Books On Books Collection – Suzanne Moore

Rescuing Q (2023)

Rescuing Q (2023)
Suzanne Moore
Box enclosing softcover book. Box: H400 x W300 x D30 mm. Book: H380 x W285 mm. 32 pages. Printing by Sandy Tilcock (and Phoebe) at Lone Goose Press and Jessica Spring, Springtide Press. Unique copy of variant edition of 26. Acquired from the artist, 25 April 2023.
Photos: Books On Books Collection. Displayed with permission of the artist.

Rescuing Q is a manuscript book, consisting of original paintings, monoprints, collage, pigmented prints, embossing, debossing, gilding and handwork complementing the letterpress printing. It is one of several such works designed and created by Suzanne Moore after more than 20 years of experimentation.

Q is not normal. Q is quirky. Q floats away. Q comes in too many shapes and sizes and colors. So attractive, Q was bound to be hijacked by Q-Anon, political operatives and social anarchists.

But Q will not remain captive for long because it is always asking questions. And, if we want answers, then as Rilke says, we must “live the questions now”.

For most readers though, the question that will be uppermost is “How did she do that?” Moore is quick in her generosity and would insist on amending that question to “How did they do that?” Consider the selection of paper. More than Arches (a laid paper with visible mesh and watermark) had to be considered for these interactions of ink, gouache, gold leaf, palladium, debossing/embossing by etching press and hand, cuts and overlays.

What notes, movements and rhythms were playing when these colors and the sequences were chosen?

How do they think of paper and ink in three dimensions?

Who saw Q and questions in a bird’s nest?

And someone’s memory called up Cave Alphabet paper for the endpapers.

The fact that Moore and her colleagues can do all that (and more) and the fact that their gentle and pointed questions fuse with the art ensure that Rescuing Q does and will succeed.

A Musings (2015)

A Musings (2015)
Suzanne Moore
Tab-insert portfolio around softcover book. H370 x W230 mm, 24 pages. Edition of 26 variants, of which this is N. Acquired from Abecedarian Gallery, 13 February 2022.
Photos: Books On Books Collection. Displayed with permission of Suzanne Moore.

Title page

Another manuscript book, A Musings is an encounter between Suzanne Moore and the letter A, one of her 26 muses. As with any artist and muse, this naturally leads to portrayals of A in such varied positions, with such varied tools and techniques and such varied materials that the boxed and bound portfolio must take the amusing title A Musings. The muse finds itself posed across Magnani Aquaforte, Arches Text Wove, transparent kozo and other handmade papers enveloped by a stiffened, painted handmade paper. Moore’s musings fall on the historical, symbolic and spiritual aspects of the letter A with acrylic paint, pencil, freehand foil tooling, gold and palladium leaf, collage, debossing and embossing, sumi ink and gouache, sizing and varnish, monoprint, letterpress, folds and cutouts.

A separately provided copy of the artist’s plan for the pagination, structure and treatment per page offers a useful insight into the questions of how such a work is thought through and made. Page layout and the type of paper, in particular, play together sometimes like a clockwork mechanism and sometimes organically.

Painted cover

Left: Half-title. Right: Half-title turned to show translucency of kozo; note on the facing recto how the stroke from the debossed A on the title peeks through.

After the title page (see further above), the next double-page spread shows the title page’s debossed A in reverse on the verso page. Facing it is a square cutout through which multicolored lines forming overlapping As appear. Because the cutout page is translucent paper, we can see that the multicolored lines extend into a larger A on the next recto page. Turning the cutout page reveals that the cutout is actually a flap folded up and secured with white thread sewn in the shape of an A. This three-dimensionality of the flap is echoed by the way the crossbar swashes of the facing A seem to swirl around its two legs implying a spinning A.

From the single A interacting with a cutout, we move to a dozen evocations of the historic forms that the lowercase and uppercase A have taken. The lowercase “closed a” from the semi-uncial hand starting in the 5th century appears second down in the lefthand column, and the “perfected” Roman uppercase A appears at the bottom of the right column. Amusingly, some evocations blend periods of history. In the lower left, the drawing of a lowercase “open a”, which comes from the 8th century Carolingian miniscule hand, takes on the stylization of the 15th century’s bianchi girari (white-vine stem decoration). Just across from it, the stylized version of the Proto-Sinaitic (1700 BCE) form of aleph, meaning “ox”, has a burnt umber background that suggests markings in early cave dwellings.

Using a translucent leaf with set type shaping half an A, the next two double-page spreads play (or muse) on uppercase A’s bilateral symmetry poised between geometric and freehand approaches to lettering, between typography and calligraphy and between inking and debossing.

When the recto page above with its debossed line and angle is turned, another extraordinary integration of composition, paper, printing (inking, debossing and “embossing”) and, now, cutting occurs. Notice how the ink of the first and third As overlaps the now “embossed” angle, how the now “embossed” line becomes debossed as it crosses the gutter, how the previous double-page spread’s themes of geometry/freehand, printing/drawing and lowercase/uppercase likewise cross over, and how the cutout triangle uses the yellow ink showing through to form the crossbar of an A and the gutter to form the A’s lefthand stem.

There is much else to muse upon in the spreads above, but it’s in the last two spreads where Moore builds and unfolds a fantasia of calligraphy, color, debossing, cutting, gilding and painting. Notice how the gilt crossbar slots through the page and helps secure the debossed piece behind the cutout to the page.

And when the page turns, notice how its gilt crossbar reveals its red paper beneath and becomes the spot of red completing the crossbar for the cutout A. The red spot against white seems to set off the explosion of color and calligraphy on the black final page, printed by Jessica Spring from polymer. The different shapes for A here come from African alphabets. The images are unique monoprints, done on an etching press. With the letters placed to block out the black and overlap one another, a sense of depth and texture arises. Contributing to that sense of texture, the white letters are hand-painted in gouache — sometimes layered, sometimes blended.

Books are inherently collaborative affairs, and for artists’ books, collaboration can become almost another tool for the artist. Jessica Spring, mentioned above, also debossed the opening A, hand-set the half-A composition and contributed to Rescuing Q. Now a fine binder in her own right, Gabby Cooksey, a studio assistant to Moore and Don Glaister, was essential to A Musing‘s hand work, binding and wrapper. Part of Moore’s creative progression from contributing to overseeing to orchestrating can be traced from here across three other works in the Books On Books Collection.

A Blind Alphabet (1986)

A Blind Alphabet (1986)
Suzanne Moore
Accordion-fold. Closed H128 x W93 D28 (spine) D22 (fore-edge) mm; open 3200 mm. 34 pages. Edition of 200 of which this is #91.
Calligraphic letters designed and drawn by Suzanne Moore, printed by Harold McGrath on T.H. Saunders cold-pressed watercolour paper, bound by Claudia Cohen in marbled paper by Faith Harrison. 
Acquired from Veatchs, 1 May 2018.

Here, as noted in the colophon to A Blind Alphabet, Moore has the creative role of originating artist, designing and drawing the alphabet — soloist, as it were, in the Cheloniidae Press reportory orchestrated by Alan James Robinson.

In Robinson’s wood engravings of birds, Moore plays a creative contributing role with much the same repertory company.

A Fowl Alphabet (1986)

A Fowl Alphabet (1986)
Alan James Robinson (etchings), Suzanne Moore(calligraphy)
Casebound. Marbled paper over boards. Doublures and flyleaves. H218 x W145 mm. 26 Folios untrimmed at head. Four-page prospectus loose. Acquired from Bromers Bookseller, 16 August 2022.
Photos: Books On Books Collection. Displayed with Suzanne Moore’s permission.

Again, Cheloniidae Press’ master printer Harold Patrick McGrath and “usual suspects” Arthur Larson (hand typesetting), Faith Harrison (hand marbling) and Claudia Cohen (binding) played their roles in this book. Here, Moore has the creative contributing role of designing the alphabet and, for the deluxe and full vellum editions (not shown), hand lettering.

In book art, an artist’s progression from contributor to orchestrator is not necessarily linear as can be seen in this subsequent work.

Bartleby, The Scrivener: A Story of Wall Street (1995)

Herman Melville, Bartleby the Scrivener: A Tale of Wall Street, 1853. Indulgence Press, 1995.
Typeetting, printing and binding by Wilber Schilling; Calligraphy by Suzanne Moore. Text paper by Janus Press. Endpapers by MacGregor & Vinzani.
Edition of 100 of which this is #71. H320 x W158 x D14 mm. Acquired from Indulgence Press, 17 December 2015.
Photos: Books On Books Collection. Displayed with permission of the publisher.

Wilber Schilling (Indulgence Press) orchestrated this edition of Herman Melville’s well-known story. Part of Schilling’s genius was to invite Moore to provide the calligraphy for Bartleby’s hallmark (his only) words “I prefer not to”. Another part was to print Moore’s calligraphy in ever-increasing size in ghostly ochre and in descending position across the pages of the book.

For more of Suzanne Moore’s works and artistic roles as well as others’ insight into them, see below.

Further Reading and Viewing

ABCs“. 29 November 2015. Bookmarking Book Art.

Abecedaries I (in progress)“. Books On Books Collection.

Alan James Robinson“. Books On Books Collection. In progress.

Wilber Schilling“. 23 November 2015. Books On Books Collection.

Gwinn, Mary Ann. “Vashon artist among those who worked on handmade St. John’s Bible”. Seattle Times, 24 December 2014. Accessed 13 January 2020.

Hayden, Danielle. “Meet the Vashon Island Artist Keeping Lettering Alive”. Seattle Magazine, July 2018. Accessed 13 January 2020.

Moore, Suzanne. 2016. Studies in Love the Question. Handlettered pages in book bound by the artist. 34 images available at Letterform Archives.
______________. 2014. Zero – Cypher of Infinity. 24-page handlettered pages in book bound by the artist. Letterpress pages by Jessica Spring. 20 images available at Letterform Archives.

______________. 2014. Origins and Spectrum. Process portfolio for Zero — Cypher of Infinity. Includes notes from the artist. 28 images available at Letterform Archives.

Yin, Joyce. “From the Collection: Thomas Ingmire, Susan Skarsgard, Suzanne Moore“. Letterforms Archive, 29 March 2018. Accessed 13 January 2020.

Books On Books Collection – William Kentridge

Waiting for the Sibyl (2020)

Waiting for the Sibyl (2020)
William Kentridge
Casebound and dustjacketed. H275 x W200 mm, 360 unnumbered pages. Acquired from Blackwells, 1 July 2021.
Photos of the work: Books On Books Collection. Displayed with permission of the artist and the Marian Goodman Gallery.

Like the ancient Greek playwrights, William Kentridge begins his chamber opera’s retelling of the Cumaean Sibyl’s myth in medias res — in this case, in the middle of the dictionary at the letter M. Redactions and marks build and build across the dictionary pages, a visual prelude like a musical one. Then they suddenly disappear, leaving the “stage” to unmarked pages from the letter A, a thunderclap announcement in all caps bold and then an explanatory statement slightly reduced in volume with a lighter type face and uppercase with lowercase letters. What is going on?

Because performance of the opera was curtailed by the pandemic beginning in 2019/2020, we have only a few short clips from a trailer and filmed rehearsals to guess at how a live performance might have unfolded: this short clip posted by Teatro dell’Opera di Roma, this one from Quaternaire, this one from The Red Bridge Project and this version posted by the Centre for the Less Good Idea. A description from the Théâtres de la Ville de Luxembourg tells us that the performance consists of a series of six short scenes. From the Red Bridge Project, coordinating the commission, we have Kentridge’s description of four of them:

A scene in the waiting room for the Sibyl. A scene about which is the right decision and which is the wrong one. How do you know which is the chair that will collapse when you sit on it and which is the chair that will support you? Is the plane that you’re rushing to catch the one that will crash or do you relax and not catch that plane and take the next one − and in fact that is the one that crashes?

Judging from the videos and description, it is presumptuous to declare that the book and opera begin in medias res. Almost anywhere in the out-of-order pages or chaotic rehearsal scenes of performers snatching at and reacting to the scattered leaves of books, typescript and so on is the middle. But if the left-to-right reading convention of the Western codex prevails, the text to be sung continues to rumble along in the codex after the thunderous proclamations. The chorus or speaker seems to falter, admitting to having forgotten the message and losing the moment of its delivery. All the while, the libretto is being joined on the left by gradually forming images of leaves (a maple and an oak), an allusion to the leaves on which the Cumaean Sibyl would write the predictions of fate she had sung but which would be scattered and whirled by the wind before the supplicant could claim his or her rightful leaf.

As occurs in Kentridge’s other bookworks, these gradual formations draw on the flip-book tradition, introducing that other recurrent media in his work — film — as well as performing an echo of the projections in the to-be performed opera. As the leaves assert themselves, the speaker’s confidence returns in all caps, a larger face and some bold. And while the speaker quickly recedes into lowercase and a lighter typeface, only able of being reminded “of something I can’t remember”, a leaf begins to metamorphose into a tree, an ampersand and then a dancer. Metamorphosis is that mythical translation of one being or object into another. Metaphor is that figure of speech that uses one object to remind us of another. “Etc., etc.” is what we say when we can’t remember or be bothered to complete a statement or series of examples. What Kentridge offers here is unquestionably not mixed metaphor but rather metaphor-mosis.

The metamorphosing ampersand recalls an illustrative example from another of Kentridge’s favored media — sculpture. As Kentridge puts it:

The turning sculptures I’ve made in the past have all been ones which have one moment of coherence, when the different components of the sculpture align. From one viewpoint they turn into a coffee pot, a tree, a typewriter, an opera singer. And then, as the sculpture turns, the elements fragment into chaos. — from The Red Bridge Project site, accessed 21 July 2021.

Ampersand (2017)
William Kentridge
Bronze, 85 x 82 x 54 cm, 87 kg
Courtesy the artist and Goodman Gallery

Even though there is a speaker/singer for the libretto, the dancer has the central role in the opera. Performed by Teresa Phuti Mojela, the dancer casts her shadow over the projected pages and seems to “dance” the prophecies. Kentridge notes in the book’s afterword that he has added images of her to stand in for her projected shadows. As this sequence in the codex shows, the dancer/Teresa Phuti Mojela is the Sibyl.

In addition to containing the libretto, serving as part of the setting for the actual performance, presenting the central player and the Sibyl’s transformation into her, demonstrating the dancer’s performance (when flipped like a flip-book) and exemplifying the key props (prophecies on leaves), the codex also reflects the collaborative creative effort that Kentridge extols in describing the opera’s preparation:

… when we had our first workshop in Johannesburg, in which we brought together the singers, the pianist, a dancer to be the Sibyl, costume designer, set designer, videographer, the editor of the animations I’ve been drawing, we discovered very quickly that the magic of the piece was in the live performance of the music. At this point the project became possible to do only if we could have these singers on stage.

As the book’s last page notes, creative collaboration among Kentridge and Anne McIlleron (editors), Oliver Barstow (designer), Alex Feenstra (lithographer) and robstolk® (lithographer and printer) is what has made this work of art possible.

Tummelplatz (2016)

Tummelplatz (2016)
William Kentridge
Papercased sewn booklet. H214 x W152 mm, 16 pages. Acquired from Lady Elena Ochoa Foster, 28 June 2022, “Sensational Books” exhibition at the Bodleian Libraries.
Photos of the work: Books On Books Collection.

In Tummelplatz the booklet created for the Ivorypress exhibition of the larger eponymous work, William Kentridge explains that tummelplatz is Freud’s term for the space between analysts and their patients. But its literal translation is “playground”, which might be the perfect word for William Kentridge’s studio. The studio is the actual setting for the series stereoscopic photographs reproduced as photogravure images in the double volume of Tummelplatz. With the artist’s charcoal drawings of a landscape background pinned to the walls and others cut out as foreground figures and fixed into position, the studio was transformed into a sort of diorama in which the artist himself posed. A stereoscopic viewing device in fixed position over the volume invites the reader/viewer to join Kentridge in his playground.

These are images that have to be read, not scanned like flat photos. The eyes’ focus has to jump from layer to layer, element to element. In the exhibition “Sensational Books”, Tummelplatz is set up within a glass case, so only one scene is available for viewing and reading, and the distance imposed by the extra layer of glass makes the sensation hard to appreciate. Nevertheless, there is enough of it to set the reader/viewer to wondering whether the technique, the effect of the photogravure and this three-dimensional precursor to virtual reality have transformed him or her into the patient and the work of art itself into the analyst. Or whether it’s just a playdate with William Kentridge in his playground.

Showcased at “Sensational Books” exhibition, Weston Library, Oxford University. Photo: Books On Books, 8 July 2022.

Showcased at “Sensational Books” exhibition, Weston Library, Oxford University. Photo: Books On Books, 8 July 2022.

William Kentridge : Lexicon (2011)

William Kentridge : Lexicon (2011)
William Kentridge
Cloth boards, sewn bound. H234 x W177 mm, 160 pages. Acquired from Specific Object, 2 May 2021.
Photos of the book: Books On Books Collection. Permission courtesy the artist and Goodman Gallery.

The first work by Kentridge I ever saw displayed was 2nd Hand Reading (2014) at the Museum Meermanno (The House of the Book) in The Hague. The exhibition was called The Art of Reading and had been curated by Paul van Capelleveen. Curator at the Dutch national library and advisor to the Meermanno, he felt strongly that the challenges of artist books cannot be understood “under glass” and insisted that each work be touchable. So under his supervision, I was able to flip through 2nd Hand Reading and also watch the projected animation of stop-motion images across the pages being flipped. While the forward motion of the animation offers a narrative, its substrate — pages of the Shorter Oxford English dictionary on historical principles — contradicts any notion of logical beginning, middle and end: the drawn-upon pages are not in the original’s paginated or alphabetical order.

Compared to 2nd Hand Reading‘s 800 pages, Lexicon at 160 pages provides a small reminder of the experience. Bound in a green satin-sheen cloth, Lexicon begins as a facsimile edition of an antiquarian Latin-Greek dictionary. The dictionary’s browned pages and antique languages perform the role of drawing surface or projection screen for a flip-book metamorphosis. In scrawly black ink drawings, an Italian coffee pot emerges from the gutter and starts to tilt and turn.

Gradually the pot changes into a black cat, striding from right to left. Not the direction in which Western reading and narratives usually proceed. In its transformation and movements, the cat seems to pivot on itself as it turns and strides across the Latin and Greek like Rilke’s panther behind its bars until it turns back into a coffee pot. Or does it?

That drawing in the center certainly looks like the coffee pot, but as the pages turn, the cat returns to stride from left to right, expanding then shrinking until it is swallowed by the gutter.

The reference to Rilke’s panther is actually Kentridge’s, made ex post facto in the next book in the Collection.

Six Drawing Lessons (2014)

Six Drawing Lessons (2014)
William Kentridge
Cloth boards, sewn bound. H x W mm, 208 pages. Acquired from Amazon, 23 March 2019.
Photos of the book: Books On Books Collection. Permission courtesy of the artist and Goodman Gallery.

You rarely see a clear dustjacket. Of course, if it has type printed on it, you can see it. Still, it is rare, and in this case — in light of Kentridge’s film artistry — transparently ingenious.

The six lessons — Kentridge’s Charles Eliot Norton Lectures delivered at Harvard — begin with an extended riff on Plato’s allegory of the cave. Variations on the riff recur throughout — applied to film projected from behind the audience, to a stage design of The Magic Flute as the bellows of a tripod camera, to transformations and metamorphoses and to the mining caves under Johannesburg. Kentridge’s interpretation of Plato’s cave reminds me of José Saramago’s interpretation in A Caverna (2014) and Guy Laramée’s homage to A Caverna. All three address “the great cloud of unknowing“, a kind of knowing by not knowing — but without God.

A Caverna (2012)
Guy Laramée
Portuguese-Spanish dictionary carved. Wood and velvet plinth, wood-framed glass cover. H260 x W276 x D226 mm
Acquired from William Baczek Fine Arts, 12 September 2017.

What’s remarkable is how Kentridge brings so many variations, seeming tangents and media in the lectures into coherence. Or perhaps not so remarkable given that he manages it across his body of work and the multiple media in which he works. In breadth of stuff and raw material to hand and in his head, Kentridge himself identifies Picasso’s studio practices and work as an influence. Although not mentioned, Anselm Kiefer’s works such as Das Lied von der ZederFür Paul Célan (“The song of the cedar – for Paul Célan”, 2005) and his studio at La Ribaute, near Barjac in France, come to mind in these lectures. Likewise another artist called to mind is Xu Bing, especially his Landscape/Landscript (2013) and massive junk assemblage Phoenix (2008-15) among other works. Both Kiefer and Xu use the book as a medium with which to fuse language or text with the visual. All three artists confront similarly dark, raw cultural inheritances. Kentridge’s lectures, especially Lessons Two and Three, make plain his apartheid inheritance and its presence in his art.

Circling back to the book as artistic medium, the fifth and sixth lessons provide an important insight that underscores Kentridge’s artistry there. “Lesson Five: In Praise of Mistranslation” reproduces Rilke’s “Der Panther” and Richard Exner’s translation of it in full. In that same lesson, Kentridge presents us with a montage of the feline transformations and names the works from which they come, one of them of course being Lexicon.

Before going back to Lexicon for the cat, the reader/viewer would do well to wait for Kentridge to expand in the sixth lesson on the lines describing the panther’s walk around his cage as “a dance of strength round a centre where a mighty will was put to sleep”. He writes:

There is no avoiding it. …it is the circle in the studio, the endless walking around the studio, … Again here we go back to Rilke’s panther, and the radical insufficiency, the radical gap in the center. There has to be some gap, some lack, which provokes people to spend 20 years, 30 years, making drawings, leaving traces of themselves. It has to do with the need to see oneself in other people’s looking at what you have made.

With that, remember the cat — metamorphosing from the Italian coffee pot that slips from Lexicon‘s gutter, prowling from right to left, turning back into the coffee pot, striding from left to right and then being sucked into the center. Can you ever look the same way at the gutter of a book?

Further Reading & Viewing

The Art of Reading in a ‘Post-Text Future’“. 21 February 2018. Bookmarking Book Art.

Werner Pfeiffer and Anselm Kiefer“. 16 January 2015. Bookmarking Book Art.

William Kentridge standing in front of ‘Action’, 2019, in his new exhibition at the Royal Academy of Arts, London, from 24 September – 11 December 2022.

Kentridge, William. 2012. Six Drawing Lessons, Charles Eliot Norton Lectures, Harvard University. Six videos from the Mahindra Humanities Center, posted 14-15 January 2020. Lesson 1, Lesson 2, Lesson 3, Lesson 4, Lesson 5, Lesson 6. Accessed between 1 April 2019 and 21 July 2021.

Kiefer, Anselm, and Marie Minssieux-Chamonard. 2015. Anselm Kiefer: l’alchimie du livre.

Krauss, Rosalind E. 2017. William Kentridge. Cambridge, Mass: MIT Press.

Mudam Luxembourg. 11 – 12 Jun 2021. “Sibyl“. Announcement. Accessed 22 July 2021. “Waiting for the Sibyl, co-commissioned by the Théâtres de la Ville de Luxembourg, Teatro dell’Opera di Roma and Dramaten – Stockholm and created in collaboration with choral director and dancer Nhlanhla Mahlangu and composer Kyle Shepherd, unfolds in a series of six short scenes, …”

Books On Books Collection – John Gerard

Alpha Beta (2005)

Alpha Beta (2005)

John Gerard 

Small quarto book chain-stitched in boards, with a paper label to the upper cover, 40 pages, H275 x W272 x D15 mm, housed in a paper four-flap enclosure H175 x W278 x D16 mm. Signed edition of 20, of which this is #18. Acquired from the artist, 29 July 2020. Photos: Books On Books Collection.

In the playground of the alphabet, papermaking, calligraphy, page design and layout, image and text, printing and binding, John Gerard has created an outstanding and contemplative work of book art and the book arts. Eastern and Western traditions meet on the page and in the material and structure: Coptic-style binding, handmade paper and spirited brushing of the letters right up against the geometric constraints of Jan Tschichold’s diagram for deriving the text block’s ideal space and positioning from the Golden Ratio.

The cover’s paper label shows the image of Jan Tschichold’s canon for page layout, which is reproduced on every page of the work. Each letter of the alphabet is messily brushed in black over and over to fill the mathematically precise text area defined by Tschichold’s canon.

The text and label papers for Alpha Beta are handmade from cotton and hemp using a velin mould with Gerard’s early watermark depicting the Eifeltor Mühle (Eifeltor Mill) and the letters S and G (Studio John Gerard). The weight of the paper is about 150-180gsm. The lettering is done with Indian ink, and the printing of Tschichold’s diagram, with a proofing press using a photo-sensitive nylon plate. The cover papers are also made with cotton and hemp using a coagulant with slightly different pigmented pulps, which creates the decorative speckled look.  The sewing thread is linen.

Tschichold’s “canon” is but one among four. The others belong to Villard de Honnecourt, J.A. Van de Graaf and Raúl Rosarivo. Online, Alexander Ross Charchar’s dynamic diagram “The Dance of the Four Canons” delightfully illustrates the development of the Western craft and science of page layout.

Seifenblasen (2013)

Seifenblasen (2013)

John Gerard

Artist booklet, stitched with linen thread, two sheets hand-made of cotton and abaca fibers, the cover sheet being double couched using a layer of colored pulps, the inner sheet printed in 14p Book Antiqua in relief printing. H200 x W150 mm. Edition of 100 unnumbered copies. Acquired from the artist, 29 July 2020. Photos: Books On Books Collection.

Inspired by the 19th century poem “Seifenblasen” (“Soap Bubbles”) by Theodor Fontane, John Gerard uses pulp painting to create the shifting prismatic colors displayed on the surface of a soap bubble. By layering different colored pulps on a sheet of plain wet pulp, he evokes the same pleasure, color and lightness evoked by the words.Here is a loose translation:

Soap Bubbles

Children to show their delight 
Send soap bubbles up to the light. 
How they shimmer in the sun — 
Some big, some small. 
Blown with a mouth just so, some
Hold out a whole second —
But several there — 
Yes! — hold on for two. 
One rises as high as the house — 
Bumps there — then it’s over.

Gerard seems drawn to respond to things displaying a tension between spirit and form, be it the tension of soap bubbles or the tension between repeatedly scrawled letters constrained by a canonical grid.

Der Panther (2013)

Der Panther (2013)

John Gerard

Leporello of two connected sheets of hand-made cotton and hemp paper, pulp-painted with red and black lines. H140 x W130 mm (unfolded approx. 770 mm). Unnumbered, signed edition of 25 copies. Acquired from the artist, 29 July 2020. Photos: Books On Books Collection.

Rainer Maria Rilke’s poem “The Panther” embodies the tension that Gerard seems to love. Three stanzas in black 12 pt Book-Antiqua pace across the leporello like the panther behind what seem to him “a thousand bars”, which Gerard evokes in black and red pulp painting on the reverse of the leporello. Fully open, the torn top edge slopes and rises like the back and shoulders of the panther as it strides and turns in the smallest circle it can make. The bars behind, or in front of it, end above the lower edge in rounded shapes like the panther’s paws, whose texture the soft and rough handmade paper mimics.

The alternation of black and red pulp echoes the tension between the cage and panther’s heart in the poem, and the leporello opens and closes on the panther just as its own pupil’s nictitating membrane slides open, then closes on its world. Reportedly, at Augusta Rodin’s behest, Rilke stood before the animal’s cage in the Jardins des Plantes in Paris for nine hours. At the end of the poem, he has placed the reader/viewer inside the animal, absorbed the reader/viewer through the animal’s movement and gaze. Gerard’s artist booklet — by giving the reader/viewer a chance to see through the panther’s eyes — makes Rilke’s poem just as tangible as Rilke’s poem makes the panther and its world.

Gerard’s three works belong with the Books On Books Collection’s first seven books of the Rijswijk Biennial. His Alpha Beta even features in that series’ Papier op de vlucht = Paper takes flight (2006) and contributes to two of the collection’s sub themes: abecedaries as well as the technique of pulp painting. Seifenblasen and De Panther exemplify the sub theme of “reverse ekphrasis” represented by works such as Barbara Tetenbaum’s version of Michael Donaghy’s poem “Machine” or herman de vries’ argumentstellen 1968 / 2003 (de wittgenstein — tractatus — ) (2003). Gerard’s two works are, in fact, the epitome of transforming a literary text into an artwork.

Further Reading

Abecedaries (in progress)”, Books On Books Collection, 31 March 2020.

The First Seven Books of the Rijswijk Paper Biennial”, Books On Books Collection, 10 October 2019.

Looking Back and Forward from the Paper Biennial 2018”, Bookmarking Book Art, 24 June 2016

Margins and making objects that live forever”, Bookmarking Book Art, 20 August 2014.

Claire Van Vliet”, Books On Books Collection, 8 August 2019.

Corbett, Rachel. “From You Must Change Your Life: The Story of Rainer Maria Rilke and Auguste Rodin”, Poetry Magazine, 31 August 2016. Accessed 11 August 2020.