Books On Books Collection – Alastair Noble

In Memoriam+ (2021)

In Memoriam+ (2021)
Alastair Noble
Booklet thread-bound to HMP boards, cover with cutout. H210 x W205 mm, 12 pages. Edition of 22, of which this is #4. Acquired from the artist, 25 April 2021.
Photos of the work: Books On Books Collection. Displayed with permission of the artist.

This work pays tribute to Ian Hamilton Finlay, whose Little Sparta, a garden across seven acres in Scotland, that expresses an artistic vision through typography, sculpture, installations and nature. Noble writes about the origins of his tribute:

I first visited Little Sparta twenty years ago and then again last year in July out of lockdown. Thereafter, coincidentally I found a brick buried in my garden with the work “Temple” embossed on it. Consequently this became the catalyst for a little homage in form of small installation in my garden that used the brick as a foundation to an arch made from white marble fragments that suggests the Portara for Apollo’s
Temple Naxos. This installation became the stimulus for this small artist’s book completed during lockdown in my studio in Liverpool, UK. — Entry in Book Arts Newsletter, No. 138 March – mid-April 2021, p. 43.

Noble has expanded and intensified his small garden homage into a slender and rich work of book art. The sculpted structure of it — how the cover, pages, images and text work with each other — rhymes with Finlay’s art, Greek mythology and Nature. Noble’s choice of the portal to Apollo’s Temple to link the found brick and arch of marble fragments to Little Sparta and Finlay’s art finds one of its echoes in the cover’s cutout and the marble-white textured board behind it. Another echo lies in the words “metamorphosis” and “metaphoric” laid out to form an arch on the page below. And just as sonic echoes overlap one another, the words and image themselves echo across the double-page spread with the laurel leaf emblem of Daphne’s transformation to escape the pursuit of the lyre-bearing sun god and mythic patron of poets laureate.

Other overlapping echoes arise from the Greek and English word pairs on the double-page spread below. The presence of the Greek words obviously chime with Apollo’s Temple, but the presence of the English chimes more deeply with the word “metamorphic”. What is a translation if not a metamorphosis? And the rhyming of “lyre” and “liar” chimes even more deeply with “metaphoric”. What is a metaphor if not like a lyre and liar at the same time that tells us Daphne’s death is her translation into life as a tree?

Noble’s use of “meta” for his arch’s lintel also echoes Finlay’s aphoristic concrete poetry, a good example of which is The Errata of Ovid.

The Errata of Ovid (1983/4)
Ian Hamilton Finlay, Gary Hincks
Miniature portfolio. H76 x W80 mm.
Offset printed in red and black, eight loose cards enclosed in a flap folder. Typeset in Bruce Old Style(?); illustrations by Gary Hincks; card stock unknown.
Acquired from Woburn Books, 31 October 2019.
Photos: Books On Books Collection

Beyond the tribute of image/word-play, Noble’s artist’s book strikes a performative echo with the history of Finlay and Hincks’ artists’ book. A few years after the publication of The Errata of Ovid, Finlay drew up ”Six Proposals for the Improvement of Stockwood Park Nurseries in the Borough of Luton”, which included a caprice with a wall and plaques. The wall in Stockwood Park stands today, presenting the text of The Errata of Ovid engraved in eight stone plaques (minus the colophon but with the addition of “For ‘Adonis’ read ’Anemone’”). So Noble’s artist’s book followed his garden installation whereas Finlay’s garden installation followed his artist’s book. If only for perfection of that echo, one might wish Finlay’s installation be transported to Little Sparta and let Luton be satisfied with its airport!

Thresholds (2020)

Thresholds: Doors, Gates & Barriers Puno Peru (2020)
Alastair Noble
Perfect bound paperback. H215 x 140 mm, 48 pages. Acquired from the artist, 11 May 2021.
Photos of the work: Books On Books Collection.

Like In Memoriam+, this work has its roots in location and a portal metaphor. While also employing juxtaposition of text and images as a structural device, it relies on images of a category of sought readymades (doors, gates and barriers) rather than a found object (like the garden brick on which the artist builds his arch) for a structuring device that is simultaneously material and metaphor.

The way Noble uses his sources of text (Gaston Bachelard’s The Poetics of Space, Martin Heidegger’s “Building Dwelling Thinking” and Georg Simmel’s Bridge and Door) causes the reader/viewer to contribute to structure and metaphor. The first sentence of Bachelard’s excerpt begins “How many daydreams” and starts at the top of page 2; Heidegger’s beginning “The threshold” starts in the middle of page 26; and Simmel’s beginning “The human being” starts at the bottom of the page 2. Bachelard’s first sentence ends on page 8, Heidegger’s on page 28, and Simmel’s on page 12. Unless one has the mind of a symphonic composer or connoisseur, it is impossible to attend to all three excerpts simultaneously and turn the pages in one sequence. Instead, it is necessary to turn the pages back and forth along three tracks to absorb the excerpts, and the metaphoric effect is to open and close those doors, gates and barriers repeatedly, which is …

… what Noble’s very last page implies.

But finally, over the course of multiple readings/viewings, the linear photographic sequence on the recto pages seems to shift. Each image takes on a different aspect depending on the excerpt being followed. Combined with the back and forth page-turning, this shifting and break in the linear photographic sequence leaves the reader/viewer with the simulation of walking around, up and down and through Puno and its doors, gates and barriers.

Southern X 2006 : Open City, Ritoque Chile (2006)

Southern X 2006 : Open City, Ritoque Chile (2006)
Alastair Noble
Perfect bound paperback, spine taped. H215 x W218 mm, 32 pages. Acquired from Specific Object, 2 May 2021.
Photos of the work: Books On Books Collection.

Like Thresholds, this work, too, has its roots in location, but more akin to In Memoriam+, it draws on poetry, installation and performance. Open City is a utopian site affiliated with the School of Architecture of the Catholic University of Valparaíso. Accommodations and buildings have arisen by collective collaboration. There is no plan. One of the traditions associated with construction on the site is the reading of excerpts from the book Amereida (1967), a collective epic poem, which the school describes as “a poetic vision of the American continent”.

Reading the text takes us into the permanent question about being American from the recognition of the appearance of America seen as a discovery or gift. From the first page of the poem, the encounter with the unknown opens the possibility to begin to think of the new world as a gift, a gift. Its main sign: the Southern Cross, the light that goes up the horizon and guides in the north. — “Amereida“

Inspired by the Amereida during a sabbatical visit to the school and Open City, Noble proposed an installation: Southern X 2006. Given that the Amereida takes the Southern Cross for its main sign and that this sign appears across the night sky in the shape of a kite, Noble’s direction for his installation sculpture was set before he began.

The actual sculpture is but a piece of a larger collective artwork consisting of Manuel F. Sanfuentes Vio’s reading from the Amereida, the students’ procession in the shape of the Southern Cross to the site selected by Noble, the collective construction of the kite, the planting of poles and the placement of the kite on them — and of course this book that photographically documents the performance of the installation and textually presents the read passages of the Amereida.

Foldings (1998)

Ephemera for Foldings (1998) Kathy Bruce and Alastair Noble. Poster and staging sketches.
Photo: Books On Books Collection.

With Foldings, Noble joined forces with Kathy Bruce, his wife. Six masked dancers wear costumes that are in effect human-size folios across which the pages of Un Coup de Dés have been printed front and back in French. As a prerecorded English translation is read by numerous voices corresponding to the changing fonts, the dancers rotate and display the lines being read. A performance was given as part of the exhibition A Painter’s Poet, held at the Leubsborf Art Gallery (Hunter College). This fell under the aegis of the Millennium Mallarmé celebrations in New York, the poster for which can be seen above overlaying the staging sketches for the performance. Later, as part of an installation under the title Navigating the Abyss (Brookdale Community College, Lincroft, New Jersey), the costumes were suspended from the ceiling along with a framed screen mesh reminiscent of Noble’s As if / As If (see above).

Postcard from the performance (1998). Images from the installation Navigating the Abyss © Kathy Bruce and Alastair Noble. Permission to display from the artists.
Photo of staging sketches and poster: Books On Books Collection.

Books On Books Collection – Ian Hamilton Finlay

2019/11/032022/07/22Books On BooksLeave a comment

The Errata of Ovid (1983)

The Errata of Ovid (1983/4)
Ian Hamilton Finlay, Gary Hincks
Miniature portfolio. H76 x W80 mm
Offset printed in red and black, eight loose cards enclosed in a flap folder. Typeset in Bruce Old Style(?); illustrations by Gary Hincks; card stock unknown.
Acquired from Woburn Books, 31 October 2019.
Photos: Books On Books Collection

Consisting of eight cards or leaves held together by a folder, this small work falls within the defined limits of the miniature book, according to the Miniature Book Society (US). It seems to fit better the looser mould of conceptual art. After the first or second leaf, the joke — “For ‘this character’s name‘ use ‘the name of the thing into which the character is turned‘” — is clear: metamorphosis = erratum. But the tongue-in-cheekiness goes beyond the title and text wordplay.

“Errata” is an anatomical part of the book, but this work is larger than the usual book part — an errata slip — and while smaller than a book, it lays claim to be a book. What seems to be one thing is also another. Its binding is a folder, the “cover” illustration (upper left) is a broken pillar, an erratum of sorts, and each erratum appears on a “loose leaf” — much like a portfolio of prints. The roots of “portfolio” are portāre (to carry) and folium (leaf), but given that the Latin for “door” is foris, isn’t it a near homonymic pun that the “title page” (upper right) shows a forum-like portal, a door opening on the leaves that follow? What seems to be one thing could be another.

With two pages taken up by the title page and colophon, there are only six errata (for Atys, Cyane, Daphne, Echo, Narcissus and Philomela). Why only six? Is Finlay, like many conceptual artists, leaving it to the viewer to complete the work? What if the curious and obsessed return to the Metamorphoses to come up with the other “errata” in the tales (Cyparissus, Myrrha, Perdix, Syrinx and all the rest)? But hang on: if the curious and obsessed carry on and mentally correct all of the errata, won’t Ovid’s Metamorphoses be “corrected“, or metamorphosed, out of existence? And when there are no more errata, how could there be a work called The Errata of Ovid?

A few years after the publication of The Errata of Ovid, Finlay drew up ”Six Proposals for the Improvement of Stockwood Park Nurseries in the Borough of Luton”, which included a caprice with a wall and plaques. The wall in Stockwood Park stands today, presenting the text of The Errata of Ovid engraved in eight stone plaques (minus the colophon but with the addition of “For ‘Adonis’ read ’Anemone’”). Did Finlay imagine the park’s visitors standing before the wall like stone sculptures themselves smiling or frowning at the concrete poet’s wit?

Hincks’ India-ink-drawn illustrations — especially those for Cyane and Narcissus — are delicate and rough at the same time. The two for Cyane and Narcissus in particular warrant a close look for their representation of reflections in water, perhaps the most metamorphic element, Nature’s closest instance of metaphor and metamorphosis.

The New Concrete: Visual Poetry in the 21st Century is a testament on where this art made of letters has been and where it goes. We have put a sharp focus on the word ‘new’ in our title, exploring how image manipulation, cut and paste, digital text and the internet have all influenced work in this area. One of the most exciting strands can be seen in the work of James Hoff and Eric Zboya who use algorithms and viruses to form work in which text is in the back – rather than foreground; the ghost of the machine of visual poetics. This isn’t a book that could have been made through simply surfing the web. We asked all 106 contributors to suggest names of poets or artists that we should consider for the book. Visual poets spiralled into more visual poets. We have looked at well over 500 possible candidates. Enjoy the knowledge with us.
— Victoria Bean & Chris McCabe, editors

Among the Books On Books favorites included in this volume are Sam Winston, Julie Johnstone, Ian Hamilton Finlay and Vito Acconci.

For a related MoMA exhibition of artists engaged in the material use of letters, words and language (Ecstatic Alphabets, Heaps of Language), click here.

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

2017/09/072021/01/15Books On Books2 Comments

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

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

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

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

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

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

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

Boltanski, Christian. Inventory of Objects Belonging to an Inhabitant of Oxford introduced by a preface and followed by some answers to my proposal. Westfalicher 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 1, video 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. [Compare with Scott McCarney’s Alphabook 13 (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

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.]

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.

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 hasard. Cosmopolis, 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.

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

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, Helen. Real 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

Books On Books

Curated by Robert Bolick

Ian Hamilton Finlay

Books On Books Collection – Alastair Noble

In Memoriam+ (2021)

Thresholds (2020)

Southern X 2006 : Open City, Ritoque Chile (2006)

Foldings (1998)

Further Reading

Books On Books Collection – Ian Hamilton Finlay

The Errata of Ovid (1983)

Further Reading

Bookmarking Book Art – “The New Concrete: Visual Poetry in the 21st Century”

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

In Memoriam+ (2021)

Thresholds (2020)

Southern X 2006 : Open City, Ritoque Chile (2006)

Foldings (1998)

Further Reading

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The Errata of Ovid (1983)

Further Reading

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