AMBruno’s last project Finale proved to be a fertile prompt for 19 artists and their 18 works. I thank Sophie Loss and John MacDowall for the fun and honor of reviewing the entries.
When I consider an artist’s book for acquisition or inclusion in an exhibit, I want it to make me read with my eyes, hands, and mind. Following the text is not enough. It should demand that I see the shapes of letters, words, images, pages, and the entire work itself. Turning a page is not enough. It should demand that I handle, unfold, rotate, manipulate – feel it. Mentally deciphering the work’s signs is not enough. I want it to make me think – about how the shape, material, and making work together – about how artists’ books before this one may be present – about how other literary, visual, sculptural, architectural, performative, or even digital art may be present.
So, you can appreciate what a challenge it was to select works on the basis of a few sentences or paragraphs describing what the artists planned to submit.
Now add that the proposals’ ranged from simple pamphlet fold to intricate concertina pop-up and to piano-hinged sculpture, from relief prints to photographic prints, from a Renaissance nude to a carnivalesque Full Monte, from entirely text to entirely blank, and from celebration to lamentation and back.
Now add their settings from fireworks displays, theatrical productions, the Book of Common Prayer’s Order for the Burial of the Dead, book burnings, a mythic road trip, and a televised lunar crash.
And then add the range of literary and other media influences – from the Greek myths, Bronzino, John Donne, James Joyce, Heinrich Heine, Georges Perec, J.B. Priestley, to the evening television news.
As I mentioned, it was an honor to be tortured with the challenge of imagining what the artists intended. On seeing the final results with Sophie and John via Zoom, my imagination was much relieved and delighted.
As I watched the artists present their works and the audience inspect the Finale selections, look hard and long, touch them, and think slowly, I was convinced of their delight as well.
As a group, the entries represented almost every variety of artist’s book I have encountered. One form missing though was the un-openable book. I feared that someone might propose a tombstone carved in the shape of a book which would weigh like a lump on the proceedings. There was, however, a book that took on the shape of a tombstone but seemed to take flight when opened. And although among the entries there were mourners for the final AMBruno project, there were celebratory memorializers as well. In fact, as Sophie and John reviewed the arrivals alphabetically for me by Zoom, I laughed that chance ended our session with Roy Willingham’s Touch Paper, a wonderfully structured diamond-shaped concertina whose folios each burst open to name a traditional English firework and combine to make a larger diamond.
How fitting that the finale of AMBruno’s Finale turns out to be a firework display that should prompt not only oohs and aahs but also a round of applause for Sophie Loss and friends for the 16 AMBruno projects over the past 14 years.
The nineteen Finale artists were: Karen Blake, Laure Catugier, Claudia de la Torre, Judy Goldhill, Susan Johanknecht & Katharine Meynell, Rafael Klein, Pauline Lamont-Fisher, Philip Lee, Sophie Loss, John McDowall, Alastair Noble, Linda Parr, Ximena Pérez Grobet, Peter Rapp, Mireille Ribière, Cally Trench, Maria White, and Roy Willingham. Visit the AMBruno site and shop for additional views of the works.
Photography: Books On Books Collection, Sophie Loss, Judy Goldhill, Philip Lee, DDK, Julie Jones, Julia Davy-Brown, and Steve Davy-Brown.
