance, that of being a book. People pause, take notice and naturally ask questions, they seem unleashed from any customary reaction or habit and are open to an idea. The dish is an entry to figuring out a puzzle and not a barrier, such as an image of a dead bird or a dissected lizard might be.

The first books (Cell: Compendium) were in direct response to various nearby communities that were pushing for “creationism” to be taught in the public schools. The petri dish is a universal item repositioned and viewers find it humorous, unique or “creative” and while some stop there, most people are prompted to go further. The recognition of the petri dish spurs and opens the door to more meaningful connections and interpretations.

Compendium of Fact #1 (2009)
Diane Stemper

Mostly however, when making my art work, initially the book structure is secondary, a simple vehicle for the content. Imagery, content, text and the oblique narrative story are primary and the development of the images and content are the key portions of my studio work. I use other books in my work, discarded textbooks and spines, for instance, that I take apart and rework. I also use books as reference, looking for a word or phrase, a bit of information to jumpstart a narrative about a topic I am interested in. I borrow science imagery to create and integrate with my own images. I am an observational artist and that includes observing via books as well as nature.

Discovery Plat 21 – Numbers (2001)
Diane Stemper
A unique artist book. One of four unique books exploring the life of insects as observed on, in, around an Ohio porch. Book 2 (Migration), Book 3 (Pause) & Book 4 (Flight) in the special collections of the Cincinnati Public Library, Hamilton County, Ohio.
Ohio Specimen Cardinal (2016)
Diane Stemper

Once the content and images are in motion, the book structure comes into play and that is when the many possibilities of the structure interact with the content and it is really the most significant challenge of creating an artist book. I do not like to use book forms for the simple novelty of the structure or for the entertainment factor (for instance a pop-up or tunnel book) unless of course it really fits the topic. I want viewers to focus on the images and feeling or message of the work, so the book structure becomes, is, or should be a thoughtful object that houses an idea or an experience, it is in service to the artist, to the viewer, it invites the viewer in and then steps aside.

BoBLet’s turn to Universal Sample in some more detail.  I’d like to ask you to comment on the intersection between the words in Universal Sample (“universal” and “sample”, “chance” and “order”, “moment” and “decay”) as well as the intersection of the words with the prints, their color, the paper you used, and the star structure.

Universal Sample (2014)
Diane Stemper
Edition of 4, Intaglio and letterpress on Arches

DS: First, let me say the entire book, the six images and the text, is meant to present obliquely a life cycle of early life forms. The images are inspired by my own source material comprised of many drawings of specimens that I did at the Hunterian Museum at the Royal College of Surgeons in London.

The title, Universal Sample, is singular and expansive. A sample is one bit of something larger that is collected and taken from a whole and isolated, universal represents a larger inclusive whole. In this case “Sample” is not numbered or identified. It is in relationship to all else, is composed of and is evidence for all else.

Dispersal  Begins the book and alludes to creation.

Universal Sample (2014)
Diane Stemper
Edition of 4, Intaglio and letterpress on Arches

Vestigial  Ends it and alludes to remains.

Universal Sample (2014)
Diane Stemper
Edition of 4, Intaglio and letterpress on Arches

Chance In part I feel the world is a chaotic place where the intentional can be overcome by chance and luck, circumstance and happenstance.

Order – This is about human systems (religious, scientific) within a chaotic world and about the molecular combining and recombining relative to evolution over millions of years which bring about reasonable order within an ever-changing environment.

Universal Sample (2014)
Diane Stemper
Edition of 4, Intaglio and letterpress on Arches

When I place the words “chance” and “order” together, I am referencing religion as a human system attempting to bring order to chaos, to explain the inexplicable. The images progress from an unidentified plasma or bubbly life form to a life form that appears to be lizard like, one of the early animal forms on earth. One print shows three lizards, a trinity of sorts, impaled perhaps, especially as specimens might be. Floating, they represent the substance, atom, molecules, electrons, neutrons that I know exist versus the Trinity as espoused by Christianity that I am not so certain about.  In this way, I am harking back to the root of an entire body of work that I have made that draws upon Darwin’s On the Origin of Species.

Moment and Decay are read together with the image of a frog, a frog that is decomposing, reordering and redistributing its cells. I want the text to key viewers into the idea of a space, gap, a line or moment when decay begins. The last print is of an imaginary cellular structure of a life form as it is releasing and redistributing entirely into another space whether that is air, dirt or water or the space beyond our stratosphere.

The book structure, font and print size and paper choices are all subject to various constraints, such as paper and press bed size, size of copper, or availability of type face at the printmakers cooperative where I do my printing. For this book, I worked the structure of the book, image and text placement and layout simultaneously with content development and made at least a few small mock-ups to help me see the possibilities, resolve problems and keep me on track. I like book structures that are straightforward and that are an entry to the images and content. Sometimes, as with the Cell books, the structure is integral to the content of the work. For Universal Sample, what was going to be a simple accordion changed as I saw that the images and text could offer different ways in which to view and read the book. The star structure which consists of a series of three-page short accordions sewn into a concertina spine is elegant, seems like a standard book, a good frame for the images and when opened it can go beyond being a standard book and be manipulated and reconsidered.

Universal Sample (2014)
Diane Stemper
Edition of 4, Intaglio and letterpress on Arches

BoB: Where next with your art?

DS: I like anything that can be described as a collection, the more personal and odd, the better, and I find opportunities to visit natural history or medical museums when I can. Currently, I am finishing a book object that incorporates several of my drawings of backyard specimen finds. This work includes test tubes and refers to the challenge of birds to avoid hazards and remain undetected. I am also thinking about a series of artist books that somehow reveal the dozens, hundreds, thousands of birds that are housed in the drawers of collecting institutions.

BoB: With thanks to Diane Stemper for her time and reflection. To enjoy more of her work, see her site and also:

The Dayton Printmakers’ Cooperative

Miami University Libraries (Oxford, Ohio)

Saatchi Art

Diane Stemper received her B.F.A. in printmaking from the San Francisco Art Institute and a M.A. in Interdisciplinary Arts from San Francisco State University.  Her work is included in the Artists’ Book Collections of: DAAP Library, University of Cincinnati, Ohio; Main Public Library of Cincinnati and Hamilton County, Cincinnati, Ohio; Special Collections, Miami University, Oxford, Ohio; and the Lucille Little Fine Arts Library, University of Kentucky.

 

Bookmarking Book Art – “The Cutting Edge of Reading: Artists’ Books”

Renée Riese Hubert and Judd D. Hubert’s The Cutting Edge of Reading: Artists’ Books (Granary Books, 1999) is a signal work of appreciation and analysis of book art.  Nearly twenty years on, it can be read and appreciated itself more vibrantly with a web browser open alongside it.

To facilitate that for others, here follows a linked version of the bibliography in The Cutting Edge of Reading — a “webliography” Because web links do break, multiple, alternative links per entry and permanent links from libraries, repositories and collections have been used wherever possible. These appear in the captions as well as the text entries. Also included are links to videos relating to the works or the artists. At the end of the webliography, links for finding copies of The Cutting Edge (now out of print) are provided.

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Alechinsky, Pierre; Matta, Sebastian; Mansour, Joyce. Le Grand jamais. Paris: Aimé-Maeght Éditions , 1981. [See also video 1, video 2.]

Arnal, André-Pierre. Conviction du contresens. Paris. Self-published, 1994. [See also video.]

Barrett, Virginia. Sometimes Feeling Like Eve. San Francisco: VB Press, 1992.

Blais, Jean-Charles; Artaud, Antonin. Tuguri. Paris: Ric Gadella, ed.; Frank Bordas, Printer, 1996. [See also video.]

Boltanski, Christian. La Maison manquante. Paris: La Hune, 1990. [See also video.]

Boltanski, Christian. Inventory of Objects Belonging to an Inhabitant of Oxford introduced by a preface and followed by some answers to my proposalWestfalicher Kunstverein, 1973. [The entry here corrects and extends the title given in the book’s entry. The exhibition itself, held in different locations, appeared with a different title and at different dates.]

Inventory of Objects Belonging to an Inhabitant of Oxford (1973)
Christian Boltanski

Boltanski, Christian. Sachlich. Wien/Munchen: Gina Kehayoff Verlag, 1995.

Boni, Paolo; Butor, Michel. La Chronique des asteroïdes. Paris: Jacqueline de Champvalins, 1982.

Paolo Boni and Michel Butor
La Chronique des asteroïdes (1982)

Braunstein, Terry. On Wrinkles. Self-published, 1978.

Broaddus, John Eric. France I. Altered book, n.d. [See also video 1video 2, video 3, video 4.]

Broaddus, John Eric. Satyricon. Altered book, 1973.

Broaddus, John Eric. Space Shot. One-of-a-kind book, n.d. Wellesley College Library, Special Collections.

Broaddus, John Eric. Sphinx and the Bird of Paradise. New York: Kaldewey, n.d. [See also video.]

Broaddus, John Eric. Turkestan Chronicle. One-of-a-kind book, n.d. Private collection.

Broel, Elisabeth. Aus dem Liederbuch des Mirza Schaffy. Unikatbuch no. 2. Altered book of Bodenstedt’s, 1992.

Broodthaers, Marcel. Reading Lorelei. Paris: Yvon Lambert, 1975.

Brunner, Helen. Primer of Ritual Elements (Book 1). Washington, D.C.: Offset Works, The Writing Center, Glen Echo, MD, 1992.

Chen, Julie. Octopus. Berkeley: Flying Fish Press, 1992. [See also video.]

Octopus (1992)
Julie Chen
Poem by Elizabeth McDevitt
Letterpress on paper
13.4 X 10.75 in.

Chopin, Henri. L’Écriture à L’ENDROIT. Limoges: Sixtus Editions, 1993.

Chopin, Henri. Graphèmes en vibrances. Paris: Les Petits Classiques du Grand Pirate, 1990.

Chopin, Henri; Zumthor, Paul. Les Riches heures de l’alphabet. Paris: Les Éditions de la Traversiere, 1995.

Closky, Claude. De A à Z. Paris: n.p., 1991.

Crombie, John; Rimbaud, Arthur. Une illumination. Paris: Kickshaws Press, 1990.

Dautricourt, Joelle. Sentences. Paris: Self-published, 1991.

Delaunay, Sonia; Cendrars, Blaise. La Prose du Transsibérien et de la petite Jehanne de France. Paris: Les Éditions des Hommes Nouveaux, 1913. [Title corrected.]

Dorny, Bertrand; Butor, Michel. Caractères. Paris: Imprimerie Nationale, 1993.

Dorny, Bertrand; Butor, Michel.  Lug à Lucinges. Paris: Self-published, 1993. [Butor added; title corrected.]

Dorny, Bertrand. Supermarché. Paris: Self-published, 1992.  [Butor added.]

Dorny, Bertrand; Deguy, Michel. Composition 7. Paris: Self-published, 1992.

Dorny, Bertrand; Deguy, Michel. Écrire. Self-published, 1992.

Dorny, Bertrand; Deguy, Michel. Éléments pour un Narcisse. Paris: Self-published, 1993.

Dorny, Bertrand; Deguy, Michel. Le Métronome. Paris: Self-published, 1984.

Dorny, Bertrand; Guillevic, Eugène. Si. Nice: Jacques Matarasso, 1986. [First name of Guillevic corrected.]

Dorny, Bertrand; Noel, Bernard. Matière de la nuit. Paris: Self-published, 1990.

Dorny, Bertrand; Smith, William Jay. The Pyramid of the Louvre. Self-published, 1990.

Drucker, Johanna. Narratology. New York: Druckwerk, 1994.

Ely, Timothy; McKenna, Terence. Synesthesia. New York: Granary Books, 1992. [See also video.]

Ely, Timothy. Approach to the Site. New York: Waterstreet Press , 1986. [See also Getty interview; see also video.]

Ely, Timothy. Octagon 3. One-of-a-kind book, 1987. Houghton Library, Harvard University.

Ely, Timothy. Saturnia. One-of-a-kind book, 1995. Private collection.

Ely, Timothy; Kelm, Daniel E. Turning to Face. One-of-a-kind book, 1989. Houghton Library, Harvard University.

Epping, Ed. Abstract Refuse: A Heteronymic Primer. New York: Granary Books, 1995.

Ernst, Max; Eluard, Paul. Les Malheurs des immortels. Paris: Librairie Six, 1922.

Ernst, Max. Une Semaine de bonté. Paris: Pauvert, 1963. [See also video.]

Fahrner, Barbara; Cage, John. Nods. New York: Granary Books, 1991.

Fahrner, Barbara; Schwitters, Kurt. A Flower Like a Raven. Translations by Jerome Rothenberg. New York: Granary Books, 1996.

Finlay, Ian Hamilton. Ocean Stripe Series 3, Wild Hawthorn Press, 1965.

Gerz, Jochen. 2146 Steine: Mahnmal gegen Rassismus. Saarbrucken and Stuttgart: Haje Verlag, 1993. [See also video.]

Gerz, Jochen. Die Beschreibung des Papieres. Darmstadt: Luchterhand, 1973.

Gerz, Jochen. Les Livres de Gandelu.  Liège: Yellow Now, 1976.

Golden, Alisa. They Ran Out. Berkeley: Nevermind the Press, 1991.

Groborne, Robert. Une lecture du Livre des ressemblances [d’] Edmond Jabès. [Xonrupt-Longemer, France]: Æncrages, 1981.

Hamady, Walter. Gabberjab 6. Mount Horeb, WI: The Perishable Press Limited, 1988.

Gabberjab No. 6 (1988)
Walter Hamady

Hamady Walter. Gabberjab 7. Mount Horeb, WI: The Perishable Press Limited, 1997.

King, Ron; Fisher, Roy. Anansi Company. London: Circle Press, 1992. [See also video.]

King, Ron; Fisher, Roy. Bluebeard’s Castle. Guilford, England: Circle Press, 1972. [See also video.]

King, Susan E. Always a Bridesmaid, Never a Bride. Los Angeles: Paradise Press, 1978.

King, Susan E. HomeStead. Los Angeles: The Power of Place, 1990.

King, Susan E. I Spent Summer in Paris. Rochester NY: Paradise Press at Visual Studies Workshop Press, 1984.

King, Susan E.  Salem Witch Trial Memorial. Santa Monica, CA: Paradise Press, 1994.

King, Susan E. Treading the Maze. Rochester, NY: Montage 93: International Festival of the Image, 1993.

King, Susan E. Women and Cars. Rosendale, NY: Paradise Press, 1983. [See also video.]

Koch, Peter; McEvilley, Thomas. Diogenes Defictions. Berkeley: Peter Koch, Printers, 1994.

Kosuth, Joseph. Two Oxford Reading Rooms. London: Book Works, 1994.

Labisse, Félix. Histoire naturelle. Paris: Chavane, 1948.

Histoire naturelle (1948)
Félix Labisse
Histoire naturelle (1948)
Félix Labisse

Lacalmontie, Jean-François. Le Chant de sirènes. Limoges: Sixtus Editions, 1995. [See also video.]

Laxson, Ruth. [H0 + G0]² = It. Atlanta: Nexus Press, 1982. [See also video.]

[H0 + G0]² = It  (1982)
Ruth Laxson
Laxson, Ruth. Measure/Cut/Stitch. Atlanta: Nexus Press, 1987. [See also video.]

Laxson, Ruth. Wheeling. Atlanta: Nexus Press, 1992.

Le Gac, Jean. La Boîte de couleurs. Amiens: Fonds Régional d’Art Contemporain de Picardie, 1995. [See also video at 4’55”.]

Lehrer, Warren; Bernstein, Dennis. French Fries. Rochester/Purchase: Visual Studies Press, 1984.

French Fries (1984)
Warren Lehrer and Dennis Bernstein

Ligorano, Reese. The Corona Palimpsest. New York: Granary Books, 1996.

Lohr, Helmut. Visual Poetry. Berlin: Galerie Horst Dietrich, 1987.

Visual Poetry (1987)
Helmut Lohr

Lovejoy, Margot. The Book of Plagues. Purchase, NY: SUNY Visual Arts Division, 1994.

Lown, Rebecca. Procrustes’ Bed. Purchase, NY: Center for Editions, 1990.

Lyons, Joan. The Gynecologist. Rochester, NY: Visual Studies Workshop Press, 1989.

Malgorn, Jacques; Mabille, Pierre. En N’Ombres. Limoges: Sixtus Editions, 1993.

Mallarmé, Stéphane. Un coup de dés jamais n’abolira le hasardCosmopolis, mai, 417-28, 1897.

Manet, Edouard; Mallarmé, Stéphane. L’Après-midi d’un faune. Paris: Derenne, 1876.

Martinez, Roberto. Moi Aussi j’aurais peur si je recontrais un ange. 1. La Bataille de Midway. Paris: n.p., 1991.

Martinez, Roberto. Moi Aussi j’aurais peur si je recontrais un ange. 2. L’Anatomie d’un ange. Paris: n.p., 1991.

Masson, André; Mallarmé, Stéphane. Un coup de dés jamais n’abolira le hasard. Paris: Amateurs du Livre et de l’Estampe Modernes, 1961.

Un coup de dés jamais n’abolira le hasard (1897; 1961)
Stéphane Mallarmé; André Masson

 

Masson, André; Rimbaud, Arthur. Une saison en enfer. Paris: Société de femmes bibliophiles Le Cent Une, 1961.

Matta, Sebastian; Jarry, Alfred. Ubu roi. Paris: Atelier Dupont Visat, 1982.

Matta, Sebastian. Garganta-tua. Florence: Edizioni della Bejuga, 1981.

McCarney, Scott. Diderot/Doubleday/Deconstruction. Rochester, NY: Visual Studies Workshop Press, 1994. [See also video.]

McCarney, Scott. Memory Loss. Rochester, NY: Visual Studies Workshop Press, 1988. [See also video.]

Memory Loss (1988)
Scott McCarney
2 1/2 x 22 in., 40 pp.
offset edition of 500

 

Meador, Clifton. Anecdote of the Jar. Purchase, NY: SUNY Visual Arts Division, 1989. [See also video.]

Meador, Clifton. The Book of Doom. Barrytown, NY: Zimmerman Multiples, 1984. [See also video.]

Messager, Annette. D’Approche. Paris: Jean-Dominique Carré Archives Librairie, 1995. [See also video at 5’56”.]

Messager, Annette. Mes ouvrages. Arles: Actes Sud, 1989.

Nannucci, Maurizio. Art as Social Environment. Amsterdam: Lugo, 1978.

Nannucci, Maurizio. Provisoire et définitif. Écarts, 1975.

Newell, Peter. Slant Book. New York: Harper Bros., 1910.

Osborn, Kevin. Real Lush. Arlington, VA: Bookworks, 1991.

Osborn, Kevin. Tropos. Arlington, VA: Osbornbook, 1988.

Tropos (1988)
Kevin Osborn

 

Osborn, Kevin. Wide Open. Arlington, VA: Bookworks, 1984.

Penck, A.R. Analysis. Berlin: Edition Klaus Staeck, 1990.

Phillips, Tom. A Humument. London: Thames & Hudson, 1980.

Polkinhorn, Harry. Summary Dissolution. Port Charlotte, FL: Runaway Spoon Press, 1988.

Reese, Harry. Arplines. Isla Vista, CA: Turkey Press, 1988.

Roth, Dieter. Daily Mirror. Köln: Hansörg Mayer, 1961. [See also video.]

Roth, Dieter. Bok 3C. Stuttgart: Hansörg Mayer, n.d. [See also video.]

Rullier, Jean-Jacques. 10 exemples. Limoges: Sixtus Editions, 1994.

Ruscha, Edward. Twentysix Gasoline Stations. Los Angeles: National Excelsior Press, 1963. [Publisher added; see also video.]

Sharoff, Shirley; Lu Xun. La Grande Muraille/The Great Wall. Paris: Self-published, 1991.

Sicilia, Jose Maria; Lux, Thomas. You Are Alone. Paris: Michael Woolworth, 1992.

Sligh, Clarissa. Reading Dick and Jane with Me. Rochester, NY: Visual Studies Workshop Press, 1989. [See also video.]

Sligh, Clarissa. What’s Happening with Momma? Rosendale, NY: Women’s Studio Workshop, 1988.

Smith, Keith. Construct. Rochester, NY: Visual Studies Workshop Press, 1985. [See also video.]

Spector, Buzz. Broodthaers. 1988. Altered book. [See also video links embedded in the artist’s name below.]

Spector, Buzz. Kafka. 1988. Altered book.

Spector, Buzz. Malevich. 1988. Altered book.

Spector, Buzz. A Passage. NY: Granary Books, 1994.

Spector, Buzz. The Picture of Dorian Gray. 1987. Altered book.

Spector, Buzz. Silence. 1989. Altered book.

Staritsky, Anna; Albert-Birot, Pierre. La Belle histoire. Veilhes, Tarn: Gaston Puel, 1966.

Staritsky, Anna; Butor, Michel. Allumettes pour un bûcher dans la cour de la vieille Sorbonne. Paris: Self-published, 1975.

Staritsky, Anna; Guillevic, Eugène. De la prairie. Paris: Jean Petithory, 1970.

De la prairie (1970)
Eugene Guillevic (text)
Anna Staritsky (art)

Staritsky, Anna; Iliazd. Un de la brigade. Paris:Atelier Lacourière-Frelaut, 1982. [Publisher identified.]

Staritsky, Anna; Lemaire, Jacques. Le Zotte et la moche. Moulin du Verger de Puymoyen, 1969.

Stokes, Telfer; Douglas, Helen. MIM. Deuchar Mill, Yarrow, Scotland: Weproductions, 1986. [See also video.]

Stokes, Telfer; Douglas, HelenReal Fiction: An Inquiry into the Bookeresque. Rochester, NY: Visual Studies Workshop Press, 1987.

Stokes, Telfer; Douglas, Helen. Spin Off. Deuchar Mill, Yarrow, Scotland: Weproductions, 1985.

Van Horn, Erica. Scraps of an Aborted Collaboration. Docking, Norfolk: Coracle Press, 1994.

Van Horn, Erica. Seven Lady Saintes. New York: Women’s Studio Workshop, 1985. [Publisher identified.]

Van Horn, Erica. Ville aux dames.Vitry-sur-Seine: n.p., 1983. One-of-a-kind. [Title corrected.]

Walker, Anne; Coppel, Georges. Les Formes de l’univers (ou l’univers des formes). Paris: L’Oeil du Griffon, 1995. [Name of publisher corrected.]

Wegewitz, Olaf. Mikrokosmos. Edition Staeck, 1992. [Publisher identified; date reflects publisher’s information; see also video.]

Yvert, Fabienne. Transformation. Marseille: Éditions des Petits Livres. 1995.

Zelevansky, Paul. The Case for the Burial of Ancestors. New York: Zartscarp, Inc. and Visual Studies Workshop Press, 1981.

The Case for the Burial of Ancestors (1981)
Paul Zelevansky

Zimmermann, Philip. High Tension. Rochester, NY: Visual Studies Workshop Press, 1993. [See also Craft in America video and video of High Tension.]

Zimmermann, Philip. Elektromagnetism. Barrytown, NY: Space Heater Multiples, 1995.

Elektromagnetism (1995)
Philip Zimmerman

Zubeil, Francine. Panique générale. Marseille:  Éditions de l’Observatoire, 1993.

Zweig, Janet. This Book is Extremely Receptive. Cambridge, MA: Pyramid Atlantic, 1989.

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The Cutting Edge of Reading: Artists’ Books by Renée Riese Hubert and Judd D. Hubert available:

Amazon

AbeBooks

OCLC WorldCat

 

 

 

Bookmarking Book Art — Large-Scale Book Art Installations

tumblr_mp4ihggjQv1r7l28fo3_1280
Enclosed Content Chatting Away In The Colour Invisibility, Anouk Kruithof, 2009

Anouk Kruithof’s massive wall of colored books echoes two leitmotivs in book art — the installation and the presumed disappearance of the book in the onslaught of digital media. Reminiscent of pixels on the computer screen, the work is entitled Enclosed Content Chatting Away In The Colour Invisibility and consists of over 3,500 books rescued from the recycling dump and whose arrangement varies with each installation.  Kruithof has stated that she seeks to “invent new things out of fragments of the past.’

aliciamartinbiographies2
Biografias, Alicia Martín,
2005, site specific installation, Casa de America, Madrid

Alicia Martín’s installation, called Biografias, has appeared in Madrid, The Hague, Cordoba, Linz and Valencia.   The torrent of defenestrated books is made of over 5,000 titles fixed to a wire frame.  

Alicia Martin “absorbed” by her work

Matej Kren is another book installation artist, whose thoughtful, towering installations have been featured in Prague and numerous other cities in this hemisphere.

bookcell-lead01
Book Cell, Matej Kren, 2006, Centro de Arte Moderna – Foundation Calouste Gulbenkian, Lisbon, Portugal

Although Brian Goggin does not use actual books as his material, his works in bronze, polycarbonate, steel and LED prompt reflections on books, language, the transmission of ideas, permanence and impermanence.

Speechless, Brian Goggin, 2008-2009
Bronze, site-specific installation
Lafayette Library, Lafayette, California

For other large-scale book art installations and why they might be enjoyable, take a look here.

 

Bookmarking Book Art – Vienna Romanée, updated 20170830

Datanaaiproject/Data Sewing (2011 – present)
Krantenpaper, menselijk haar/ newspaper, human hair
Vienna Romanée
Photo: Gerry Fokkinga

From 4 June to 29 October, Vienna Romanée’s “Data Sewing Project” will be on display (and growing) in the Coda Paper Art 2017 exhibition at the Coda Museum in Apeldoorn. These snippets of data from newspapers are sewn together with human hair.

Datanaaiproject/Data Sewing (2011 – present)
Krantenpaper, menselijk haar/ newspaper, human hair
Vienna Romanée
Photo: Gerry Fokkinga
Datanaaiproject/Data Sewing (2011 – present)
Krantenpaper, menselijk haar/ newspaper, human hair
Vienna Romanée
Photo: Robert Bolick
Datanaaiproject/Data Sewing (2011 – present)
Krantenpaper, menselijk haar/ newspaper, human hair
Vienna Romanée
Photo: Robert Bolick
Datanaaiproject/Data Sewing (2011 – present)
Krantenpaper, menselijk haar/ newspaper, human hair
Vienna Romanée
Photo: Robert Bolick
Datanaaiproject/Data Sewing (2011 – present)
Krantenpaper, menselijk haar/ newspaper, human hair
Vienna Romanée
Photo: Robert Bolick

Also on display will be Fingerprint 1.1, a painstakingly created sculpture of a fingerprint built up in layers of shreds of newspaper that speaks of the data embedded in our fingerprints, the permanent and the ephemeral, the material and the human spirit.

Vingerafdruk 1.2/Fingerprint 1.2 (2012-2017)
Krantenpapier, lijm, giethars/ newspaper, glue, resin
Photo: Robert Bolick
Detail — Vingerafdruk 1.2/Fingerprint 1.2 (2012-2017)
Krantenpapier, lijm, giethars/ newspaper, glue, resin
Vienna Romanée
Photo: Robert Bolick
Detail — Vingerafdruk 1.2/Fingerprint 1.2 (2012-2017)
Krantenpapier, lijm, giethars/ newspaper, glue, resin
Vienna Romanée
Photo: Robert Bolick

Bookmark – Aldus@SFU.com

The Aldus@SFU site (Simon Fraser University) provides access to 21 of the 106 volumes in the Wosk-McDonald collection. In addition, there are background essays from rare book authority Rebecca Romney, scholar John Willinsky and novelist Robin Sloan.

Taken together with the online project at the University of Glasgow Library, the John Rylands Library exhibition of Aldines and the Bodleian exhibition, Aldus@SFU offers access to the gems of Renaissance publishing and inspiration for artists of the book, scholars and publishers whether print or online.

 

Bookmarking Book Art – Chris Ruston

Ruston’s art celebrates the natural world and human spirit, inviting viewers “to follow, to unravel secrets, and to pay close attention to the world around them”.

Chris Ruston She Returns (2011) Ink, Watercolour Paper, Concertina Fold, 23.5cm x 18.5cm, Edition of 2
Chris Ruston
She Returns (2011)
23.5cm x 18.5cm, Edition of 2

Part of a series called Ocean Blue, the book She Returns uses a double concertina fold and ink on Fabriano watercolor paper to invite us to follow the image of a leatherback turtle making its way through the deep, which fluctuates between the depth of blue-black and the shallows of blue-white. The text reads

ruston-ocean-blue2

ruston-ocean-blueShe Returns
BLACK and GLEAMING
in the Moonlight
her Primordial needs
Roaming
Wave Washed Dreams.

 

Originating from the Tang dynasty (A.D. 618-908) in China as the Orihon, the concertina fold is also called the accordion fold and sometimes the leporello*. For “She Returns”, Ruston employs a variant of the binding approach in Figure 9. It is

From Hedi Kyle, "Orihon's Triumph: Origin and Adaptations of the Concertina Fold", The Ampersand, Vol. 3, No. 2, December 1982.
from Hedi Kyle, “Orihon’s Triumph: Origin and Adaptations of the Concertina Fold”,
The Ampersand, Vol. 3, No. 2, December 1982.

essentially two pages folded together into a concertina fold, but in origami terms, the “mountain” fold of one page is inverted to a “valley” fold, which creates “small boxes” between the pages when the concertina is opened as seen below. The single signature of transparent paper with text is sewn into the centre page. It is bound by a simple stitch top and bottom of each fold.

Painted board covers were then attached.”The stitches at the top and bottom of the page work well as it allows some small movement of the two concertina folds. As I saturate it with water and ink it needs to be a bit more robust but this means it can be bulky when put together.”

Binding detail of She Returns
Binding detail of She Returns
Binding detail of She Returns
The Holuhraun lava field, on 4 September 2014, during the 2014 eruption
The Holuhraun lava field, on 4 September 2014, during the 2014 eruption

The Bárðarbunga volcano in Holuhraun, Iceland, is active. From August 2014 to February 2015, it erupted for 181 days.

Lava fountains of the fissure eruption in Holuhraun on 13th September 2014 around 21:20.
Lava fountains of the fissure eruption in Holuhraun on 13th September 2014 around 21:20.

Ruston responded to that natural event with the work Holuhraun, 2014-2015.

Holuhraun, 2014-2015. Top view of closed box.
Holuhraun, 2014-2015 
Top view of closed box
Holuhraun, 2014-2015. "The pages are contained within an exploding box structure where the sides collapse as the lid is removed."
Holuhraun, 2014-2015
“The pages are contained within an exploding box structure where the sides collapse as the lid is removed.”

The box contains “181 individually painted pages, signed and dated for each day the volcano erupted producing ‘new land’.”

Holuhraun, 2014-2015. View of the pages.
Holuhraun, 2014-2015
View of the pages
Holuhraun 2014-2015
Chris Ruston
Holuhraun 2014-2015
Chris Ruston
Holuhraun 2014-2015
Chris Ruston

Ruston’s Holuhraun reflects that duality of nature’s destructive creation and creative destruction. The sides of the box falling away mimic the volcano’s production of new land. But the work is more subtle than that; it implicates the viewers in that duality. In taking apart the closed object, we “create” or, at least, reveal another object of art.  

Ice is the countervailing passion in Ruston’s art.

What a sight to wake up to on a cold winter’s morning – a blanket of thick frost over everything. Armed with camera, and a thick warm coat, I  couldn’t resist taking a detour on my way to the studio. The air was still, the grasses and branches coated with ice crystals, all bathed in a soft gentle light. I spent a pleasant hour surrounded by the gentle rustle of ice crystals softly  falling to the ground. (12/12/2012)

In response to her natural surroundings, as well as powerful films such as James Balog’s Chasing Ice (PBS, Nova, 2102) and installations like Olafur Eliasson’s Your Waste of Time (MoMA, New York, 2013), Ruston created Are We Listening?, a work of small pieces of handmade paper into which random text is incorporated and overlaid with transparent paper. Human time and earth time, destruction and creation, recurrently emerge as central themes in Ruston’s art whether touched by fire or ice.

Chris Ruston Are We Listening? (2013) Handmade paper, ink, transparent paper 15cm x 10cm
Chris Ruston
Are We Listening? (2013)
Handmade paper, ink, transparent paper
15cm x 10cm

In capturing these themes, The Great Gathering (2015) may be Ruston’s masterpiece — so far — in making visible how the world touches us, and how we touch the world. In this work, she has drawn her inspiration from ammonite fossils on display in the Sedgwick Museum of Earth Sciences, Cambridge, and the Colchester Natural History Museum. The Great Gathering first appeared as an installation at the Colchester Natural History Museum, which is housed fittingly — especially for this work — in a deconsecrated church.

View of exhibition of The Great Gathering Natural History Museum Photo credit: Chris Ruston
The Great Gathering, Seven books, seven moments in time (2015)
Natural History Museum, Colchester, Essex, England
Photo credit: Chris Ruston
Chris Ruston The Great Gathering, Seven books, seven moments in time (2015) Mixed media
Chris Ruston
The Great Gathering, Seven books, seven moments in time (2015)
On display at Turn the Page, Norwich, England, May 2016
Photo credit: Chris Ruston

Ruston writes:

Using the ammonites spiral shape as a starting point, these books represent the unfolding story of evolution. The humble ammonite is an abundant index fossil, easily recognised, and a regular feature in museum collections. Often associated with journeys, symbolically these particular fossils are believed to have absorbed the knowledge of the Universe from across the centuries.

Science and art are the presiding geniuses over many works of book art.

In The sciences of the artificial (1969), Herbert Simon emphasized: “The natural sciences are concerned with the way things are” and engineering, with the way things ought to be to attain goals. Like the scientist, the artist, too, is concerned with the way things are. They are the raw material with which the artist works or to which he or she responds. But like the engineer or the designer, the artist is concerned with the way things ought to be to make visible “the way things are”:

Artist: Chris Ruston The Great Gathering, 2016 Photo credit: Chris Matthews
The Great Gathering (2016)
Chris Ruston
Photo credit: Chris Matthews

how a solander box ought to be constructed to operate with the work and, in enclosing it, be “the work”;

Chris Ruston The Great Gathering (2016) Photo credit: Chris Matthews
The Great Gathering (2016)
Chris Ruston
Photo credit: Chris Matthews

what materials (photos from the Hubble telescope) ought to be used to reflect a moment in time;

Chris Ruston The Great Gathering (2016) Photo credit: Chris Matthews
The Great Gathering (2016)
Chris Ruston
Photo credit: Chris Matthews

how thread, tape and stitch ought to be to hold together a spine that will flex and spiral into the shape of a fossil;

Chris Ruston The Great Gathering (2016) Photo credit: Chris Matthews
The Great Gathering (2016)
Chris Ruston
Photo credit: Chris Matthews

how the color of the material ought to be juxtaposed with the material’s altered shape to carry meaning;

Chris Ruston The Great Gathering (2016) Photo credit: Chris Matthews
The Great Gathering (2016)
Chris Ruston
Photo credit: Chris Matthews

how the shift from content to blankness ought to be juxtaposed with the material’s altered shape to carry meaning;

Chris Ruston The Great Gathering (2016) Photo credit: Chris Matthews
The Great Gathering (2016)
Chris Ruston
Photo credit: Chris Matthews

how the selection and alteration of text ought to be made to show the fixity and flux of knowledge and ourselves;

Chris Ruston The Great Gathering (2016) Photo credit: Chris Matthews
The Great Gathering (2016)
Chris Ruston
Photo credit: Chris Matthews

and how our reflection in the mirror in Volume VII under the maker’s tools and the made thing ought to implicate us — a theme echoed above by Holuhraun, 2014-2015 — in an ongoing process of making and remaking.

41ypojq70jl-_sx307_bo1204203200_For her next invitation to the viewer to follow, unravel secrets and attend closely, Ruston is returning to the ocean.

Inspired by Philip Hoare’s Leviathan and his fascination with Melville’s Moby Dick, Ruston recently began research into whales and whaling logs for her next work. Like evolution, here is a subject of grandeur, expanse and time, even fire and ice. The sketchbook pages below tantalize. How will the artist, this time, make visible how the world touches us?


More of Chris Ruston’s work can be found here.

*In Mozart’s opera Don Giovanni,  the main character’s manservant is Leporello, who, when singing the Catalogue Aria, produces a book that endlessly unfolds the list of Don Giovanni’s conquests.