Bookmarking Book Art – Bristol Artist’s Book Event, 2019

A day’s visit with one hundred exhibitors hosted at the Arnolfini in Bristol leaves me reeling like a drunken sailor — drunk on colour, texture, light, line, shapes, words and artistry. Appropriate given the Arnolfini’s location on Narrow Quay in Bristol’s floating harbour.

Colour

Lucy May Schofield talked to me about her “search for the indigo that is infinity”. The Distance of Us is only one of several pieces demonstrating how close she is coming. The Longest Day on her site is one among many by which to enjoy her progress.

The Distance of Us
Lucy May Schofield
Photo: Books On Books

Mick Welbourn took time to explain how his search among inks, paper and geometric shapes kept leading him from a unique work (oil-based) to multiples and back to uniques. These colours reminded me of the work of Sonia Delaunay.

Mick Welbourn
Photo: Books On Books

Texture

Bodil Rosenberg, a member of the Danish collective CNG (Anna Lindgren, Bertine Knudsen, Birgit Dalum, Pia Fonnesbech, Susanne Helweg), appeared delighted that I was surprised by the colour and texture of Vandstand (“water level”). Somehow after the saturation of the paper with layer upon layer of paint, each page has a supple leather- or cloth-like feel — a coolness to the touch. I think Ken Campbell would relish Vandstand.

Vandstand
Bodil Rosenberg
Photo: Books On Books
Vandstand
Bodil Rosenberg
Photo: Books On Books

Caroline Penn’s works comprised by Notes from Chesil Beach made me reach out to pick up one of the pebbles on the page. The trompe l’oeil effect of turnable pages in the photos is enhanced in one variation by inclusion of an actual small gathering of pages. The role of trompe l’oeil in book art is one worth investigating.

Notes from Chesil Beach
Caroline Penn
Photo: Books On Books

Light

Eileen White’s Haptic Narratives and her lumen prints for Printed Matter made a nice segue from texture to ghostly light. Printed Matter also looks forward to the “artistry” section here as book’s images are un-fixed and eventually fade away. To use the book form — the traditional form of permanent record — to present a language and reminder of material ephemerality: that is artistry.

Eileen White
Photo: Books On Books

Haptic Narratives
Eileen White
Photo: Eileen White
Printed Matter
Eileen White
Photo: Eileen White

Helen Douglas (Weproductions), fresh from exhibitions at Printed Matter in New York and Fruitmarket Gallery in Edinburgh, was displaying her 2017/2018 series Field Works as well as a new book Summer Alight. The photographic effects, the visual narrative and structure achieved in Douglas’s works define artistry.

Meadow
Helen Douglas
Photo: Weproductions

Line

Elena Zeppou’s Parallels first caught my eye because of its size, but closer inspection yielded appreciation of line — vertical as well as horizontal — and its union with text and form. Note how the lines of poetry read across the accordion.

Parallels
Elena Zeppou
Photo: Books On Books
Parallels
Elena Zeppou
Photo: Zitrone Printmaking
Parallels
Elena Zeppou
Photo: Zitrone Printmaking

Shapes

Listening to Mandy Brannan talk about custom papers, French fold books and modified flag books is almost as good as handling them. The work 30 St Marys Axe (inspired by the building fondly known as the “Gherkin”) was what first drew me to her table. It has two variations — Diagrid and Cladding — which reward repeated handling as well as regarding.

Silk tie fibre pulp
Photo: Mandy Brannan
30 St Marys Axe: Diagrid
Mandy Brannan
Photo: Books On Books

At the ArtistBooksOnline table, the shape-changer Inside/Outside by Susie Wilson kept me as busy as if it were a Rubik’s cube or paper puzzle with a medical mystery inside — or outside.

Inside/Outside
Susie Wilson
Photo: Books On Books
Inside/Outside
Susie Wilson
Photo: Books On Books

Words

Puns, slippery words and slipperier concepts seemed to explode from Guy Bigland‘s table.

My inner metaphysician of Structuralism, Post-Structuralism, Deconstruction and Post-Deconstruction found its element(s) at the Atlas Press.

Uniformbooks offered a new selection of essays by Colin Sackett, who cheerfully discussed with me Michael Hampton’s eclectic and insightful abecedarian Unshelfmarked: Reconceiving the artists’ book.

Artistry

AM Bruno, run by Sophie Loss, and of which John McDowall is a founding member, is always a rich vein of artistry. The works from the 2018 theme-driven project, Cover, appear in the box below but warrant a closer inspection at the link behind the word. John McDowall had a new book on hand: Time-lapses. As I turned the brilliantly white pages, each segmented into squares like a comic-book page but only one square in each page holding an old black-and-white photo, the title began to sink home. And then came the idea that all the meaning that could possibly explain any one photo, its relation to the other squares or to other photos or to the author or to the reader/viewer — all of it — has to take place in the empty spaces between.

Janet Allsebrook displayed a Duchampian box with the Delaunay-esque title Nichoir. Although the drift of this work (“waste time making your own useless nest box”) is echoed in her other works, the echo reverberates with a deeper tone — often political or philosophical. The variety of book forms is impressive.

Nichoir
Janet Allsebrook
Photo: Books On Books

Next door was the artist of Zen book art — Julie Johnstone – Essence Press. In addition to extensions of her percentage tint series, she had on hand several explorations of breath, print and paper: each breath, a page; quietly breathing; five breaths; and ten breaths. Wherever they are, her books make a Zen garden.

Sarah Bodman and Arnolfini brought together a rich collection of talent and should be thanked for doing so and encouraged to repeat it in 2021. And to the artists mentioned — and those not — who took the time to share their thoughts on colour, texture, light, line, shapes, words and artistry: Encore!

Bookmarking Book Art – Architecture

Architecture — be it theory, principles, practices or instances — inspires book art. Lay the book flat; you have a foundation. Open and turn it on its fore-edge; you have a roof beam or arcade. Stand it upright; you have a column or tower. Turn the front cover; you open a door. Put the text and types under a microscope; you have a cityscape. As the examples in this virtual exhibition show, architecture-inspired book art goes beyond these simple analogies.

There are seemingly unrelated texts that help considerably in going there. The Eyes of the Skin (2005) and The Embodied Image (2010) by Juhani Pallasmaa, architect, teacher and critic, are two of them. He writes as if he were an artist preparing an artist’s statement or descriptions of the book art below. The title of his earlier book gives away his alignment with the visual and tactile nature of book art. Pallasmaa’s two books will enrich anyone’s enjoyment of the works shown and mentioned here.

From the Books On Books Collection

Helen Malone

Malone’s Ten Books of Architecture is a good place to start in the collection. Like Pallasmaa, Malone takes a broad historical and, most important, haptic view of architecture from Vitruvius to Hadid. Each of the ten books is a bookwork that exemplifies its subject.

Photo: Books On Books Collection
Photo: Books On Books Collection

Marcus Vitruvius Pollio

The columns in this accordion book are made by embossing; the marbling effect comes from diluted Sumi ink.
Photo: Books On Books Collection

Abbot Suger of Saint-Denis

Adapted tunnel book with accordion sides
Photo: Books On Books Collection
A watercolour at the tunnel’s end to evoke the stained glass clerestory windows in the Basilique Saint-Denis, Paris
Photo: Books On Books Collection

The aspiration to fuse the cosmic and the human, divine and mortal, spiritual and material, combined with the systems of proportion and measure deriving simultaneously from the cosmic order and human figure, gave architectural geometries their meaning and deep sense of spiritual life. The Embodied Image, p. 23.

Leon Battista Alberti

Photo: Books On Books Collection
Photo: Books On Books Collection

The texture of this book, its adapted accordion structure and Alberti’s words remind me of Geoffroy Tory’s Champ fleury: The Art and Science of the Proportion of the Attic or Ancient Roman Letters, According to the Human Body and Face  (1529) and its argument for finding the ideal shape of the letters in the human form and face. The alphabet as book art’s bones, bricks and beams?

And further apropos the link between the book and architecture, consider the connection that Vasari drew between Gutenberg and Alberti:

In the year 1457 [sic], when the very useful method of printing books was discovered by Johann Gutenberg the German, Leon Batista [sic], working on similar lines, discovered a way of tracing natural perspectives and of effecting the diminution of figures by means of an instrument, and likewise the method of enlarging small things and reproducing them on a greater scale; all ingenious inventions, useful to art and very beautiful. Lives of the Most Eminent Painters, Sculptors and Architects, vol. 1, trans. Gaston Du C. de Vere (London: Medici Society/ Philip Lee Warner, 1912-1914), 494.

Filippo Brunelleschi

Photo: Books On Books Collection
Photo: Books On Books Collection

In “An Architectural Confession”, Pallasmaa writes:

One’s most important teacher may have died half a millennium ago; one’s true mentor could well be Filippo Brunelleschi or Piero della Francesca. I believe that every serious artist — at the edge of his/her consciousness — addresses and offers his/her work to a superior colleague for approval. The Eyes of the Skin, p. 82.

Charles Rennie Mackintosh

“A paradox of enrichment and reduction”
Photo: Books On Books Collection
“New technologies”
Photo: Books On Books Collection
Photo: Books On Books Collection

Le Corbusier

This curiously textured cube sits perfectly alongside Pallasmaa’s observation: “The basic geometric shapes have their symbolic connotations, but more important than their conventional meanings are their conceptual and visual organising powers” (The Embodied Image, p. 58).

Photo: Books On Books Collection
Photo: Books On Books Collection
Photo: Books On Books Collection
Photo: Books On Books Collection

I.M. Pei

Photo: Books On Books Collection
Photo: Books On Books Collection
Photo: Books On Books Collection
A short trip around this small pyramid as a reminder of the entrances that were always on the far side of museums you visited
Photo: Books On Books Collection

Ludwig Mies van der Rohe

Photo: Books On Books Collection
“Reading” the perspex accordion invites reconfiguring your own hi-rise and skyline.
Photo: Books On Books Collection

Daniel Libeskind

It is no surprise that Pallasmaa has written extensively on Libeskind.
Photo: Books On Books Collection
Photo: Books On Books Collection
Photo: Books On Books Collection
Photo: Books On Books Collection

Zaha Hadid

This edition of Malone’s Ten Books is unique in its inclusion of Hadid, who is not mentioned in either of Pallasmaa’s books but whose artistry and turn to the organic and curves of nature certainly fit with their spirit.
Photo: Books On Books Collection

Malone’s Ten Books has a predecessor in Laura Davidson’s contribution to the 1994 Smithsonian show on book art inspired by its collection of rare science books (see section below). Although there is also Karen Wirth’s sculptural take on the Ten Books as well as Ron Keller’s take (see section below) on Palladio’s Fours Books of Architecture, which is Palladio’s take on Vitruvius, I have not found any other Vitruvian-inspired works of book art. (Pointers welcome.)

Mandy Brannan

These two works — 30 St Mary Axe: Diagrid (2009) and 30 St. Mary Axe: Cladding (2009) — are among several architecture-inspired works of book art that Brannan has created. The text in one of those several — Situated — could have come straight from Pallasmaa, Bachelard or Merleau-Ponty:

Being situated is generally considered to be part of being embodied, but it is useful to consider each perspective individually. The situated perspective emphasizes that intelligent behaviour derives from the environment and the agent’s interactions with it.

30 St Mary Axe: Diagrid (2009)
Mandy Brannan
London has nicknamed the building at 30 St. Mary Axe “the Gherkin”.
Photo: Books On Books Collection
Photo: Books On Books Collection
30 St. Mary Axe: Cladding (2009)
Mandy Brannan
Photo: Books On Books Collection

By integration of image, colour and structure, Brannan situates the “Gherkin’s” architecture in your hands.

Sarah Bryant

The Radiant Republic (2019)
Sarah Bryant
Photo: Books On Books Collection

In the The Radiant Republic (2019), Sarah Bryant (Big Jump Press) brings together concrete, wood, glass, paper, ink and embossed printing, sewn binding, box container and texts from Plato and Le Corbusier.

Note the embossed text on the verso. Across the five volumes, the embossed text is the same as that printed in ink, but it runs in fragments backwards from this last page of the last volume to the last page of the first volume.
Photo: Books On Books Collection

Bryant’s insightful integration of Plato’s and Le Corbusier’s texts and ideas and her setting them in the physicality of the blond wood, linen cover, embossed type and sewn papers could easily be a response to Pallasmaa’s comment in The Eyes of the Skin: “The current overemphasis on the intellectual and conceptual dimensions of architecture contributes to the disappearance of its physical, sensual and embodied essence.” (p. 35)

Helen Douglas and Telfer Stokes

Chinese Whispers (1975) is conceptual, visual and spatial narrative that takes the reader into a “game of embedded games”: a game of Chinese Whispers used by the artists to combine the process of making a book with the process of recovering an old cottage, making a corner cupboard, making jam, making ideas and making an exit.

Chinese Whispers (1975), Helen Douglas and Telfer Stokes, Photo: Books On Books Collection

The selection of images above begins with the front cover’s photo of a patch of grass outside an abandoned farm building and ends with the back cover’s photo of the underside of the patch of grass. In between, the pages take the viewer through the trimmed hedge and the doorway into the room, through the building, the stocking of the shelves, using of the stock and closing of the shed cupboard, and so back to the other side of the patch of grass. As Stokes explained in the Journal of Artist’s Books (Vol. 12, 1999):

We started with the corner cupboard, that was the part that occupied our thinking most, that and the two colour vignettes (as we called them) printed on different stock. But then we started to think backward to what might be before the cupboard’s construction. To the thing before that, and the thing before that, and the thing before that which was cutting of the hedge and before that which was the boot brush which we called the hedgehog- that was where the book started. Then we started to photograph from that point forward, through the book.

The work blends the features of book structure, collage and montage to create something that resonates uncannily with Pallasmaa’s approving citations of Bachelard’s central idea of the hearth and domicile as central to our time-bound “being-in-the-world”.

Heather Hunter

Folded book pages rarely generate a work that rises above mere craft. Heather Hunter’s Observer Series: Architecture (2009) achieves the necessary height. It combines the altered book with an accordion book that incorporates a found poem composed of the words excised and folded outwards from the folded pages of The Observer’s Book of Architecture.

Observer Series: Architecture (2009)
Heather Hunter
Photo: Books On Books Collection
Photo: Books On Books Collection

The very fact of a found poem made of excised words that happen to fall at the folds shaping a column from a book on architecture chimes with the title of Bachelard’s The Poetics of Space.

Marlene MacCallum

Chicago Octet (2014) by Marlene MacCallum embodies the collaborative creative approach often taken in architects’ practices. Collaborative working arises almost as frequently in book art. Think of Blaise Cendrars and Sonia Delaunay, Helen Malone and Jack Oudyn, Julie Chen and Clifton Meador, Robin Price and Daniel Kelm. Many more can be added. As described by MacCallum:

From May 19 – 26, 2014 a group of eight gathered at the Columbia College Center for Book and Paper Arts for a final collaborative project. This event was organized by Clifton Meador and myself and included David Morrish, Scott McCarney, and four Grenfell Campus BFA (Visual Arts) grads, Stephen Evans, Maria Mercer, Virginia Mitford, and Meagan Musseau…. The letterpress printing consisted of a word selected by each participant printed on one of Scott’s folded structures. The images were a digital layering of every cityscape photograph that I made and then inkjet printed on top of the letterpress. The final folded structure was designed by Mary Clare Butler. The case was designed and built by Scott McCarney, the front cover embossment was by David Morrish and Clifton Meador.

Chicago Octet (2014)
Marlene MacCallum
Hand bound artist’s book with folded paper structure, letterpress and inkjet printing, 6.5 × 3 × 0.5 inches (closed dimension).
Photo: Books On Books Collection

Photo: Books On Books Collection

Chicago Octet fully unfolded, 17.5 × 11.5 inches
Photo: Books On Books Collection

Can you hear the traffic and sense the layers of experience? What Pallasmaa writes here of rock art in Africa and Australia reminds me of Chicago Octet (or is it vice versa?): “

At the same time that great works of art make us aware of time and the layering of culture, they halt time in images that are eternally new. … Regardless of the fact that these images may have been painted 50,000 years ago, … we can … hear the excited racket of the hunt. The Embodied Image, p. 109.

Salt + Shaw (Paul Salt and Susan Shaw)

Mill: A journey around Cromford Mill, Derbyshire (2006) is the result of the artists’ exploration of Cromford Mill in Derbyshire, the first water-powered, cotton-spinning mill developed by Richard Arkwright in 1771. Solid, plaster cast blocks are held softly between calico pages containing hidden texts, bound in recycled wooden library shelf covers that indicate there is history to be found within.

Mill: A journey around Cromford Mill, Derbyshire (2006)
Salt + Shaw (Paul Salt and Susan Shaw)
Photo: Books On Books Collection

Having Mill is like having the building inside your house.

Karen Wirth

Architecture plays more than an inspirational role in Karen Wirth’s portfolio. As mentioned above, she has created her own take on Vitruvius’ Ten Books. She designed the Gail See Staircase at Open Book and the Hiawatha Light Rail Station, both in Minneapolis. The collage work Paper Architecture is based on an architectural installation at the Minnesota Center for Arts Design and draws on Wirth’s photos of Ayvalik, Amsterdam, Florence, Istanbul, New York City, Rome, San Diego and Venice.

Paper Architecture (2017)
Karen Wirth
Photographs in the book © Karen Wirth
Photo: Books On Books Collection

In The Embodied Image, Pallasmaa singles out “the collaged image” as creating “a dense non-linear and associative narrative field through initially unrelated aggregates, as the fragments obtain new roles and significations through the context and dialogue with other image fragments” (pp.71-72). The materially disparate words in the title of Wirth’s work imply the dialogues she creates among paper, designs of letters and architecture, buildings across time and the globe, and photos tinted, four-colour, and black-and-white in palimpsest.

For Wirth’s own comments about the intersection of book art and architecture, see her interview with Betty Bright.

J. Meejin Yoon

Former professor and head of the Department of Architecture at MIT’s School of Architecture and Planning, Yoon is now Gale and Ira Drukier Dean of the College of Architecture, Art and Planning at Cornell University. She is also cofounder of Höweler + Yoon, a design-driven architecture practice. Absence appears to be her only work of book art so far.

When you hold this small white brick of paper and turn its thick pages, a small pinhole appears on the page. Then two larger square holes emerge, one of which falls over the pinhole. Page after page, the two square holes repeat, creating two small dark wells in the field of white, until on the last page they take their place in the cut-out schematic footprint of the city blocks and buildings surrounding the Twin Towers of New York City. What you hold in your hands at the end is an object of art and book of memorial prayer.

Absence (2003)
J. Meejin Yoon
Photo: Books On Books

Architecture-themed works from other sites

Twice a semester, the Environmental Design Library at the University of California, Berkeley hosts “Hands On: An Evening with Artists’ Books”. In 2017, one evening’s theme was “Building on the Built”, illustrated by 25 works of book art. Organised by 23 Sandy Gallery in the same year, “BUILT“ was an international juried exhibition featuring 66 artist books by 51 artists examining the relationship between contemporary book art practices and architecture, engineering, landscape and construction.

Arranged alphabetically by artist’s name, this section provides links to favourites from these two exhibitions as well as other collections, exhibitions and installations.

James Allen: The Golden Section (2016), Architectural Graphics (2018)

Architectural Graphics (2018)
James Allen
Photo: Courtesy of the artist

Charlene Asato: Black & White (2013)

Alicia Bailey: Cities & Eyes (2016)

Carli Boisjolie: Places of Theirs (2016)

Amy Borezo: Raising the Supine Dome (2010)

Raising the Supine Dome (2010)
Amy Borezo
Photo: Courtesy of the artist

Inge Bruggeman: A Crisis Ethicist’s Directions for Use: Or How to be at Home in a Residence-cum-Laboratory (2003)

A Crisis Ethicist’s Directions for Use: Or How to be at Home in a Residence-cum-Laboratory (2003)
Inge Bruggeman
Photos: Courtesy of the artist

On her site, Bruggeman writes, “This book/box project is built around excerpts from Architectural Body by Madeline Gins and Arakawa…. incorporates a blueprint of their Bioscleave House as part of the imagery….”. Somewhat like A Clockwork Orange or perhaps more like Heideigger’s tomes, the Gins and Arakawa book is a challenge to the reader’s expectations of diction and syntax.

R D Burton: Structures II (2015)

Carol Chase Bjerke: Homage to Peter Mullin (2014)

Julie Chen and Barb Tetenbaum: Ode to a grand staircase (for four hands) (2011)

Susan Collard: Work in Great Cities (2011); Quixity (2017)

Guylaine Couture: Everyone Needs a Home (2017)

Laura Davidson: Ten Books of Vitruvius (1994), Venice : Piazza San Marco (2010)

Olafur Eliasson: Your House (2006)

Elsi Vassdal Ellis: Here is the church. Here is the Steeple. Here are questions for the people. (2017)

Alisa Golden: Woods in the City (2013)

Woods in the City (2013)
Alisa Golden
Photos: Courtesy of the artist

Christiane Grauert: Folding City (2016)

Karen Hanmer: The model architect: the panic of ’09 (2010)

Hongtao Zhou: Textscape-TONTSEN Eye (2019)

Textspace-TONTSEN Eye (2019)
Hongtao Zhou
Photos: Courtesy of the artist

Johan Hybschmann: Book of Space (2009)

Ronald Keller: Palladio, Andrea (1508-1580): excerpts from the four books on architecture (2008)

Louise Levergneux: Finding Home (2016)

Marlene MacCallum: Townsite House Bookwork (2006). See also Gail Tuttle, The Architectural Uncanny (Newfoundland: Sir Wilfred Grenfell College of Art Gallery, 2007).

Richard Minsky: Model of Buckminster Fuller’s Tetrascroll (1979). See also Polly Lada-Mocarski, Richard Minsky and Peter Seidler, “Book of the Century: Fuller’s Tetrascroll“, Craft Horizons, October 1977 (Vol. 7, No. 35).

Marta Minujín: El Partenon de Libros (1983)

Howard Munson: The Architects (2018)

Sumi Perera: Building Blocks Book XVII (2017). Further information available at Saatchi Art.

Building Blocks Book XVII (2017) Sumi Perera Photos by artist’s permission

Going against the usual structure of the book, that of a beginning, a middle and an end, Perera provides a space for infinite possibilities and multiple authors, creating “modules that can be re-sequenced and re-aligned to develop variable permutations and encourage participatory involvement, to share the final editorial control with the viewer to transform the ever-evolving work”. These possibilities for variable permutations are no more evident than in her constantly evolving project, Building Blocks Book, and its numerous subsequent iterations including The Negative Space of Architecture and The House That Jack Never Built (2008). Once again we find Perera exploring human interaction, not only with the concepts and her quizzical ideas surrounding architectural and public spaces and how we build between and move within, but also the physical interaction with the artists’ books she produces – the rearrangement and reinsertion of pages which allow the audience and participants new opportunities and pathways to proceed. Through the positive and negative space of the page or the type font, the Underground versus over ground, the artist takes us on journeys that are at once fluid and at other times obstructive. In these cityscapes, the U-turn is as common as the page turn – a necessary rupture in a free-flowing narrative. Chris Taylor, From Book to Book (Leeds: Wild Pansy Press, 2008).

Maria G. Pisano: Tunnel Vision (2004), Hecatombe 9-11 (2007)

Laura Russell: Casa Mila (2006)

Marilyn Stablein: Grids, Lines, Blocks: Basics Tools to Build Linear Habitats (2017)

Barbara Strigel: Visible Cities (2016)

Nikki Thompson: A Tribute to Alvar Aalto (2008)

A Tribute to Alvar Aalto (2008)
Nikki Thompson
Photos: Courtesy of the artist

Andrew Topel: Blueprints (2012)

Christine Trexel: Building the Universe (2017)

Amanda Watson-Will: The Great Library (2011)

Rachel Whiteread: Nameless Library (2000)

Thomas Parker Williams: Spiral Dome: Sculptures in Paper and Steel (2016)

Spiral Dome: Sculptures in Paper and Steel (2016)
Thomas Parker Williams
Photos: Courtesy of the artist

Further Reading

Sophia Kramer, “Variations of Vitruvius: Four Centuries of Bookbinding and Design”, The Met, 22 August 2018. This essay reviews and illustrates the conservation and rehousing of ninety-five copies of De Architectura libri decem (The Ten Books of Architecture) by Marcus Pollio in the collection of the Department of Drawings and Prints. They are part of a donation of 356 publications from the architect William Gedney Beatty (1869–1941). For book artists, the section on a 1556 edition with double volvelles to display a theater design should be of interest.

Elizabeth Williams, “Architects Books: An Investigation in Binding and Building”, The Guild of Book Workers Journal, Volume 27, Number 2, Fall 1989. This essay not only pursues the topic of architecture-inspired book art but turns it on its head. An adjunct professor at the time, Williams set her students the task of reading Ulises Carrión’s The New Art of Making Books (Nicosia: Aegean Editions, 2001) then, after touring a bindery, “to design the studio and dwelling spaces for a hand bookbinder on an urban site in Ann Arbor, Michigan”. But before producing the design, the students were asked “to assemble the pages [of the design brief and project statement] in a way that explored or challenged the concept of binding”. In other words, they had to create bookworks and then, inspired by that, create their building designs. Williams illustrates the essay with photos of the students’ bookworks. [Special thanks to Peter Verheyen for this reference.]

Bookmarking Book Art – Learning to read Shirley Sharoff’s “La grande muraille”

La grande muraille/The Great Wall (1991), Shirley Sharoff
All Books On Books photos are reproduced here with permission of the artist.
Detail, La grande muraille/The Great Wall (1991)
Typeface: Athenaeum, designed by Alessandro Butti and Aldo Novarese in 1945

The National Library of the Netherlands advises, “for [Shirley Sharoff’s La grande muraille/The Great Wall (1991)] to be read, the book first must be rolled out”.  And that is what I did, using the large table in the Special Collection’s seminar room. 

Enjoyable as that was, enjoying it again with the video afterward, something seemed awry. As the Chinese poem by Lu Xun, its French and English translations and text from Sharoff’s language students unrolled, interpersed with her prints, the text seemed to have gaps, or so I thought. So I returned a second time. Perhaps if I re-shot the video. Perhaps if I took more stills and close-ups. Perhaps if I shot the rolling up as well as the unrolling.

No doubt, the second effort added to the pleasure. Looking at the videos and stills, I can again feel between my fingers the Arches paper and engravings’ impressions on it. But still I detected gaps, seeming mismatches between the French and English. I wondered to what degree they

followed the Chinese text or whether some of Lu’s text had been omitted.  So, I returned a third time, and then came my “ah hah” moment. Unrolled, La grande muraille looks like a double-sided leporello or accordion book like this one: In Mexico by Helen Douglas.

In Mexico: in the garden of Edward James (2014)
Helen Douglas
La grande muraille/The Great Wall (1991)
Shirley Sharoff
Photo credit: © Koopman Collection. National Library of the Netherlands/Jos Uljee

To read La grande muraille as the double-sided leporello it appears to be, however, is to overlook the multi-page spreads that Sharoff conceived with François Da Ros (her typography and print collaborator) in putting together this forme en escargot (snail-shell form as she calls it). The snail-shell form, its multi-page spreads and the text demand that you read La grande muraille as you unroll it, or rather, as you unfold it.

With the book laid flat, the “page spreads” are easier to recognize, the text is easier to read, and the forethought needed for the “imposition” of text and images to deliver the sequential text, easier to marvel at. As each recto page is turned to the right, two new pages appear to the right. This unfolding approach to reading the book offers several intriguing “double- and multi-page spreads” and an experience of the texts and eight prints in the sequence driven by the text. When you have finished reading in this sequence, you will have read both sides of the scroll. 

Reading the text

Front cover
La grande muraille/The Great Wall (1991), Shirley Sharoff
“Pages 1 and 2”
As “page 2” is turned to the right and the English title of the work disappears, “pages 3 and 4” come into view.
“Pages 1, 3 and 4”
“Page 3” displays the authors names, and “page 4” displays the first of eight prints in the book. As “page 4” is turned to the right and disappears, “pages 5 and 6” appear.
“Pages 1, 3, 5 and 6”
“Page 5” gives the title of the book in Chinese calligraphy. On “page 6”,  the opening line of Lu Xun’s text appears in English, French and Chinese.
Turning “page 1” to the right will cover the authors’ names on “page 3”, and turning “page 6” to the right will yield the next four-page view.
“Back cover, pages 5, 7 -8”
The next lines of Lu Xun’s disquisition run in English, French and Chinese across “pages 7-8”.
Detail, “Pages 7 and 8”.
Notice how the English text on “page 7” runs across to “page 8”, but the French text disappears under “page 8”, effectively running on to what will be revealed as “page 9” in the next view.
“Pages 2, 9-11”
This view results from two page turns inward on the left and two outward on the right. “Page 2” has come back into view on the left.  The English text on pages 9-10 completes the sentence interrupted on “page 8”. The French text on “pages 9 and 10” completes the sentence that began on “page 7” and ran behind “page 8”.
Pages 9-10, 12-13
Pages 6, 12, 14-15
Pages 12, 14, 16-17
Pages 16, 18-19
Pages 16, 18, 20-21
Pages 20, 22-23
Pages 20, 22, 24-25
Pages 24, 26-27
Pages 24, 26, 28-29
Pages 28, 30-31
Pages 30, 32-33
Pages 32, 34-35
Pages 32, 34, 36-37
Pages 34, 38-39
Pages 38, 40-41
Pages 40, 42-43
Pages 42, 44-45
Pages 44, 46-47
Pages 44, 46, 48-49
Pages 46, 48, 50-51
Pages 48, 50, 52-53
Pages 50, 54-55
Pages 54, 56-57, the latter displaying the last ten characters of Lu Xun’s text.

這偉大而可詛咒的長城)

Pages 56, 58-59
Pages 58, 60-61
Pages 60, 62-63
Pages 62, 64-65
pages 64, 66-67

Now that the so-called gaps in the English and French texts were resolved, I wanted to understand how the English and French matched up to the Chinese text. For that, I asked help from two acquaintances in The Hague: Bee Leng Bee and Yingxian Song.  They obtained a copy of Lu Xun’s text, traced it through the photos I had taken and found that the three languages run almost in parallel as the work unfolds.

“Almost” because the order of the languages is not alway the same. On pages one and two, we see the French and English titles but must wait until page five before the Chinese title appears. Then, on page six the order changes: English first, then French, then the corresponding ten Chinese characters. On pages seven and eight, this order is maintained. Later, with the turning of page fifteen, the French comes before the English and Chinese; the first Chinese character aligning to the French and English (其) appears on page seventeen. Then, as page seventeen is turned to the right, the order changes back to French then English on page eighteen, but on page nineteen, it moves to French first then Chinese. The book’s textual conclusion on pages fifty-six through fifty-nine runs Chinese, English, then French. 

The juxtaposition and weaving of the three languages often seems painterly as if intended to evoke the layering of the bricks and the intertwining vines and foliage along stretches of The Great Wall. Here is the uninterrupted Chinese text:

偉大的長城!

這工程,雖在地圖上也還有它的小像,凡是世界上稍有知識的人們,大概都知道的罷。

其實,從來不過徒然役死許多工人而已,胡人何嘗擋得住。現在不過一種古跡了,但一時也不會滅盡,或者還要保存它。

我總覺得周圍有長城圍繞。這長城的構成材料,是舊有的古磚和補添的新磚。兩種東西聯為一氣造成了城壁,將人們包圍。

何時才不給長城添新磚呢?

這偉大而可詛咒的長城!

Reading the images

Even though following the forme en escargot results in having reading both sides of the scroll in the end, Sharoff also uses it to play with the notion of intended sequence. Completely unrolled and standing on its edge, the work echoes the Great Wall.  The tint of red along the top edge recalls the blood spilled in the Great Wall’s construction. The prints echo the Great Wall’s bricks, the vegetation in its crumbling gaps, even the gates. The completely unrolled work is an intended sequence, also — an invitation to walk the wall. Coming upon each of the eight copperplate engravings in the unfolding sequence is a different experience than walking up and down the “outer wall” and then the “inner wall” to see them. Five are on the outer wall, three on the inner.

The print first to be seen as the book unfolds, but one of the three on the “inner wall” with the book unrolled.

The second print comes into view on “page 14”, the second of Lu Xun’s statements begins in French on “page 15”,
and with the rolling up on the left, “page 4” has reappeared.
With the turning of “page 15”, the third print comes into view on “page 16”, and the sentence begun with “Actually” on “page 16” continues on “page 17” above the Chinese.
“Pages 16, 18-19”
The French at the top of “pages 18-19” is continuing the sentence from “page 15”, and the English beneath on “page 18” is continuing the sentence from “page 17”.
With this spread — “pages 16, 18, 20-21” — the fourth print comes into view on the right, and the French and English sentences conclude together in the middle.
“Pages 30, 32-33” and the fifth print comes into view.
“Pages 38, 40-41” and the sixth print comes into view.
“Pages 44, 46, 48-49” and the seventh print comes into view.
Pages 50, 54-55 and the eighth and final print comes into view.

Reading the form “in time”

As the force of the snail-shell binding resists the unscrolling and pulls the standing pages inward, the work has another echo: the eroding maze in the Ancient Summer Palace (Yuan Ming Yuan) outside Beijing. The faint markings on the paper, created by printing the results of repeated photocopies of a manuscript, amplify the echo.

La grande muraille/The Great Wall (1991)
Shirley Sharoff
Photo credit: © Koopman Collection. National Library of the Netherlands/Jos Uljee
Arches paper printed with the results of multiple photocopies of a manuscript.

Although Lu’s text does not mention the maze, Sharoff introduces contemporary text that, alongside the interweaving Chinese, English and French of Lu’s text, evokes a maze-like, time-travelling effect. The autobiographical texts from the English-language students she taught at the Central Institute of Finance and Banking (1987-88) reflect on their childhood and adolescence in the Maoist era and their recollection of representations of  foreigners in books and television. These “new bricks” in their modernness and fracturedness interrupt the flow of Lu’s prose praising and cursing the Great Wall.  Yet, in their segmentation and placement, they also physically echo the prints and reinforce Lu’s expression of the paradox in the construction, fragmentation, reconstruction and erosion of the real Wall.

“Pages 32, 34-35”

Sharoff’s La grande muraille is a treasure that rewards repeated visits and contemplation: not only for itself but also as a parallel or forerunner.

La grande muraille’s physical impetus (The Great Wall), the seemingly decipherable/indecipherable characters on the Arches paper, the wry paradox of Lu Xun’s observations, the socio-political-cultural implications of the “new bricks”, the work’s innovative form and the pulling of past and present together parallels the work of Xu Bing and his play with language across East and West. His Book from the Sky first appeared in 1988.

Sharoff’s use of Lu’s contemplation on The Great Wall also foreshadows Jorge Méndez Blake‘s Capítulo XXXVIII: Un mensaje del emperador / A Message from the Emperor (2017?). The title refers to an anecdote in the story “The Great Wall of China” by Franz Kafka, a contemporary of Lu Xun.  The narrator tells the reader how the emperor has dispatched from his deathbed a message to the reader, entrusted to a herald who, struggling as he might, cannot escape from the confines of the palace to deliver the message — yet which we the reader await hopelessly and with hope.

What more should we expect from art?

____________________________

*For help and permissions, thanks to Paul van Capelleveen and the staff at Koninklijke Bibliotheek, Den Haag, and Shirley Sharoff, Paris. For help with the Chinese and calligraphy, thanks to Bee Leng Bee and Yingxian Song.

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

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

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

βΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσβΟβσ

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gabberjab No. 6 (1988)
Walter Hamady

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

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

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

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

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

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

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

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

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

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

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

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

Histoire naturelle (1948)
Félix Labisse

Histoire naturelle (1948)
Félix Labisse

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

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

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

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

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

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

French Fries (1984)
Warren Lehrer and Dennis Bernstein

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

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

Visual Poetry (1987)
Helmut Lohr

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

Tropos (1988)
Kevin Osborn

 

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

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

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

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

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

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

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

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

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

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

La grande muraille/The Great Wall (1991)
Shirley Sharoff

La grande muraille/The Great Wall (1991)
Shirley Sharoff

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

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

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

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

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

Spector, Buzz. Kafka. 1988. Altered book.

Spector, Buzz. Malevich. 1988. Altered book.

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

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

Spector, Buzz. Silence. 1989. Altered book.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Elektromagnetism (1995)
Philip Zimmerman

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

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

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

Amazon

AbeBooks

OCLC WorldCat

 

 

 

Bookmarking Book Art – Louisa Boyd

Flare
2013
Magnani handmade white wove paper
12cm x 12cm x 8cm
© Louisa Boyd, reproduced with permission of the artist

Through abstraction and symbol, Louisa Boyd‘s art focuses on sense of place and our intrinsic connection to nature. The titles of three of her artist’s book series – Infinity, Landscape, and Mapping – and those of the book art in them – Aether (2013), A Walk (2001), and Cartography I (2014)  – reflect that focus. How she manages abstract imagery and symbol across her range of material and techniques – paper (including hand-marbled paper), book structure, printmaking (block, screen, letterpress), watercolor, metalwork, leatherwork – adds to that unifying focus through a rightness of choice but also introduces a breadth of originality and variety.

In Aether, the crayon work, cutting and metalwork are applied with a three-dimensional sense wedded to an obvious understanding of the possibilities of the page and double-page spread. The stop-motion animation video tour of Aether (click on the image below) makes you wonder if Boyd conceived the work as a flipbook in the first place. There is no wondering, however, about the place of human existence in relation to the aether. In the video, look at the lower righthand fore-edge of the book.

Aether
2013
Leather handbound artist’s book with box. Cover in leather and paper onlay. Edge coloring.
© Louisa Boyd, reproduced with permission of the artist
For a video tour of Aether, click on the image.

A Walk illustrates Boyd’s skill with freestanding three-dimensional sculpture, a skill that has grown in The Flight Series (more later on two of its works from 2009) and The Paper Manipulation Series, from which the work Flare above comes.

A Walk 
2001
Handbound artists book, torn and cut with each page individually painted to depict the different views of a walk through the landscape. Watercolour on paper.
© Louisa Boyd, reproduced with permission of the artist
For a video tour of A Walk, click on the image. (Caveat: The title of the work in the video varies from that here, which is taken from Boyd’s website.)

Her use of abstract markings and the Turkish map folding technique in Cartography I demonstrates again her careful marriage of abstraction, symbol and technique.

Cartography I
2014
Turkish map-fold book with etched pages and collagraph end papers. Somerset paper. Blind tooled leather cover.
Edition of 3
Dimensions open: H 5” x W 10”x D 4”
Dimensions closed: diameter 5”, depth 1”
© Louisa Boyd, reproduced with permission of the artist

The etching printed on each of the three internal folded pages is an abstract that nevertheless evokes mapping, which the form and fold of the pages reinforces. Each Turkish fold page can lay flat to be viewed individually, or as pictured above and below, the book may be viewed as a sculpture.

Cartography I from above
© Louisa Boyd, reproduced with permission of the artist

The video tours (links embedded the images of Aether and A Walk above) represent Boyd’s search for what she calls “a bridge between traditional and contemporary media”. So far, that exploration reflects the artist’s rootedness in the book arts and traditional skills and processes of drawing, printing and painting. It is intriguing to think what effect a bit of influence from Helen Douglas or Amaranth Borsuk might have on Boyd’s bridge. The use of stop-action video for Aether hints at an instinct for what Douglas calls “visual narrative”.

A professed recurrent theme in Boyd’s book art is “restriction and freedom”. Although it arises from periods of city dwelling and lack of access to the countryside, imposed by the UK’s 2001 “foot and mouth” epidemic, it manifests itself in the more “traditional” spur of constraint of form and structure that goads an artist’s imagination. Flock (2009) and A Walk bear close resemblance, but note the difference in invention whereby the former plays with the book form by placing the bird imagery at the edges, spirals the paper tearing upwards and gradates the watercolor from dark to light (like a flock dispersing) and the latter deals with the “restricted” walk by blending the watercolor with tearing and tunneling.

Flock
2009
Artist’s book with watercolour
© Louisa Boyd, reproduced with permission of the artist

Take Flight (2009) frees its bird imagery even more fully from the structure of the book and occupies space as a fully three-dimensional work.

Take Flight
2009
Artist’s book with watercolour
© Louisa Boyd, reproduced with permission of the artist

Detail
Take Flight
2009
Artist’s book with watercolour
© Louisa Boyd, reproduced with permission of the artist

 

Multifaceted
2014
edition of 4
Dimensions closed 4” x 2” x 1/2” (10cm x 5cm x 1cm) open 4” x 21 1/2” (9cm x 51cm)
Leather, oil-based ink, Somerset and Magnani paper
© Louisa Boyd, reproduced with permission of the artist

Although Multifaceted returns to the theme of different views that was the intent in A Walk, it tilts the theme more toward the abstract side of Boyd’s work. In this, Multifaceted is more akin to the works in The Paper Manipulation Series: Flare (2013), Whorl (2013), and Pleat (2013). It almost purely plays with the concept of differing perspectives. Again, techniques and form express concept with a simple rightness. This double-sided leporello is designed to be viewed from four different angles. The display of photos here cannot offer the intended perspective (pun intended): the viewer needs to circle the piece to view its facets. That word “facet” is tooled on the interior pages four times, the clue as to how the book should be read.

Multifaceted I from above
© Louisa Boyd, reproduced with permission of the artist

Multifaceted II collage view
© Louisa Boyd, reproduced with permission of the artist

The abstract imagery evoking landscape or skyscape – whether juxtaposed vertically or horizontally – plays with viewpoint. Even the print technique on the interior pages plays with viewpoint: they are prints of an etching inked up both in relief and intaglio.  Breaking free of the ultimate restriction of the book, the pages are not attached to the cover, allowing the piece to be read in four different directions. These features of the work and the seeming absence of that human figure from Aether throw it back on the viewer’s necessary engagement to establish fully the human connection: by engaging with Multifaceted – “reading” it –  the viewer enacts the human place in the aether around the work.

Since graduating from Manchester Metropolitan University in 2001 and winning the Paperchase Future of Design Award (2001) and receiving a high commendation from the judges of the New Designer of the Year (2001), Boyd has exhibited in 46 venues. Her 47th is the most significant so far: inclusion in the John Ruskin Prize Shortlist Exhibition at Millennium Gallery in Sheffield, UK (21 June – 8 October, 2017). If this book artist manages to continue her sure-handed forging of concept, material and method, the Ruskin Prize Shortlist Exhibition will not be her last significant exhibition.

Further reading about Louisa Boyd and her work:

‘The 2017 exhibition has a theme of the “Artist as Polymath” and the jury have selected a shortlist of artists and makers whose works cross boundaries, take a multidisciplinary approach and bring together varying techniques and materials. As an artist who has been making artist’s books since my final year at university in 2000, I have found that such an approach to work has been essential to bring together concept and visual aesthetics.’

 

Bookmarking Book Art – Helen Douglas, Podcast by Bookbinding Now

On the occasion of the fortieth anniversary of Weproductions, Brandon Graham interviewed by Helen Douglas in 2011.  The podcast provided by Bookbinding Now is available here and is a companion piece to Journal of Artist Books, No. 30.

Douglas’s comments on the concertina or leporello form reveal the impact of Proust and Chinese scrolls on her use of it, which is particularly evident in the two-sided concertina In Mexico: in the Garden of Edward James, discussed here.

Helen Douglas, In Mexico: in the garden of Edward James, 2014 (reviewed in Der Tagesspeigel)
Helen Douglas, In Mexico: in the garden of Edward James, 2014 (reviewed in Der Tagesspeigel)

Bookmarking Book Art – Helen Douglas

Helen Douglas, In Mexico: in the garden of Edward James (2014). Reviewed in Der Tagesspeigel

Helen Douglas has been kind enough to forward the notice above of her most recent work — In Mexico: in the garden of Edward James Based on her invited residency in Mexico City, this concertina book takes the viewer through Edward James’ jungle garden Las Pozas, its buildings and staircases, James’s surreal imagination and, best of all, Douglas’s own imaginative experience of them. See the interview at BookArtBookBlog that preceded the work’s unveiling at the London Art Book Fair at the Whitechapel Gallery and Berlin Art Book Fair.

When I go to Weproductions, the website of founding partners, Telfer Stokes and Helen Douglas, it is like taking a walk in Yarrow, Scotland, or taking the measure of paper samples between forefinger and thumb, or browsing in a bookstore, or lingering in an art gallery. Two of Helen Douglas’s works in particular elicit this: The Pond at Deuchar (2013) and A Venetian Brocade (2010).

The Pond at Deuchar (2012)
“The Pond at Deuchar” E-Scroll artwork ©Helen Douglas
Application “Turning the Pages” © Armadillo Systems

Was it London Book Fair where I first saw this bookwork, appwork, scrollwork … this work of art?  What you see above leads you to the app. Clive Philpott’s postscript to this work, featured on Weproductions and published by the Tate, offers all the background and appreciation of the work you need to read. Read it, then go to The Pond at Deuchar*, lean forward and trail your fingers through its waters.

Helen Douglas and Marina Warner. A Venetian Brocade (Weproductions, 2010)

A Venetian Brocade equally makes the “act of looking” tactile and the “act of touching” insightful. The work reminds me of this passage from Joseph Brodsky’s Watermark (New York: Farrar Straus Giroux, 1992):

… bipeds go ape about shopping and dressing-up in Venice for reasons not exactly practical; they do so because the city, as it were, challenges them. We all harbor all sorts of misgivings about the flaws in our appearance, anatomy, about the imperfection of our very features. What one sees in this city at every steep, turn, perspective, and dead end worsens one’s complexes and insecurities. That’s why one—a woman especially, but a man also—hits the stores as soon as one arrives here, and with a vengeance. The surrounding beauty is such that one instantly conceives of an incoherent animal desire to match it, to be on par. This has nothing to do with vanity or with the natural surplus of mirrors here, the main one being the very water. It is simply that the city offers bipeds a notion of visual superiority absent in their natural lairs, in their habitual surroundings. That’s why furs fly here, as do suede, silk, linen, wool, and every other kind of fabric.

If you are lucky enough to buy one of the few remaining copies of A Venetian Brocade, you will see and feel how it leads to In Mexico: in the garden of Edward James. Appreciation of that double-sided leporello work’s extension of the Douglas’s concept of Visual Narrative and its kinship with James’s surrealism can only be enhanced by viewing The Secret Life of Edward JamesGeorge Melly’s documentary film from 1975.

But having indulged the surreal elements, think back to the pond at Deuchar, think back to the Tate’s association with Douglas’s work, then consider this work also held at the Tate:

Joseph Mallard William Turner, “Deuchar Old Bridge, near Yarrow, Selkirkshire”, 1834, in The Edinburgh Sketchbook 1831-34, graphite on paper, 111×181 mm. Reference: D26161
Turner Bequest CCLXVIII 34 a

Here is a narrative of art across time and place to touch by looking and, by looking, to be touched by.

An update (30 April 2017) covering Douglas’s Winter: Celestial Mountain(2015) can be found here. *Deuchar is pronounced “dew-ker”, the “k” as in “loch”.

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