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.
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 suchas 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.
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.
“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.”]
“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.”]
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.
At 6 minutes in, there is a wonderful riff on the book as elemental cultural artifact, being able to stand for each of the four elements. Here are links to the images to which Spector refers – so much more enjoyable to see as well as hear!
William Dean Minter, Senior Book Conservator in the Digitization and Preservation Department at Pennsylvania State University drew my attention to these images. At first, they reminded me of passages in Annie Tremmel Wilcox’s A Degree of Mastery, in which she describes mending rare books with kozo paper under the hawkeye of the late Bill Anthony. Then, dreamcatchers sprang to mind. What were the images, sounds and thoughts caught in words now missing on these pages, words slipped from the dreamcatching pages? But book artist Esther Kibby, who teaches photography, graphic design and web design at the Art Institute of Dallas in Texas, came up with the most telling association: kintsugi.
Kintsugi (or kintsukuroi) is a Japanese method for repairing broken ceramics with a special lacquer mixed with gold, silver, or platinum. The philosophy behind the technique is to recognize the history of the object and to visibly incorporate the repair into the new piece instead of disguising it. The mastery of the book restorer is to invisibly repair the book. Our “dreamcatcher” restorer seems to have in mind the kintsugi philosophy and lets the repair draw attention to itself and creates “a new piece”.
In the hands of a book artist, such a technique could generate ironic expressions of biblioclasm: the restored book that is no longer a book? Or echoes of Walter Benjamin’s presumption of and preoccupation with the modern world’s fragmentary nature? Or the pain and sorrow of Al-Mutanabbi Street?
Or a tongue-in-cheek answer to those horrified by the destruction of “the book”?
When the Japanese mend broken objects, they aggrandize the damage by filling the cracks with gold. They believe that when something’s suffered damage and has a history it becomes more beautiful. —Barbara Bloom
I first came across Noriko Ambe’s book art in 2013 through her site and MoMA’s Inside/Out. Two years later and preparing to attend the closing of Yale University Art Gallery’s special exhibition of Allan Chasanoff’s collection of book art, I spotted her Basic Sketch Book. The latter provided me with a way of making sense of what seemed like a slight contradiction of assertions in her artist’s statement and the MoMA interview.
Referring to the series Work of Linear – Actions, Ambe writes, “It looks like annual rings of a tree or topographical map or wave, but it isn’t. It is absolutely the traces of actions of a person, which is me.” So here is book art as abstract self-portraiture.
But in her interview with Hanna Exel and referring to the seriesキル –Artist Books Project, Ambe comments, “I am not trying to express myself or insert myself into the other artist’s work by cutting their catalogue …”. In that series, Ambe selected 24 artists’ books and catalogues, and, studying each carefully , excavated or rather drew by excision. Aren’t these “absolutely the traces of actions of a person” — Noriko Ambe?
Here is the list of works in the series:
His heart, his life: Andy Warhol
Collected Beauties: Damien Hirst
Art Victims: Damien Hirst
Prologue: Sugimoto + Foer
Sculpture: Richard Serra
Spiritual America: Richard Prince
Crash!: Takashi Murakami
Kiru- Cut : Egon Schiele
In the Studio: Arberto Giacometti
Current – War Cut: Gerhard Richter
Current – A Private Atlas: Gerhard Richter
In the bathtub?!: Jeff Koons
Diamond Dust Shoes: Andy Warhol
Warning!: Richard Pettibone
Sailing to…: Cy Twombly
Anatomy of Love: John Currin
Listning to Tom Freidman: Tom Freidman
Thoughts on Tom Freidman: Tom Freidman
Beautiful Inside of My Head Forever: Damien Hirst
Dots on Dots and Leyers: Roy Lichtenstein
To Perfect Lovers: Felix Gonzalez-Torres
A Study of Robert Therrein: Robert Therrien
Double sides: Girbert & George
Artists, Believe in Yourself.: Piotr Uklanski
In her series statement, Ambe elaborates:
The process of creation was divided into roughly three stages. First, I earnestly established a deep respect for the artists and verified what they expressed through their art. After assimilating that information I decided on the theme (title) that needed to be expressed. Through a filter, the filter being me, the work was made while cutting as though I was having a dialogue with each single page.
When cutting something from the back I didn’t know what kind of image would appear next. Each time I decided to cut away or to leave behind and the process continued to a point where the book was on the verge of destruction, and then following my theme I re-constructed. Finally, while I clearly remained in the work as a filter, the essence of the artist was emphasized. It became a collaboration for the first time when these two things were balanced.
She calls the results dialogues and collaborations. I see unique works of art. Literally taking tradition as her material, Ambe delivers book art with its own unmistakeable, individual style. Each interpretation through her eyes, hands and scalpel is a unique, new work and a self-portrait in an abstract sense.
“Previously on …” Say the phrase and most listeners’ brains switch to a favorite channel and television series. It is part of our vernacular. It instantly evokes a compound state of remembering and anticipating.
Myriapod Productions embodies that state of mind in its animated alphabet-book film series Mysteries of Vernacular. Each book for each letter is an old yellowed or gray hardback whose pages turn by themselves to reveal silhouette figures that glide across the pages, accordioned illustrations from other works or carvings reminiscent of the book sculptures of Doug Beube, Brian Dettmer and Odires Mlászho – with each vernacular word and definition emerging from an old library card pocket or from beneath a flap or cutout on the page.
The treatment of the letter Wis particularly apropos to this compound artwork. W is for “window”, which we are informed by Graham James (the narrator) is an example of the Old Norse technique of word invention called kenning. Kenning is the joining of two things (or rather two words for two different things) to designate a third thing: such as whale + road = whale-road = sea. Window is originally an Old Norse kenning word: windauga = vind (wind) + auga (eye). The book in the animation is Mikhail Sholokhov‘s The Don Flows Home to the Sea, a Nobel-prize-winning window on the life of the Don Cossacks during the Russian Revolution.
The book for the letter A (for “assassin”) is Karl Menninger‘s Love against Hate, whose theme of love’s shaping our instinctual aggressiveness suggests an ironic bent and wry, punning sense of humor in Jessica Oreck and her Myriapod team. The letter C for “clue” traces back to the ball of yarn (clew) that Ariadne gave Theseus to help him find his way out of the maze after killing the Minotaur, which is explained with an animation of George Bernard Shaw‘s The Intelligent Woman’s Guide to Socialism and Capitalism. C is also for “clever”.
D for “dynamite” plays out on the pages of A Number of Things, a satiric novel of Irish and British manners by Honor (Lilbush Wingfield) Tracy. Tracy became the fuse to a stick of dynamite planted by Bevis Hillier in his rival A.N. Wilson‘s biography of Sir John Betjeman. Hillier concocted a letter from Betjeman purporting to reveal an affair between Tracy and the Oxford don. Not only was the letter a hoax, but Hillier embedded an acrostic that spelled out “A N Wilson is a shit”.
Of course, X for “x-ray” is illuminated with George Iles‘ Little Masterpieces of Science, and naturally, Z for “zero” is accounted for with Teach Yourself Calculus. But this soupçon of humor runs out with H (what has “hearse” to do with Bernard Jaffe‘s story of chemistry?) and G (what has “gorgeous” to do with James Russell Lowell?) and F (what has “fizzle” to do with Mark Twain‘s Life on the Mississippi, although one can imagine his delight with the word’s eytmological kinship with flatulence?).
Each letter, definition, chapter, volume, episode (?) of Mysteries of Vernacular elicits affection for, if not outright love of, words and language. Perhaps that is not just down to Oreck’s and team’s skill, humor and cleverness. After all, for most of us, the alphabet-book is our childhood entrée not only to letters and words but any aspect of the internal and external world we fancy. Just for ages 3-5, our bookstores and libraries have the ABCs of Asthma, Bible Verse, Colors, Dinosaurs, Engineering, Feelings, Golf, Halloween, Ice Cream, Jobs, Kangaroos, Love, Math Riddles, Nature, Origami, Pigs, Questions, Rocks, Sounds, Touch, Under the Sea, Vanishing (endangered species), Wildlife, Yoga and Zoos. And for the more app-minded, there is also Moonbot Studio’s contribution to the ABCs: The Numberlys.
Myriapod starts with the advantage of this long, long “previously on …” in our hearts and minds. In exploiting its advantage, Mysteries of Vernacular takes us on a gentle rootle round the attic and cellar of our language and social history. The tradition of the abecedary and the disciplines of history and etymology offer a natural canvas on which Myriapod’s animation projects numerous techniques of book art. The intaglio carving reminds us not only of Beube, Dettmer and Mlászho but more so of Nerhol (the collaboration persona of Ryuta Iida and Yoshihisa Tanaka) and the work entitled Oratorical Type.
The Mysteries’ wooden desktop framing recalls Abelardo Morell‘s A Book of Books.
The animated book folds are enchanting (although they might have but do not aspire to the level of origami achieved by artists and craftworkers like Heather Eddy).
More extensively used and in keeping with the more two-dimensional feel of Mysteries is the technique of papercutting (as distinct from carving) on display with the letter W. The technique dates to the Tang Dynasty (618 -906 AD) but, in this context, harks back more recently to Victorian silhouette artistry.
The series of 26 episodes so rich in content and technique is addictive. You will find yourself, as with any well-done abecedary, wishing for more letters in the alphabet. Although there is a vast vocabulary of other vernacular awaiting treatment, at a production cost of $80,000 per episode, it is likely those words will wait a long time. So we are left with having to remember our anticipation. Not all anticipation is more often enjoyed in itself rather than its resolution. You have 26 windows of opportunity to learn in Mysteries of Vernacular.
“There is art to be found in science books and science to be found in artist’s books.”
The Buffalo & Erie County Public Library has been kind enough to share the exhibit labels for its display held in March this year in the Grosvenor Rare Book Room. The section devoted to “Artist’s Book History” begins with the Book of Kells and runs to Ed Ruscha’s Twentysix Gasoline Stations.
Although many will claim that artist’s books began with William Blake in the 1700’s or so that would dismiss entirely all of the artistry that went into many lovely and ornate illuminated manuscripts that proceeded and somewhat overlapped the printed text in codex form. Whether painted in monastic scriptoria, as was the Book of Kells (c. 800), or by secular guild artists as were many others, the figures and/or flora are artworks to behold.
World Wars I & II brought many artist books associated with the Avant-Garde, Futurist and Surrealism Movements. Max Ernst’s Une Semaine de Bonté (1934).
The second half of the nineteenth [sic] century brought Dieter Roth and Ed Ruscha’s works. Roth was a Swiss artist for whom the book was just one of his media. Paint, sculpture, installation work and more also provided means of artistic expression.
Ed Ruscha is an American pop artist whose focus is in paint, drawing, printmaking and photography. His Twentysix Gasoline Stations (1963) photographically captures gas stations in book form as Andy Warhol did Campbell soup cans on canvas. This artist’s book is considered an important milestone for the genre.
Ruscha’s book also figures in the exhibit section called “Artist’s Books and Bookworks Today” along with works by Julie Chen and Susan Allix as examples of the growing availability of collectible book art today.
Julie Chen founded Flying Fish Press in California through which she creates handmade “artists’ books with an emphasis on three-dimensional and movable book structures and fine letterpress printing” according to her web site. These books are frequently moveable and/or interactive in their design.
British book artist Susan Allix also has her own (self-titled) press and she creates handmade books with a variety of fine papers and textures with letterpress printing, embossing and all manner of printmaking. Though some of her books convey a certain whimsy, the choice of materials, method of printing and crafts[wo]manship is the result of serious thought, planning and selection.
Other sections are devoted to historical examples of illustrated works of scientists such as Vesalius and Lamarck, which are well punctuated by the inclusion of Guy Laramée’s Grand Larousse, Brian Dettmer’s The Household Physicians and Doug Beube’s Fault Lines.
Books altered and/or sculpted by artists to represent something other than the original readable text are known as bookworks and they are works of art. This type of art is not technically an artist’s book whereby a book is created. Altered/sculptural books take from a book that had already been created and turn it into art by cutting, folding and/or sculpting it into an art form. Although there are many examples of this type of work, perhaps the most inspiring artists’ works (some available in art galleries today) are those by contemporary and still-creating Canadian Guy Laramée, American Brian Dettmer and Toronto-born, schooled-(in part)-in-Rochester/Buffalo and now-living-in-New-York-City Doug Beube. The examples of their works shown are all pieces inspired by some aspect of science or subject of scientific study including geology, medicine and geography.
The theme of the exhibit deserves a catalogue. As the exhibit’s online announcement notes, “Today’s mutually exclusive idea of ‘left-brained’ and ‘right-brained’ activity discounts longer understood ideas that science is a creative pursuit—that there really is art to be found in science—and that creative artworks often have some scientific basis and/or inspiration.” One would do well to start with Harry Robin’s The Scientific Image: From Cave to Computer (1992) and Brian Ford’s Images of Science: A History of Scientific Illustration (1993) and take further inspiration from the Grosvenor Rare Book Room.
Paul Forte has assembled a display of his own bookworks and those of Doug Beube, Claire Dannenbaum, Donna Ruff, Jacqueline Rush Lee and Irwin Susskind for the Hera Gallery, Wakefield, RI, June 15 to July 13.
Douglas Glover’s Numéro Cinq provides an excellent venue for Forte’s introduction to this exhibition and additional photographs of items with artists’ statements. If you cannot go to Rhode Island, visit Numéro Cinq.
Jacqueline has been working with books for fifteen years and is recognized for working with the book form. Her artworks are featured in blogs, magazines, books and international press. Selected bibliography include: BOOK ART: Iconic Sculptures and Installations Made from Books; PAPERCRAFT: Design and Art with Paper and PLAYING WITH BOOKS: The Art of Up cycling, Deconstructing, and Reimagining the Book. Jacqueline’s work will also be featured in Art Made from Books, Chronicle Press, 2013 by Laura Heyenga. … She exhibits her artwork nationally and internationally and her work is in private and public collections, including the Allan Chasanoff Book Under Pressure Collection, NY.
The Chasanoff collection connects Lee with Doug Beube, whose work has been noted here. Beube was the curator of the Chasanoff Collection from 1993 to 2011. In his interview with Judith Hoffberg in Umbrella, Vol 25, No 3-4 (2002), he comments on the purposes of Allan Chasanoff, a book artist in his own right, in putting together the collection “The Book Under Pressure”:
There are a number of ideas that meets Allan’s criteria in acquiring work, of which I’ll try to convey a couple. The first is; the problem of the book to perpetuate information is inefficient, it’s an obsolete technology due to the advent of the computer. Another premise is; at the latter part of the 20th century the book is being used for purposes other than its utilitarian design. Allan has been working extensively with computers and digital imaging since 1985 and understands that the book is as “an outdated modality”, he’s fond of saying. He’s not interested in the book decaying or in its destruction, nor is he referring to the content of books, artist’s books, production costs, mass appeal or where they get exhibited. His interest is in the book as an antiquated technology.
Lee’s process of kiln firing to transform individual books, as with the dictionary above, strikes a harmonious chord. The kiln does not reduce the book to ash but rather petrifies it. Another way of exploring “the book under pressure.” Lee’s and Beube’s work are brought together again by Paul Forte at the Hera Gallery for an exhibition entitled Transformed Volumes.
Watch Brian Dettmer’s delightful TED talk here. More about his work and his contemporaries follows:
Three book artists previously featured here at BooksOnBooks — Doug Beube, Brian Dettmer and GuyLaramée — were showcased in this exhibition curated by Karen Ann Myers at the Halsey Institute of Contemporary Art at the College of Charleston, South Carolina. Two other artists — Long-Bin Chen and Francesca Pastine — complete the show. The exhibition ran from 23 May through 6 July 2013.
Increasingly, contemporary artists have been exploring the interplay among the function, structure, and format of books. Rebound: Dissections and Excavations in Book Art brings together the work of five mixed-media artists from around the world who, using books as a point of departure, sculpt, scrape, bend, and carve to create astonishing compositions. Doug Beube, Long-Bin Chen, Brian Dettmer, Guy Laramée, and Francesca Pastine transform various types of literature and/or printed books through sculptural intervention. Despite the individual and exclusive perspective of each artist, there are remarkable connections in the themes and ideas they respectively mourn and celebrate. The fascinating range of examples, as diverse as books themselves, offers eloquent proof that—despite or because of the advance of digital media for sources of information—the book’s legacy as a carrier of ideas and communication is being expanded today.