The Bedside Book Project is a quintuple homage — Stéphane Mallarmé (1842-1898), Marcel Broodthaers (1924-1976), Odilon Redon (1840-1916), Kurt Schwitters (1887-1948) and Richard Hamilton (1922-2011) — and approaches its subjects in cinematic fashion. It begins with this anecdote:
In 1945 René Magritte gave Marcel Broodthaers a copy of Mallarmé’s poem as ‘a way of explaining his art to a young admirer without explaining it literally’. In 1969, Broodthaers modified an edition of the poem by covering all its words with black stripes that correspond directly to the typographic layout used by Mallarmé to articulate the text. In this way, Mallarmé’s poem, which Broodthaers considered had unconsciously invented modern space, is reduced to its structure.
From here, Marine Hugonnier‘s imagination takes hold. As if in a film scene, she moves into the bedrooms of Redon, Schwitters and Hamilton, steals their copies of Un Coup de Dés from their bedside tables, alters each one by inserting images and then replaces them. The result is a series of installations in which the pages of their altered books are displayed on the gallery walls. Each has its “book title”: La forme du mystère (Odilon Redon), Altération (Kurt Schwitters) and L’espace social (Richard Hamilton). Here is Hugonnier’s description of Redon’s book and the installation performance in which it is presented:
Redon’s bedside book has been stolen and its pages have been folded to extend the space and time of the poem’s interlude bringing his dreams to a deeper sleep. ... The mise-en-scène is composed of a white space with an open window, a spider and a man dressed in a tuxedo who will change a solitary frame, containing a folded page of the poem, on the wall every hour. On the 12th hour, the room will be left empty.
Staging a performance in which the pages of Redon’s bedside book are parceled out over 12 hours is ambitious. As she introduces Schwitters and Hamilton into The Bedside Book Project, Hugonnier creates an even more ambitious immersion for the reader/viewer in different times, spaces and influence. Further temporal instability is involved as well: the pages on Redon’s 19th century bedside table come from a 2006 Gallimard edition of the poem.
Time travelling from Redon’s bedside table to that of Kurt Schwitters, Hugonnier also introduces a bit of temporal and linguistic instability: Schwitters’ bedside copy comes from the Tiber Press edition of Daisy Aldan’s translation into English, published in 1956 eight years after Schwitters’ death. Colored paper cut-outs conceal words, disrupt the gaps of the poem and alter its reading.
As ghostly film director and actress in the film, Hugonnier wonders how these altered bedside books might have affected the way those three artists perceived art and practiced it in their times. As Hugonnier’s audience, we must surely wonder how she has altered the way we perceive Un Coup de Dés and its influence and very possibly how we perceive time, space and art.
Where to go to compare and contrast the book art in Germano Celant’s pioneering “catalogue” of the Nigel Greenwood Gallery exhibition in London (1972) with that of the last half century?
Being a sort of small and portable catalogue and curator’s explanation for the gallery’s exhibition of ca. 300 works, Celant’s Book as Artwork is arranged chronologically and then alphabetically by artist. Presumably it was organized to match the exhibition’s organization (note the year 1967 in upper left of the photograph below and the distinctive Hidalgo cover, fifth from the left). With no photographs of the works, Book as Artwork gives no easily accessible visual sense of the 300 works in that exhibition. If we had that starting visual touchpoint, it would be easier to “place” the period or individual works in relation to book art from the 80’s onward.
Stephen Bury’s Artists’ Books: The Book as a Work of Art, 1963 – 2000 (2015) includes, by design, only a handful of the artists and works selected for the Celano/Greenwood exhibition.
Lucy Lippard’s Six Years: The dematerialization of the art object from 1966 to 1972 (1973, 1997) — a “bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically” — comes as close as one might hope in black-and-white print for a starting visual touchpoint. Lippard’s scope, however, ranges beyond book art, so the number illustrated limits systematic visual comparison and contrast with the book art of the ensuing decades.
Phaidon’s Artists Who Make Books(2017) provides good coverage and bridges the 1960s to the 21st century. The essays and descriptions bring the book art off the page and into the mind’s hands.
Best of all is Lynda Morris’s mini-memoir of her role in organizing the Celant/Greenwood exhibition.
Germano had sent Nigel [Greenwood] a wonderful, arty handwritten letter in pink capitals … on December 22, 1970:
DEAR PUBLISHER I AM PREPARING FOR A NEW INTERNATIONAL MAGAZINE A COMPLETE ANTHOLOGY OF BOOKS MADE DIRECTLY BY ARTISTS.
…Nigel had met Germano and had his telephone number in Genoa. I was sitting beside him when he phoned and proposed Book as Artwork exhibition for September 1972. Germano immediately agreed.
For sources of book art since the close of the Celant/Greenwood exhibition, we are spoilt for choice. Print and digital, image-rich aggregations of book art abound. We can return to the Phaidon and Bury books. We can turn to the well-illustrated print and online publications from the Centre for Fine Print Research at the University of Western England, online library collections such as the MassArt Library or Chicago’s School of the Art Institute, the websites of dealers such as Zucker Art Books displaying their wares, the dozens of websites for recurring book art fairs such as International Artist’s Books Triennial Vilnius (1997 – present) and CODEX International Book Fair (2007 – present) and community sites suchas Artist Books 3.0. In the future, the Getty Research Institute‘s processing of the Steven Leiber Basement archive should also yield a rich source of images of works by the artists selected for the Celant/Greenwood exhibition.
Present-day online access challenges Mallarmé’s dictum: ”Everything in the world exists to end up in a book.” Now it seems:
Everything in the world exists to end up on the web.
As far as that premise holds, this annotation and rearrangement of Celant’s bibliography — a “webliography” — offers an online starting point for connecting the book as artwork 1960/1972 with the book as artwork since. In providing some images of the works and links to images, the webliography offers anyone interested in book art the means to gain a more colored impression of the period’s book art. That the primary impression is still black and white underscores the impact of xerographic technology on artists then as well as that of conceptualism driven by text or photograph. A webliographic approach also offers the opportunity to link the book art of the Celant exhibition with book-oriented Web-art or Net-art such as that of Amaranth Borsuk, Taeyoon Choi, Gunnar Green, Johannes Heldén, Bernhard Hopfengärtner and many others referenced below.
The reorganization here of Celant’s and Morris’s list — by artist alphabetically then chronologically — makes it easier to see the curators’ tendencies in selection as well as the influence of practical factors. The curators’ selection is obviously more Western, less Eastern European and even less Middle Eastern and Asian. Individuals’ prodigality surely played a role in whom and what was included. As Morris’s essay in the Phaidon book reveals, the geographical proximity of works available to be chosen played a role; so, too, the influence of the then-contemporary art network played a role (Atkinson, Beuys, Celant, Dwan,Greenwood, Hansjorg Mayer, Walther König, Maenz, Siegelaub, Sperone and the many other personalities of the Art-Language, Arte Povera, Conceptualist and Fluxus movements); and even the size of suitcases and availability of transport for bringing the artwork into the UK played a role.
Generally the online links for the artists’/authors’ names lead to biographies, either in their official websites, Wikipedia or other news sources. Where an artist/author is listed multiple times, the links vary from instance to instance to provide a wider range of information about the individual and, in some cases (such as Dieter Rot’s), more images. The links behind the publishers’ names go to publishers’ websites or Wikipedia entries about them. The links that follow each entry resolve to images of the work, videos, audio, interviews or essays relevant to the work. For selected entries in Celant’s list, a compare/contrast takes the user to websites or works whose juxtaposition might shed light on the similarities or differences between the item in Celant’s list and book art of the subsequent decades.
The webliography also supports the haptically as well as digitally inclined. The links behind the titles of the works provide information on the nearest library location of the work (although not all titles could be located). Be sure to enter your own location and refresh the results.
Lole, Kevin; Smith, Paul. Handbook on Models. Coventry: Self-published, 1972. [Unable to locate a work of this title in WorldCat, but one with the title The Relativism of Emotion Handbook to the Model and same date of publication is described in Paul Robertson‘s “A Collection of Rare Art+ Language Books and Internal Documents – Many Unknown in Literature”, Gorebridge, Midlothian: Unoriginal Sins/Heart Fine Art, n.d.]
30 x 21cm, 50pp (printed recto only) plus printed card covers. Xerox inner pages as issued. The first and only edition of this theoretical work based on a physical model (electro-shock, photo beams and electronic buzzers) acting as metaphor for analogue, theoretical and representative models. Cover is very minority marked on the front and back cover has a faint diagonal crease else VG++. From the archive of David Rushton who believes only 10 or fewer of this book was published.
“30 x 21cm, 16pp (recto only). White card covers – with offset title. A text published by Bischofberger from a theoretical document written by Kevin Lole, Philip Pilkington, David Rushton and Peter Smith (formerly Analytical Art and by this time fully regarded as members of Art & Language) which applied Thomas Kuhn’s theory of paradigm shift to art (the original theory by Kuhn being a view that revolutions in scientific thought only occurred when sufficient contrary evidence to the prevailing orthodoxy had mounted up and the original hypothesis could no longer explain the physical evidence emerging from empirical studies). It is worth noting that at this time Bischofberger bought a great deal of Art + Language material from the group and published other documents by them including some of the group’s rarest publications – storing many of the more three-dimensional works for later resale. Bischofberger did not print the books himself – rather Art and Language arranged design and publication in Coventry (for free using the University’s resources) and David Rushton drove the books over in a camper van to Switzerland (breaking down just on the edge of the city due to running out of petrol and having little money left, Rushton coasted the last mile down hill on an empty tank).
The limitations of these series of books are usually placed at c. 200 but Rushton remembers taking far fewer than that with him and this Analytical Art book was in fact only produced in 50 copies taken to Zurich plus a few retained by the artists in the UK.
That said this is one of ONLY 5 copies which were numbered in roman numerals (this one being III/V) and signed by ALL of the four writers in pencil on the first title page.”]
“30 x 21cm, 28pp carbon copy pages and printed cover. This was one of ONLY four copies made and published by the group – two copies being signed by David Rushton and Peter [sic] Pilkington and created from original typed sheets and two copies remaining unsigned and created (as here) using the carbon copies from the originals. These latter two examples were regarded by the group as artist’s proofs of the book. This is the only copy of this book available for sale anywhere as from the original four prices: one is in Paul Maenz’s archive and another two copies are in the hands of private collectors (who purchased them from ourselves). This copy is signed by David Rushton and Philip Pilkington and has been stamped on the inside front cover with the official Art & Language Stamp and also designated in blue ink “Second Copy”. Fine estate and clearly rare.”]