Last Sunday, 28 January 2018, this ambitious exhibition curated by Luca Lo Pinto closed.
The metonymic metaphor of the glazed roof tiles’ evoking the concept of “home” in support of the individual and common ritual experience of reading as being translated into space is a bit topsy turvy if not strained. Overall, though, the effect was pleasing, playful and distinctively European (as was the selection of artists) in the cast concrete hall. The simultaneous warmth and cold of the color proved a pleasing contrast with the items displayed, although its glare and the occasional protective plexiglas made viewing and photographing a challenge.
In Section 01 Artists’ Library and propped on stainless steel shelves were artists’ own publications and choices of books from 1989 to 2017 that have influenced their view of publishing. So then, with the usual sly humor of book art, we have “artists’ books” and artists’ “books” — from Cory Arcangel to Heimo Zobernig.
Arcangel’s The Source Digest (from his series in which he rings the changes on selling us annotated source code in varying metaphorically driven and recursive manifestations) struck the first of several common notes in the exhibition: the digitally driven artist’s book. At the far end of the hall, in Section 05 Expanded Publishing, Antoine Lefebvre‘s La Bibliotheque Fantastique (an online library of free artists’ books) echoed that note and added one of its own: book art’s genre-reflexive, form-reflexive and self-reflexive tradition.
The ninety-item display is a genre-reflexive nod to series such as Dick Higgins’ Great Bear Pamphlet series. One row here on its own embodies multiple forms of reflexivity: Jérémie Bennequin‘s homage to Marcel Broodthaers’ homage to Stéphane Mallarmé’s Un Coup de Dés Jamais N’Abolira Le Hasard.
Bennequin’s homage is the result of a decomposition performance in which he and Lefebvre — sometimes each in two different cities — decompose Mallarmé’s poem by rolling a die then locating and erasing the syllable corresponding to the number rolled.
The title’s missing “s” from “Dés”, the subtitle’s missing “h” from “homage” and its isolation of “dé” in the hyphenation of “decomposition” pun self-reflexively — as book art so often does — underscoring here the paradoxical technique of creation/de-creation.
Section 02, devoted to periodicals and zines, occupied the most space in the hall. Although the coverage was wide, it seemed odd not to find Brad Freeman’s Journal of Artists’ Books or Sarah Bodman’s Bookarts Newsletter or The Blue Notebook. But Lo Pinto did not set out to present the encyclopedia of everything within each compartment of the toolbox. The unexpected — like Lefebvre’s display — and the provocative depth of resonance within Section 01 and across sections more than made up for omissions of the expected.
As with the echoing Section 05 that sent me back to look at Arcangel’s contribution in Section 01, the color play of Riedel’s Frieze CMYK returned me to Tauba Auerbach’s entry in Section 01. But I was misremembering and thinking of her work titled 2,3, (2011), RGB Color Atlas (2011) and their color play. On display here was her Z Helix(2014) behind plexiglas. Only the interlocking blue and red spiral bindings hinted at the color inside.
Strolling back to Section 05 and thinking of the physicality as well as color of Auerbach’s works, I stopped at Section 04 Autoretrospective, which focused on Philippe Thomas’ fictitious ad agency readymades belong to everyone® that he “installed” in the Cable Gallery in New York in 1987. The section’s title seems ironically unfair to Thomas’ self-effacing, deconstructivist intent. Given what was on display in Vienna, it was inescapably — like the mythological World Turtles — Thomas “all the way down”. Perhaps there is something to the row-upon-row of roof tiles metaphor after all.
The remaining sections — one being a space for performances and readings, another a screen showing the home page of Silvio Lorusso’s Post-Digital Publishing Archive and another entirely elsewhere in the city — began to push the limits of the senses and imagination to make up for that lack of three-dimensionality that limited the impact of Auerbach’s and others’ shelves. (It was commendable, however, that visitors were allowed to touch the works not behind plexiglas.)
Being familiar with Lorusso’s site, I looked back over the roof top shelves and wall projections and momentarily found myself slipping into that “consensual hallucination experienced daily by billions … in every nation, … A graphical representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the non-space of the mind, clusters and constellations of data” (William Gibson’s definition of “cyberspace” from Neuromancer, New York: Berkley Publishing Group, 1989, p. 128). As with all white cube spaces, though, the physical arrangement did not fail to reassert itself and draw me out of the exhibition through Section 11 The Bookshop as Medium, which much like Sections 01 through 05 offered unexpected tangible and intangible compensations.
As noted at the beginning, an ambitious exhibition: one also reminiscent of Germano Celant’s effort in 1973 Book as Artwork 1960/1972. With the hope for more to come from this talented curator and the artists and publishers gathered, here are some favorites on the way out … best enjoyed with the downloaded or printed catalog close to hand (links after the favorites).
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. In the future, the Getty Research Institute‘s processing of the Steven Leiber Basement archive should also yield a rich source of images of works by the artists selected for the Celant/Greenwood exhibition.
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.”]