This tale comes from J. S. Kennard’s short 1901 tome on the colophon — that last page at the end of a manuscript or book. The colophon has served many purposes: giving the title of the work, identifying the scribe or printer, naming the place and date of completion or imprint, thanking and praising the patron, bragging, blaming, apologizing, entreating, praying and much more. Examples can be traced back to clay tablets and forward to websites.
Its presence on websites may be one of those decried skeuomorphic hangovers from book publishing, but perhaps the colophon has an underlying value or purpose to serve in both the analogue and digital worlds. The late Bill Hill, who wrote the 1999 Microsoft white paper “The Magic of Reading” and was an early contributor to online typography, suggested making colophons a compulsory standard for website design and asked:
Why not introduce the venerable concept of the colophon to the Web? Could it be used to drive a new business model for fonts which would benefit the font industry, web developers and designers – and the people who visit their sites?[Sadly this page at the Bill Hill’s site is no longer available.]
Fanciful? Perhaps, but not much more fanciful than Erasmus’ proffered explanation of the word “colophon”. His expanded edition of Adagia printed by Manutius in 1508 includes this adage:
Colophonemaddidit He added the colophon. This came to be used when the finishing touch is added to something, or when some addition is made without which a piece of business cannot be concluded. The origin of the adage is pointed out by Strabo in … his Geography, …
And here is Strabo from the Loeb Classical Library online:
As venerable a publishing custom as the colophon may be, it is more honoured in the breach than the observance. Book artists tend to be more observant, but not religiously so, and of course some works of book art might be disfigured by a colophon. Still, there are sound reasons why book artists should bother themselves with a colophon — even if it stands apart from the work. In her review of Book Artists and Artists Who Make Books (2017), India Johnson gives one of those sound reasons:
It’s probably impossible to include every detail of production in a colophon—but some give it their best stab, exhaustively listing everyone that took part in a project. More concise colophons recap only the most relevant details of making—perhaps those the primary creator feels will factor saliently into making meaning of the book.
The convention of the colophon in our field exposes an assumption that the meaning of an artwork is informed not only by the finished product, but by the specifics of artistic labor. “Book Artists and Artists Who Make Books“, CBAA, 1 October 2018. Accessed 3 October 2018.
If craft does figure in a work’s meaning, then the more we can see how it figures, the greater our ability to appreciate and understand the work. For conveying insight — what materials and from what sources, what processes, what tools, who contributed, where and when the work occurred — the colophon stands ready. But where does it stand?
A contemporary of Kennard, A.W. Pollard declared that, to be a proper colophon, it had to appear at the conclusion or summit of the work. Artful as are some of the manuscripts and books that Kennard and Pollard cite, none push the envelope in the manner that works of contemporary book art do. Which brings us to another reason for book artists to consider the colophon: inspiration from history or tradition.
The last page of the codex may be a rightful spot for placing the codex, but what if the bookwork’s shape is challenging or musing about the shape of the book? Finishing touches might go anywhere. Think of Van Eyck’s self-portrait hidden in a reflection in The Arnolfini Portrait, or that of Vélazquez in Las Meninas.
Historians’ diligent cataloging of the “hands” of the scribes has enriched the self-identifications in colophons and connected those craftspersons with additional manuscripts. Book artists who use calligraphy or involve calligraphers should ponder the implications of this tool historians use to identify scribes by the style of their “hands”.
What potential, meaningful “tells” in a work’s colophon might the book artist or calligrapher leave to enrich the work — and provide insights for historians and connoisseurs poring over the finishing touch?
The colophon’s underlying value or purpose warrants book artists’ thinking about recording it offline and online, though this might be stretching the definition of the colophon. Our enjoyment of Kitty Maryatt’s 2018 reconstruction of La prose du Transsibérien et de la Petite Jehanne de France (1913) by Blaise Cendrars and Sonia Delaunay is certainly enhanced by the “colophonic” booklet she included with the work and the “About” page online.
Perhaps the story of the little “i” left over – the colophon – will prod the future historians of book art to examine bookworks and their artists’ websites for those finishing touches and stir artists to bestow that last finishing touch for the sake of the work’s soul if not their own.
Richard Gameson. The Scribe Speaks? Colophons in Early English Manuscripts. Cambridge: Cambridge University Press, 2001. (See for the human interest: “I, Aelfric, wrote this book in the monastery of Bath”; “Pray for Wigbald”; “Just as the port is welcome to sailors, so is the final verse to scribes”.)
Ming-Sun Poon, “The Printer’s Colophon in Sung China, 960-1279”, The Library Quarterly,43:1 (January 1973). (See for the 34 calligraphic inscriptions and the colophon to the Diamond Sutra: “On the 15th of the 4th moon of the 9th year of Hsien-t’ung [May 11, 868], Wang Chiek on behalf of his two par- ents reverently made this for universal free distribution.”)
The [artists’ book] movement had its beginnings with a few individuals (conceptual artists Dieter Roth, Hansjörg Mayer, and Ed Ruscha immediately come to mind), but in the area of structural experiment and invention only one person seems to have been markedly influential (albeit seriously ignored): Hedi Kyle.
Alastair Johnston, “Visible Shivers Running Down My Spine”, Parenthesis, Fall 2013m Number 25.
While Alastair Johnston’s 2013 interview with Hedi Kyle is a rich one and welcome, it is inaccurate to say Hedi Kyle has been seriously ignored. After all, in 2005, the Guild of Book Workers awarded her an honorary membership, and Syracuse University’s Library invited her to deliver that year’s Brodsky Series lecture. In 2008, the Philadelphia Senior Artists Initiative recorded her oral history and posted her artist’s statement along with an extensive list of prior exhibitions, honors, professional roles and board memberships stretching back to 1965.
And now, in 2018, Laurence King Publishers has brought out the eagerly awaited The Art of the Fold by Kyle and daughter Ulla Warchol, which is the immediate impetus for this essay. The authors aim their book at artists and craftworkers, but there is a secondary audience: anyone interested in book art or artists’ books or origami — and learning how better to appreciate them.
On picking up the book, the first thing its primary and secondary audiences should notice is the folded “dust jacket”. Why the quotation marks? Just look:
This innovative, subject-appropriate cut, fold and print can set the reader on a hunt for precursors such as Peter and Pat Gentenaar-Torley’s Paper Takes Flight/Papier op de Vlucht, designed by Loes Schepens, where the multilayered dust jacket has small envelopes attached to hold paper samples from the contributing artists, or Doug Beube’s Breaking the Codex, designed by Linda Florio, where the dust jacket includes a perforated bookmark, whose removal implicates the reader in a bit of biblioclasm and challenges Western parochialism.
The Art of the Fold‘s clean, balanced design (Alexandre Coco) and excellent diagrams (authors) mesh well with the text. While this integrated clarity in the introductory section on Tools, Materials, Terminology, Symbols and Techniques will be appreciated most by artists and paper engineers, the secondary audience of library/gallery curators, aficionados and collectors will benefit from the description and comments in particular on materials, terminology and techniques. Knowing these points about an object of book art enhances appreciation of it and improves its handling, presentation and preservation.
Following this introduction, Kyle and Warchol provide 36 sets of detailed instructions across 5 sections:
This double-page spread introducing the accordion structure shows off the the diagrams’ clarity, a feature throughout the book. Also in this spread are two important statements in the verso page’s final paragraph:
The accordion fold as an independent component is our focus point in this book…. Let us start with a brief visual display of a variety of folding styles. Hopefully they will inspire you to grab some paper and start folding. (p .28)
The focus on structure “as an independent component” is a strength and weakness. The strength is self-evident in the thoroughness and attention to detail. The weakness? More than occasionally, the authors make asides about the meaningful interaction of structure with content and, occasionally, with other components (type, color, printing technique, etc.). Some exemplars selected by the authors would have been welcome. The artist’s and reader’s challenge is to provide their own examples of how the structural component might work with different types of content, mixed media and other components that combine to deliver the artistic object.
The second statement — the exhortation “to grab some paper and start folding” — illustrates an unalloyed strength of this book. As towering an authority and figure in the book arts and book art as Hedi Kyle is, she and her co-author go out of their way again and again to keep readers open to playing with the techniques and structures and finding their own inventiveness and creativity. For those content to collect or curate, both statements push them to look for or revisit outstanding examples and inventive variants of the structures elucidated. After this section, a browse of Stephen Perkins’ accordion publications, a site running since 2010, would be a good start.
This double-page spread introducing the section on Blizzard structures delivers that blend of the anecdotal with essential engineering-like detail that is characteristic of the authors’ style throughout. Having explained how this family of folded structures that bind themselves got its name (a fold discovered in a daylong fold-a-thon due to a blizzard’s shutting everything down), the authors dive into the proportionality so key to getting them right. Perhaps because of its non-adhesive, origami-centric nature, the blizzard book structure generates more than its fair share of kitsch exemplars. When blizzard books do come along that rise to the level of art — integrating structure, content, printing, typography, color and other components of bookmaking in an artistically meaningful way — they stand out all the more. One such work took first place in the 23 Sandy Gallery’s juried exhibition in 2015, “Hello Hedi”:
Next to The Accordion section, the One-Sheet Books section has the most models. It is also the section that most addresses that challenge mentioned above:
A book folded from a single sheet of paper, including covers, offers a unique opportunity to consider the content and cover as one comprehensive design exercise. We explore the coming together of printing, layout and folding. (P. 94)
Given this opportunity, some treatment of imposition would have been useful, especially for the Franklin Fold and the Booklet Fold Variations. For the Booklet Fold Variations, one could lightly pencil into the book’s clear diagrams the usual markings and enumerations as below.
Again, a few selected photographs of examples of One-Sheet Books that achieve the coming together of content, design, printing, layout and folding would have been welcome.
The double-page spread above with which the Albums section begins exemplifies the book’s quality of photography (by Paul Warchol, Ulla’s husband). Like the “dust jacket”, the crisply photographed Panorama Book structure (upper right) and the pages that explain it will send readers on a quest to make their own or hunt for outstanding examples such as these by Cathryn Miller and Cor Aerssens, a long-time friend and correspondent with Kyle.
A cautionary, or perhaps encouraging, note though: the fact that some structures can enfold others will frustrate readers with strict classificatory minds and exhilarate the more freewheeling. The Phelps’ Blizzard Book highlighted above includes in its sections items exemplifying the Flag Book and Fishbone structures. Aerssens’ Memories is even more so an integrated variant of the Panorama Book structure, featuring as it does panels within panels, two 8-leaf booklets bound into front and back with paper hinges, and mylar folders holding pressed flora from Aerssen’s northern Dutch environs.
The Enclosures section presents fascinating structures, not all of which are suited “to fit many of the projects in the previous chapters”. For example, the second-most fascinating form — the Telescoping Ziggurat, shown in the lower left corner of the recto page above — looks incapable of enclosing any of the other 35 structures. The authors acknowledge it is “less of a book and more of a toy — a stimulating and curious object whose inherent mathematical quality mesmerizes as it spirals inward and outward”. The most fascinating form, however, is as much a book as stimulating and curious object: the Sling Fold structure.
This structure looks suited to enclosing scrolls or narrow, collapsed accordion books of diminishing height, and its mechanics invite playful integration with content and variations of color, typography or calligraphy, printing method and materials.
It would not do to conclude a review of this book without touching on the Flag Book structure, for which Kyle is so well-known. It is found in The Accordion section. The outstanding works implementing this structure are legion. Here it is below in all its glory, which is exceeded only by the Two-Sided Flag book in the pages following it.
The Art of the Fold should become an instant classic. If readers are tempted to “grangerize” their copies with photos and clippings of favorite examples and variants, they would do well instead to create one of the authors’ album structures in which to keep them. There could be many editions of this classic to come.
Ed’s books are a delight: witty and/or thoughtful ideas cleverly presented in unusual structures. Ed is a great believer in designing the form to suit the content, so no two books are alike. Some basic forms re-occur, but there are tweaks to the basic structures that individualize them for each version.
Miller’s review in Byopia Press is also a delight, providing multiple links and routes to information about Ed Hutchins as well as to other reviews of his work. Below are images of the catalog for Stand & Deliver, curated by Hutchins in 2003.
Engineered by Kyle Olmon and designed by John DiLorenzo, the catalog demonstrates great inventiveness in the pop-up structure and mechanism that nudges the two booklets from the left and right sleeves as the catalog is opened. Note also the use of colors to demarcate its sections that follow the themes Hutchins used to organize this exhibition: Intriguing Shapes, Revealing Folds, Uplifting Pages. And note the distinctive and subtle shifting placement of colors in the right-hand booklet: at the top on the orange page, a white bar that shifts to the right on the green page as an orange bar marks the end of the previous section on the facing verso page. For an exhibition that traveled to five different locations, a more appropriately and intricately mobile catalog could hardly have been devised.
With apologies to the preacher: Of making many books [on books] there is no end.
With the choir of its forebearers, Amaranth Borsuk’s The Book (MIT Press, 2018) sounds an “amen” to that truth. The proliferation of degree programs in book studies covering the history of the book, the book arts and even book art ensures The Book will not be the last. What distinguishes Borsuk’s book are her perspective as an artist and the book’s breadth and depth despite its brevity.
The book has a long history of existential crises. What is a book? Is the end of the book nigh? For more than a century, those questions have returned again and again. The most recent recurrence stems from the ebook’s threat to dematerialize the book and the online world’s threat to take us into a post-text future. Even before these latest threats, book artists have long lived and worked with their own existential questions, a kind of higher existential calculus, or derivative of, the book’s crises: What is an artist’s book? What is book art? Stephen Bury, Riva Castleman, Johanna Drucker, Joan Lyons, Stefan Klima, Clive Philpott and many others in the last quarter of the 20th century dwelt on defining and categorizing book art.
Borsuk belongs to a later generation of book artists that has embraced these existential crises and recognized that the book’s existential crises are what make the book a rich medium in which and with which to create art — from bio-art miniature to the biblioclastic human-scale to large-scale installations and performances. Even to the digital.
Performance artist and academic as well, Borsuk brings that later generational and creative perspective to the existential question — What is the book? — and, with an artist’s perception of her medium of choice, displaces the old companion existential question — Is the end of the book nigh? — with an altogether more interesting one — Where next for the book?
To see where books might be going, we must think of them as objects that have experienced a long history of experimentation and play. Rather than bemoaning the death of books or creating a dichotomy between print and digital media, this guide points to continuities, positioning the book as a changing technology and highlighting the way artists in the twentieth and twenty-first centuries have pushed us to rethink and redefine the term. (pp. xiii-xiv)
In The Book, the future is not far from the physical past. Where once we had text on scrolls, now we scroll through text (albeit more vertically than horizontally). Where once human consciousness changed with the invention of the alphabet and writing, now it may be altering with our reading and writing through networked digital devices. Like the many historians before her, Borsuk starts with cuneiform (those wedge-shaped accounting marks on baked clay), hieroglyphics and the invention of the alphabet to set the scene for the advent of the book and its ongoing physicality:
its shape (scroll, accordion, codex)
its material (papyrus, vellum, paper, charcoal or mineral-based watercolor and ink)
its manufacture (scribing, printing by woodblock and movable type, design and typography, illumination and illustration, folding into pages, methods of binding)
its constituent and navigational parts (cover, book block, title page, table of contents, page numbering, index).
But Borsuk reminds us — from Sumer’s clay to Amazon’s Kindle, from Johannes Gutenberg to Project Gutenberg — the book as human artifact exists in a social, political, technological, economic and even ecological context. Who is allowed to make it, how it is transacted, how and where we use it, how we perceive and speak of it — all have affected the physicality of the book object and are reflected in it.
In the first half of The Book, Borsuk steers us through these interdependencies to a turning point. That turning point is where the pinnacle of the book arts — Beatrice Warde‘s and Jan Tschichold‘s vision of the book as a crystalline container of content — and the book’s commodification combine to cause the book’s physicality to disappear because it is so taken for granted, leaving us with “the book as idea”.
With the perception that books are ideas bestowed on readers by an authorial genius whose activity is purely intellectual, the book’s object status vanished for much of the reading public as we raised a glass to happily consume its contents…. Even though innumerable material elements come together to make the book, these features have been naturalized to such a degree that we now hardly notice them, since we have come to see content as the copyrightable, consumable, marketable aspect of the work. (pp. 106-9)
At this turning point — where “the historic relationship between materiality and text is severed” (p. 112) — the second half of The Book introduces book art. It is telling that the longest chapter in the book begins the second half, that it is called “The Book as Idea” and that it comes before any extended engagement with the digital dematerialization of the book. It is a wry pivot: the artistic genius supplants the authorial genius; what the latter takes as invisible background, the former re-makes as self-regarding foreground. As Borsuk shows and her book’s cover neatly demonstrates, works of book art are inevitably self-referential and self-aware.
As such, works of book art
have much to teach us about the changing nature of the book, in part because they highlight the “idea” by paradoxically drawing attention to the “object” we have come to take for granted. They disrupt our treatment of the book as a transparent container for literary and aesthetic “content” and engage its material form in the work’s meaning. (p. 113)
Rather than offer a chronological history of book art to explore what “artists’ books have to teach us about a path forward for the book”, Borsuk offers “flashpoints” that represent “the energies motivating artwork in book form”(p. 117). These “flashpoints” are William Blake, Stéphane Mallarmé, Ed Ruscha and Ulises Carrión. Following these flashpoints, Borsuk organizes the rest of the chapter into “key themes that recur throughout artists’ books of the twentieth century: spatiotemporal play, animation, recombinant structures, ephemerality, silence, and interactivity” (pp. 146-47).
Oddly, Blake as flashpoint does not illuminate these six particular themes. Rather Borsuk notes three other recurrent themes or “energies motivating artwork in book form” that Blake and his work represent: centering or re-centering the production processes on the author/artist; using the book as a sociopolitical and visionary platform; and redefining, developing and challenging the relationship between word and image.
Blake refers to himself as “The Author & Printer W. Blake,” making clear the union of creativity and craft in his work. (p. 121)
Blake’s engagement with the social issues of his day, and his use of book form to respond to child labor, urban squalor, and slavery, established an important trend in both artists’ books and independent publishing—the utility of the book as a means of spreading social justice. (pp. 121, 124)
Blake used his craftsmanship to develop the relationship between word and image (p. 140)
One need not look far among twentieth and twenty-first century book artists for resonance with those themes. That Blakean union of creativity and craft resurfaces in artists such as Ken Campbell (UK), Cathryn Miller (Canada), Pien Rotterdam (Netherlands), Barb Tetenbaum (US) and Xu Bing (China) — some of them even to the point of carving or setting their own type, making their own paper, pulp printing on it themselves or binding the finished work themselves. Vision and sociopolitical observation have risen up in the works of artists such as Doug Beube (Canada), Julie K. Dodd (UK), Basia Irland (US), Diane Jacobs (US), Anselm Kiefer (Germany) and Chris Ruston (UK). Blake’s redefining the relationship of word (or text) to image often reappears in book artists’ abcedaries and their children’s books such as A Dictionary Storyby Sam Winston (UK). As for emulators of Blake in technical innovation, consider the analogue example of Australian Tim Mosely’s works created with his patented pulp printing process, where the “ink” is actually colored pulp, or the digital example of Borsuk’s work Between Page and Screen, where the pages contain no text—only QR codes that, when scanned with a webcam, activate the text’s appearance on the reader’s browser screen.
For her second flashpoint, Borsuk selects another visionary, Stéphane Mallarmé, who like Blake was reacting to his own perceived Satanic mills draining poetry of its spirituality. Mallarmé’s Satanic mills dispensed rigid columns of newsprint to the masses and bland expanses of poetry and fiction set by Linotype machines in the neo-classical Didot font. With his famous visionary dictum — “everything in the world exists in order to end up as a book” (p. 135) — Mallarmé nudged the book toward pure concept and opened its mystical covers to the Dadaists, Surrealists, Futurists, Vorticists, Lettrists, Conceptualists and biblioclasts. With spatiotemporal play — mixing type sizes and fonts, breaking up the line and even breaking the page — Mallarmé used text to evoke image and, in his view, remake the book as a “spiritual instrument”. His post-humous book-length poem Un coup de Dés jamais n’abolira le Hasard (A Throw of the Dice Will Never Abolish Chance), published in 1897, embodies that vision and continues to cast its flashpoint light across multiple generations of book artists’ efforts. From Marcel Broodthaers in 1969, we have his homage to Un Coup de Dés. From Jérémie Bennequin in 2014, we have his serial “omage” to Broodthaers’ homage. And, most recently, we have the 2015 new bilingual edition A Roll of the Dice by Jeff Clark and Robert Bononno, for which Borsuk provides a perceptive reading.
Where Mallarmé’s flashpoint enlisted his vision alongside the cry “épater le bourgeois” from Baudelaire and other late nineteenth-century poets, Ed Ruscha’s later flashpoint illuminates a democratic counterpoint, a Zen-like vision and a very different way of changing the relationship of text to image. Ruscha’s self-published photobooks were cheap and distributed outside the gallery-controlled channels of art. As Borsuk shows — directly with Ruscha and indirectly with the many book artists influenced by him — the text is restricted to the book’s title, which interacts with a series of deadpan photos and their layout to deliver a wry, tongue-in-cheek work of book art. Ruscha’s spatiotemporal play manifests itself across the accordion book format and out-of-sequence juxtapositions. Ironically Ruscha’s works now command thousands of dollars per copy, and one has more chance of seeing them in an exhibition than in a roadside stop’s rack of newspapers, magazines and mass-market paperbacks.
Mexico’s Ulises Carrión — polemicist, European bookshop owner, conceptual artist and Borsuk’s fourth choice of flashpoints — is a counter-flashpoint to Ruscha. Where Ruscha reveled in self-publishing commodification, Carrión sneered at the book in its traditional commercial form. Where Ruscha has resisted the label “conceptual artist”, Carrión played the role to the hilt. Where Ruscha’s work has elicited numerous homages (see Various Small Books from MIT Press in 2013) and achieved a high profile, Carrión’s work, much lower in profile, has provided a more compelling range of hooks or influences on which to hang many different manifestations of book art (or bookworks as Carrión preferred). In fact, Borsuk’s six stated key themes or “energies motivating artwork in book form” come from Carrión’s manifestos (pp. 146-47).
The first theme — “spatiotemporal play” — comes from Carrión’s initial definition of the book as a “sequence of spaces”, which Borsuk traces to tunnel books, pop-ups and even large-scale constructs, the latter illustrated by American Alison Knowles‘ inhabitable The Big Book (1968). One more possible future of the book implied by spatiotemporal play manifests itself in Borsuk’s own augmented-reality (AR) works, those of Caitlin Fisher (Canada) and Carla Gannis’ Selfie Drawings (2016), in which portraits on the hardcover book’s pages animate and change when viewed through smartphone or tablet.
Borsuk takes the second theme, that of “animation”, from Carrión’s dictum: “Each of these spaces is perceived at a different moment— a book is also a sequence of moments”. As her several examples illustrate, much book art is cinematic. Borsuk’s exposition of Canadian Michael Snow‘s Cover to Cover (1975) comes closest to reproducing the experience I enjoyed of “watching” that photo bookwork from cover to cover several times at the now closed Corcoran Art Gallery. Borsuk is quick and right to remind that the cinematic future of the book has been with us for a long time, even before the cinema. She bookends her exposition of Snow’s book and and the text animation of American Emmett Williams‘ Sweethearts (1967) on one side with Victorian flip-books and on the other with American Bob Brown‘s 1930s TheReadies (presumably pronounced “reedies” to follow Brown’s comparison of his scrolling one-line texts with the cinema’s “talkies”).
A forgotten modernist, Brown declared the obsolescence of the book, predicted a new form of reading and technology to enable it, an optical projector emitting text into the ether and directly into the eyeball. But what does this tell us about the future of the book? Borsuk notes Craig Saper‘s resurrection of Brown’s Roving Eye Press and how he even put together a website that emulates Brown’s reading machine. In her phrase describing the machine’s effect of “turning readers themselves into a kind of machine for making meaning” (p. 168), Borsuk hints at a future of digitally interactive books, which she takes up in the next section and more extensively in the next chapter. At this point, however, the reader could use a hint of practicality and skepticism. Linear-one-word-at-a-time reading, however accelerated, eliminates affordances of the page, ignores graphics and strains against the combination of peripheral vision and rapid eye movement we unconsciously (even atavistically?) deploy as we “read” whatever we see. Although in the next section Borsuk does bring on more likely examples of the book’s future exploitation of its cinematic affordances (manga, graphic novels and children’s books), this section’s treatment of animation misses the chance to cite actual recent successes like Moonbot Studios‘ The Fantastic Flying Books of Mr. Morris Lessmore (2012) and others.
Once into the third theme — “recombinant structure” — it is clear that Borsuk’s chosen Carriónesque themes overlap one another. Like the cinematic, the recombinant structure manifests itself in accordion books. It extends, however, to something more interactive: volvelles (or medieval apps as Erik Kwakkel calls them), interactive pop-ups, harlequinades (flap books) and more. Borsuk uses Raymond Queneau‘s harlequinade Cent mille milliards de poèmes ( One hundred thousand billion poems, 1961), Dieter Roth‘s slot books and works by Carolee Schneemann to illustrate book art’s celebration of the concept. The fact that Queneau’s book is still easily available on Amazon vouches for book art’s predictive qualities. The example of Marc Saporta’s Composition No. 1 (Éditions du Seuil, 1962), “a box of 150 leaves printed on only one side that the reader is instructed to shuffle at the outset”, goes Queneau one better —ironically. In 2011, Visual Editions reissued Composition No. 1 in print and app forms. Alas, the former is out of print, and the latter is no longer available for download.
Borsuk draws her fourth theme — ephemerality — from Carrión’s dictum:
I firmly believe that every book that now exists will eventually disappear. And I see here no reason for lamentation. Like any other living organism, books will grow, multiply, change color, and, eventually, die. At the moment, bookworks represent the final phase of this irrevocable process. Libraries, museums, archives are the perfect cemeteries for books. (p. 145)
To illustrate, Borsuk begins with the physical biblioclasts — those who in Doug Beube‘s phrase are “breaking the codex“. They include Beube himself, Bruce Nauman (see above), Brian Dettmer, Cai Guo-Qiang, Marcel Duchamp, Dieter Roth and Xu Bing. While some of these artists reflect a twenty-first century surge of interest in altered books and book sculpture, “facilitated by the overarching notion that the book is an artifact not long for this world” (pp.82-84), others have taken a more generative archaeological approach — erasing or cutting away a book’s words to reveal another. Examples include Tom Phillips‘ A Humument (1966-2014) and Jonathan Safran Foer‘s Tree of Codes(2010). Phillips’ bookwork serves multiple purposes for Borsuk’s arguments. Not only does it represent the book art of “erasure”, its success across multiple editions, digital formats and presence in art galleries supports her notion of book art’s predictive qualities.
There is a variant on her theme that Borsuk does not illustrate and is worth consideration for her next edition: the self-destructing yet regenerative work of book art. Examples could include American Basia Irland‘s series ICE BOOKS: Ice receding/Books reseeding (2007-), which gives a formidably tangible and new meaning to “publishing as dissemination”; and Canadian Cathryn Miller‘s tail-chasing Recomp (2014); and Argentinian Pequeño Editor‘sMi Papa Estuvo en la Selva (2015), which after reading can be planted to grow into a jacaranda tree.
The last section in this chapter expands on the fifth theme — silence — drawn from Carrión’s statement:
The most beautiful and perfect book in the world is a book with only blank pages, in the same way that the most complete language is that which lies beyond all that the words of a man can say. Every book of the new art is searching after that book of absolute whiteness in the same way that every poem searches for silence. Ulises Carrión, Second Thoughts (1980), pp. 15-16.
Among her several examples are Pamela Paulsrud‘s Touchstones (2007-10), which look like stones but are books sanded-down into stone-like shapes, and Scott McCarney‘s 1988 Never Read(Opposed to Ever Green), a sculpture composed of stacked library discards that narrows as it ascends. Paulsrud’s, McCarney’s, Irland’s and Miller’s works are what Borsuk calls “muted objects”, but they speak and signify nevertheless:
Muted books take on a totemic [metaphoric] significance…. The language of the book as a space of fixity, certainty, and order reminds us that the book has been transmuted into an idea and ideal based on the role it plays in culture…. Defining the book involves consideration for its use as much as its form. (pp. 193-95)
Borsuk is a superb stylist of the sentence and expository structure. The words above, concluding chapter three, launch the reader into Borsuk’s final theme of interactivity and her unifying metaphor: “the book as interface”. Owners of Kindles, buyers from Amazon, perusers of Facebook — we may think we know what’s coming next in The Book and for the book, but Borsuk pushes the reader to contemplate the almost real-time evolutionary change we have seen with ebook devices and apps, audiobooks, the ascension of books to the cloud via Project Gutenberg, the Internet Archive and Google Books, and their descent to Brewster Kahle‘s physical back-up warehouse (to be sited in Canada in light of recent political events) and into flattening ebook sales of late. Chapter 4 is a hard-paced narrative of the book’s digital history from the Memex in Vannevar Bush‘s 1945 classic “As we may think” to T.L. Uglow‘s 100-author blockchain collaboration in 2017, A Universe Explodes from Visual Editions’ series Editions at Play.
Borsuk reminds us:
Our current moment appears to be much like the first centuries of movable type, a cusp. Just as manuscript books persisted into the Gutenberg era, books currently exist in multiple forms simultaneously: as paperbacks, audiobooks, EPUB downloads, and, in rare cases, interactive digital experiences. (p. 244)
Borsuk weaves into this moment of the book’s future a reminder that print affordances such as tactility (or the haptic) and the paratextual (those peripheral elements like page numbers, running heads, ISBNs, etc., that Gary Frost argues “make the book a book”) have been finding fresh ways into the way we read digitally. The touchscreen enables us to read between the lines literally in the novella Pry (2014) by Samantha Gorman and Danny Cannizaro (2014). Breathe (2018) by Kate Pullinger, another work in the Editions at Play series, uses GPS to detect and insert the reader’s location, the time and weather, and when the reader tilts the device or rubs the screen, hidden messages from the story’s (the reader’s?) ghosts appear.
At this point, an earlier passage from The Book should haunt the reader:
Artists’ books continually remind us of the reader’s role in the book by forcing us to reckon with its materiality and, by extension, our own embodiment. Such experiments present a path forward for digital books, which would do well to consider the affordances of their media and the importance of the reader, rather than treating the e-reader as a Warde-ian crystal goblet for the delivery of content. (p. 147)
Borsuk convinces. Art, artifact, concept — wrought by hand and mind, hands and minds — the book is our consensual tool and toy for surviving beyond our DNA. So now what? Metaphor, hints and historical flashpoints may illuminate where we have been, how it shows up in contemporary books and book art and where we may be going with it. In ten or one hundred years though, how will a book publisher become a book publisher? Given the self-publishing capability today’s technology offers, will anyone with a file on a home computer and an internet connection consider himself or herself a book publisher? Borsuk thinks not:
The act of publication — of making public — is central to our cultural definition of the book. Publication might presume some cultural capital: some editorial body has deemed this work worthy of print. It might also presume an audience: a readership clamors for this text. But on a fundamental level, publication presumes the appendage of elements outside the text that help us recognize it as a book, even when published in digital form. (pp. 239-40)
How will future book publishers learn to master the appendage of these elements outside the text (the paratext) that make a book a book “even when published in digital form”? Borsuk’s commentary on the ISBN as one of these elements sheds oblique light on that. She points to the artist Fiona Banner’s uses of the ISBN under her imprint/pseudonym Vanity Press — tattooing one one her lower back, publishing a series Book 1/1(2009) consisting of sixty-five ISBN’d pieces of mirrored cardstock and then collecting them in a photobook entitled ISBN 978-1-907118-99-9 in order to deposit those one-offs with the British Library as required by the UK’s Legal Deposit Libraries Act. What can a future ebook publisher deduce from this?
That the use of a globally unique identifier (GUID) matters.
The backstory of the transition from ISBN10 to ISBN13 and that of ebooks, ISBNs and Digital Object Identifiers (DOIs) might provide interesting fodder. The notion that the book industry was running out of 10-digit ISBNs was a red herring used to convince industry executives to adopt the more widely used format of unique identifiers overseen by GS1. The real reason for moving to ISBN13 — reduced friction in the supply chain — was too hard to sell. About the same time, some major publishers proposed incorporating the ISBN into the DOI for an industry-standard ebook identifier. The DOI offered an existing digital, networked infrastructure already being used by most of the world’s scientific, technical and medical journals publishers. It is an offshoot of the Handle System, established by Robert Kahn. Sad to say, few book publishers adopted the DOI for their ebooks; still fewer used the DOI’s application- and network-friendliness to enable their ebooks to take advantage of the network’s digital affordances.
The DOI shares with the ISBN a feature that Borsuk points out as a limitation to more widespread use: it is not free. A significant percentage of ebooks exist without ISBNs, much less DOIs. If a digital GUID is to be used in ways that help us recognize the identified digital object as a book, future book publishers and their providers of a network ecosystem supporting ebooks, linking with the print ecosystem and reducing friction in the supply chain still have wide gaps in commerce and knowledge to close. Perhaps this particular paratextual element is unnecessary for the book’s digital future, but until those gaps are narrowed, the ecosystem for eBooks will remain balkanized by Amazon, Apple, Google, Lulu and the more digitally literate denizen of the print publishing industry. In the meantime, as Borsuk’s examples throughout her book show, there are boundless other print and digital affordances with which publishers, authors, editors, designers, typographers, developers and readers can play as they continue to shape the book.
The Book‘s publication month, June 2018, is auspicious, being the same for the Getty Center’s exhibition “Artists and Their Books/Books and Their Artists“, June 26 – October 28. The Center and MIT Press would do well to have stacks of The Book on hand. The Book will also serve as an excellent introductory textbook for courses on book art or the history of the book. And by virtue of its style and artist’s perspective, Borsuk’s book will appeal to anyone with even a passing interest in this essential technology of civilization and its growing role as a material and focus of art in the twentieth and twenty-first centuries.
It is interesting to contemplate an entangled bank, clothed with many plants of many kinds, with birds singing on the bushes, with various insects flitting about, and with worms crawling through the damp earth, and to reflect that these elaborately constructed forms, so different from each other, and dependent on each other in so complex a manner, have all been produced by laws acting around us…. There is grandeur in this view of life, with its several powers, having been originally breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.
– On the Origin of Species, 1869, the final paragraph.
In disparate “entangled banks” and micro-climates around the world, book artists and Charles Darwin have evolved a symbiotic relationship. By date and place, here are some bookmarks on that evolution.
1995, Washington, D.C., USA
Carol Barton and Diane Shaw organized the exhibition “Science and the Artist’s Book” for the Smithsonian Institution Libraries and the Washington Project for the Arts. Barton and Shaw invited book artists to respond to works in the Heralds of Science collection in the Smithsonian’s Dibner Library. Among twenty-one other pairings, George Gessert was invited to respond to Charles Robert Darwin’s On the Origin of Species by Means of Natural Selection, London, 1859.
Gessert’s response wasNatural Selection(1994), an artist’s book consisting of computer-printed handwriting and Cibachrome prints of the results of Gessert’s own experiments in hybridizing irises. Citing Darwin’s description of the breeding of pigeons for their ornamental characteristics, Gessert contends “that Darwin also recognized aesthetics as an evolutionary factor”. Since the 1980s, Gessert’s work and writings have focused on the way human aesthetics can affect evolution and the aesthetic, ethical and social implications. His work and that of artists/theorists such as Suzanne Anker, Eduardo Kac, Marta De Menezes, the Harrisons and Sonya Rapoport have constituted the bio art and eco art movements. A collection of his essays appeared as Green Light: Toward an Art of Evolution in the Leonardo Book Series, published by The MIT Press in 2010.
2004, Manchester, UK
Inspired by Darwin’s The Descent of Man, Part I, and cell structures in biology texts, Emma Lloyd‘s Evolution Triptych sparks thoughts of fossils, woodcarved altarpieces or the tooled cover of the St Cuthbert Gospel, the code of life embedded in DNA structure and the code of information embedded in the codex.
The artistic technique here – carving the book as artifact – is prevalent in book art; see the work of Doug Beube, Brian Dettmer and Guy Laramée, for example. Lloyd’s treatment of the Darwin volume is the only one of its type in this collection of bookmarks. Given the influence of On the Origin of Species, though, it would be unusual if other “book surgeons” have not been similarly inspired by it.
2009, London, UK
Storyteller and book artist Sam Winston set about categorizing the words in On the Origin of Species and poet Ruth Padel’s Darwin, A Life in Poems (Chatto & Windus, 2009). He sorted them by nouns, verbs, adjectives and “other”. As Winston puts it, he “wanted to present a visual map of how a scientist and a poet use language – a look at how much each author used real world names (Nouns) and more abstract terminology (Verb, Adjective and Other) in their writings.”
To do that, he categorized the 153,535 words in On the Origin – a dot with a 4H pencil for the 50,567 words categorized as “Other”, a 2H pencil for the 38,266 categorized as “Noun”, an HB pencil for the 26,435 categorized as “Verb” and a 4B pencil for the 38,266 categorized as “Adjective”. The result – Darwin, a series of visual “frequency poems” on display at Le Gun Studio in London – is a book altered through the DNA-like pattern of its own words into a completely “other” scroll and into a topographical map of itself – guided by the artist’s hand and mind.
In the same sesquicentennial year, in the same city, Stefanie Posavec collaborated with Greg McInerny to issue (En)tangled Word Bank, a series of diagrams, each representing an edition of On the Origin of Species, and the work’s title alluding to Darwin’s “entangled bank” passage presented above.The pressed-dandelion-shaped chapters and subchapters are divided into paragraph ‘leaves’ with wedge-shaped ‘leaflets’ representing their sentences.
The sentences forming the ‘leaflets’ of the organism are of orange, senescent tones when they will be deleted in following editions. The green, growth tones are applied to those sentences that have life in the following edition. The tone of each colour is determined by its age, in editions, to that point. Through these differences in colouration the simplicity in structure in the early stages of the organism’s life develops into a complex form, showing when the structures developed to its changing environment. Around the organisms the textual code is provided, showing the changes in the size of the organism, and where the senescence and growth is derived in that code. A series of re-arrangements of the organism focus on changes at each level of organisation.
This is “structural infographic” as art.
2009, Boston, MA, USA
Across the Atlantic, Ben Fry, author of Visualizing Data (O’Reilly, 2007), created a similar work of art called The Preservation of Favoured Traces. Fry color-coded each word of Darwin’s final text by the edition in which it first appeared and used the data to build an interactive display at fathom.com demonstrating the changes at the macro level and word-by-word. Fry went on to produce a poster version and print-on-demand book version.
2009, Vancouver, Canada
Three thousand miles away that summer, Canadian poets Stephen Collis and Jordan Scott placed multiple copies of On the Origin of Species in various outdoor locations “not … to put the natural into the text, [but] … to put the text out into the natural world and see what happens to it” (p. 2). After a year, Collis and Scott photographed the results in situ and collected and used the some of the still decipherable words as found text for their volume Decomp (Coach House Press, 2013).
Former science teacher and now botanical artist and bookmaker, Kelly Houle embarked on a 10-year plan to create an illuminated and scribed copy of the first edition of On the Origin. Where medieval scribes and rubricators had abbots to preside over them and their book art, Houle has University of Chicago Professor Emeritus Jerry A. Coyne and several other academics. As she notes about her process, the past techniques have also yielded to present concerns:
Today many artists still practice the tradition of illumination using medieval and renaissance-era materials and techniques. While many of these have stood the test of time, there are more earth-friendly materials than those used in the past….
The Illuminated Origin of Species will be written on hot-pressed Fabriano Artistico paper made in Italy. It is the best paper in the world for both calligraphy and botanical art. These are extremely smooth, beautiful, and durable papers. They are chlorine-free, acid-free, and 100% cotton. No animal by-products are used in the sizing. Combined with Winsor and Newton watercolors and gouache, this paper will be perfect for the demands of The Illuminated Origin.
To mimic the play of light on various shiny and iridescent surfaces in nature, I am using 23k gold foil, shell gold, and interference watercolors, which contain small flecks of mica to produce an iridescent effect. These metals will distinguish The Illuminated Origin as a truly “illuminated” manuscript. — Kelly M. Houle, “The Making of a Modern Illuminated Manuscript“
Houle aims to complete her work in 2019,On the Origin‘s 160th anniversary.
2009, Farnham, Surrey, UK
Between its hardback covers lined in marbled papers, Angela Thames’ Darwin’s Poetic Words has distilled the often liturgical, poetic passages of On the Origin of Species.
Between 2009 and 2013, Thames created four more artist’s books besides Darwin’s Poetic Words, based on excerpts from On the Origin of Species. In this focus and technique, Thames takes and interprets portions rather than the whole of the source as do Houle, Collis and Scott, Fry, McInerny and Posavec, Winston, and Lloyd in their differing ways.
Poor Man (2009-13) is the only exhibit in this survey that demonstrates the pop-up technique in book artistry, but as evolutionary biology and fossil-hunting have shown, who knows what undiscovered forms are out there.
2012, New York, NY, USA
Following in their tradition since 1984, Tim Rollins and K.O.S. (“Kids of Survival”) seized on Darwin’s “Tree of Life” diagram
and “jammed” to produce a series of paintings and preliminary works in ink and watercolor on pages of the book to create ON THE ORIGIN OF SPECIES (after Darwin). Eighteen students, aged 13 to 16, worked with Rollins on the preliminary studies, one of which appears below, that preceded the 2013 exhibition of paintings at the Lehmann Maupin Gallery.
The large-scale paintings consist of almost all of the 360 pages of On the Origin fixed to canvas and ink-stamped over and over with the “Tree of Life” image, which had been cut into 60 handstamps. Rollins described the concept of the works in an interview for Brooklyn Rail:
The whole book is 360 pages but we don’t ever want to be literal so it’s not all of the pages. They’re there to inspire. It’s like an opera. The libretto inspires the music. You can watch an opera in a language you don’t know, without reading. It’s the same with our work. It’s about a visual correspondence with the text. The work is not about something. That’s why you can’t get hung up on interpretation. That’s a big issue, especially with so much politically engaged art. We want to create a situation, learning machines, so everyone is learning in the process of making and then hopefully the audience will be inspired too. Maybe they will pick up Darwin or continue with the idea. These are catalysts for action.
In a video interview with ArtNet, Rollins also refers to the K.O.S. jamming process -reading aloud from the book in a studio setting, discussing it with students and seeking inspiration from the text – not as a school lesson or classroom exercise but as a kind of séance, an assertion that touches the essence of “reverse ekphrasis” in book art. Rather than the literary work or book capturing the spirit of a work of art, the work of art captures the spirit of the book.
2013/14, Oxford, OH, USA
At the University of Puget Sound (2013) and Center for Book Art in New York (2014), Diane Stemper exhibited her Darwin-inspired book art that explores “the intersection between the natural world, daily living, science and the collective and individual experience of landscape”.
Hand bound, printed and produced in her Plat 21 Studio, in Oxford, her Galapagos Map (2013), Darwin’s Atlantic Sea (2014) and Universal Sample (2014), these works have an eerie physical presence. At the Center for Book Art, I have seen and, with the kind permission of Alex Campos, the curator there, touched the works. The intaglio printing and richly textured creamy paper still communicate themselves even across the digital divide.
2014, Amsterdam, The Netherlands, and London, UK
Simon Phillipson completed a variorum edition of On the Origin of Species, in which every verso page is the evolved or amended text and the recto page is the final text from the the Sixth edition.
The verso pages are completely printed in a special metallic bronze ink. The recto is printed in a combination of black and bronze ink. The bronze highlighted words in the recto correspond to the evolving or amending text in the verso. Very reminiscent of, but distinct from, Ben Fry’s The Preservation of Favoured Traces (see above).
2014, Minneapolis, MN
Vesna Kittelson is an American-Croatian artist based in Minneapolis. Her résumé cites public collections ranging from Tate Britain and Minnesota Museum of American Art to Cafesjian Center for the Arts in Armenia and the Modern Museum of Art in Croatia. In 2009, she spent time at Churchill College, Cambridge University, where she learned about the life and marriage of Charles Darwin and Emma Wedgwood. Subsequently she created four artist books titled Mrs. Darwin’s Garden depicting primitive-seeming plants imagined as flora that Darwin might have seen from the deck of the Beagle. The names of the plants are made-up Latin names or variations on those of contemporary plants.
These abstract images are imagined plants for Mrs. Darwin’s garden. They are illustrations of named floral specimens that never existed in reality. In Mrs. Darwin’s Garden they are presented as if they correspond to data derived from Darwin’s experimentation in his greenhouse. In this book I replaced the 19th C methods of botanical drawing with pouring paints to incorporate the contemporary notion of valuing an accident, followed by drawing with brushes and pencils to gain control and give the images a place and time in the 21st C.
2014, Grasswood, Saskatchewan, Canada
Jonathan Skinner (Warwick University) wrote in his preface to Decomp (see above):
Writing rots, meaning flees. … Yet the book is written to locate (some) meaning here. Would it make any difference to leave Decomp itself in the wilderness? Probably not.
Book artist, papermaker and co-founder with her husband David Miller of Byopia Press, Cathryn Miller reviewed Decomp in 2013. If not prompted by Skinner’s preface, Miller must have felt how appropriately evolutionary it would be to attempt to replicate the Decomp experiment by substituting the result of that experiment for the subject of the replicating experiment. Thus, in January 2014, Miller nailed to a tree “a book based on letting brand new copies of On the Origin of Species rot in various locations”.
For over twenty months, Miller monitored and husband David photographed the book’s weathering. That, however, was not the transformation that would result in an altered book and possibly a work of book art. Nature had some ironic appropriateness in store for Miller, Skinner, Collis, Scott and all of us. The blown pages were visited by Bald-faced Hornets, who digested them á la John Latham and his students but regurgitated them as cellulose with which to build a large nest.
In the context of book art, the nest offers a curiously serendipitous digression. In 1719, the French naturalist René Antoine Ferchault de Réaumur published an essay to the Royal Academy of Sciences on the natural history of wasps. In the passage below, he hypothesizes how their natural papermaking industry could be adopted by man.
In 2015, Miller presented the results as Recomp in her blog at Byopia Press. In September that year, however, critics (raccoons, the artist thinks) visited the work and deconstructed it.
Might this prove that, to paraphrase the last paragraph of On the Origin, “by laws acting around us…. from the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals [and their art], directly follows”? If so, that makes raccoons and critics equal laws of nature.
2015, Umeå, Sweden
Johannes Heldén’s work Field is book, visual art and installation all in one. Heldén’s is perhaps the darkest variant on Darwin’s theme here.
It consists of interactive landscape animations on a floor touchscreen of 20 sqm,
a series of sculptural mutations of the Eurasian Jackdaw*,
an ever-changing soundscape and an interactive screen wall with a text responding to the changing DNA of the bird
– as the ”code” of todays species is slowly lost, so is the code and context of language. The gaps in the text correspond to the shift in the DNA sequence, prose turns into dark poetry, connections and meaning changing for each iteration.
All these pieces are connected: as you explore the landscape and trigger the glowing touch points with your body, time is rapidly speeding up (clouds move over the scene, trees wither away, a flood is coming), one by one the four bird sculptures in the installation will be ”activated” with light and sound, spiraling the species further down into mutations. At the end of the piece, no lights remain in the landscape, the sound is immense, all mutations have occurred, the last poetry dissolves into entropy. Then all fades to black.
Since Darwin’s theory encompassed extinction, perhaps Heldén’s vision is not so much a variant on Darwin as it is a pessimistic appreciation and warning about the impact of our interaction with the entangled bank.
2016, Guildford, Surrey, UK
Cathryn Miller’s “bio-book-art” and that of Collis and Scott stand at the collaboration end of the bio art spectrum, where the artist yields considerable control to nature in the creative process. At the coordination end of the spectrum – closer to domestication of species – stands Dr. Simon F. Park’s bio-book-art – The Origin of Species – perhaps “the first book to be grown and produced using just bacteria”. Presented at the Edinburgh International Science Festival, the small book has pages made of bacterial cellulose, produced by the bacterium Gluconoacetobacter xylinus (GXCELL). Its cover is even printed with naturally pigmented bacteria.
Although Park’s science-driven process for paper manufacturing and printing echoes the speculations of French naturalist René Antoine Ferchault de Réaumur (see above), it seems to have much in common with the painstaking craft of handmade paper and hand letterpress printing. The first sheet of Park’s micro-organically grown paper took a little under two weeks to be generated and stencilled with his bacterial ink.
2016, Colchester, Essex, UK
It seems chronologically backwards to move from bio-book-art’s live media to Chris Ruston’s ammonites of The Great Gathering. As should be evident by now, however, the evolution of the symbiotic relationship between book artists and Darwin has been anything but a straight line. It has curved, circled and recursed.
Tim Rollins + K.O.S may have had their séance 30-50 feet away from Darwin’s lodgings in Edinburgh, but Chris Ruston brought her Darwin-inspired book art to an even more fitting venue: a church converted into Colchester’s Natural History Museum.
As the artist comments at her site:
The Great Gathering refers to our continued exploration of where we have come from, and where we are going. Combined the seven volumes tell an amazing story spanning 650 million years. Sculptural in form, each book reflects a moment of this journey. From black holes and dark beginnings, through ocean and sediment layers, Darwin’s On the Origin of Species, and recycled National Geographic magazines the work charts the inevitability of change.
They are a response to visiting Museum collections, in particular the Natural History Museum, Colchester and the Sedgwick Museum of Earth Sciences Cambridge. Fossils hold the key which have enabled us to unlock the story of our Origins – from the largest creatures to the smallest organisms. The 19th century saw an explosion of knowledge and understanding, culminating in Darwin’s publication of On the Origin of Species. By piecing together the riddle of the fossil record, Darwin and his contemporaries began asking revolutionary and challenging questions, the results of which are still felt today.
Science and art are the presiding geniuses over The Great Gathering. 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:
how a solander box ought to be constructed to operate with the work and, in enclosing it, be “the work”;
what materials (photos from the Hubble telescope) ought to be used to reflect a moment in time;
how thread, tape and stitch ought to be to hold together a spine that will flex and spiral into the shape of a fossil;
how the color of the material ought to be juxtaposed with the material’s altered shape to carry meaning;
how the shift from content to blankness ought to be juxtaposed with the material’s altered shape to carry meaning;
how the selection and alteration of text ought to be made to show the fixity and flux of knowledge and ourselves;
and how our reflection in the mirror in Volume VII under the maker’s tools and the made thing ought to implicate us — the viewer here and now – in an ongoing process of making and remaking.
If you have come this far with these bookmarks on the evolution of book artists’ symbiosis with Darwin, note that today and every 12th of February is Darwin Day, marking international celebrations of the birth of Charles Darwin and his contributions to science. From today’s engagements and all those to come with the concepts of On the Origin of Species and (I hope) with these bookmarks, perhaps new discoveries and new creations of book art will emerge.