as you continue (2012)
as you continue (2012)
Housed in acrylic tube, eight pages including letterpress printed colophon page, seven pages of USGS topographic maps inscribed with sumi ink by hand, bound with a small piece of Fabriano Tiziano green in Japanese side-stitch. H184 x W679.5 mm unfurled. Edition of approximately 65, of which this one is dated and initialed on 7 November 2012. Acquired from the artist, 25 March 2015. Photos: Books On Books Collection.
When as you continue first appeared, Jen Larson wrote of it in Multiple, Limited, Unique: Selections from the Permanent Collection of the Center for Book Arts (2011):
… this work serves as an elegant meditation and metaphor on the subject of life journeys — and orienting oneself in the midst of landscape or circumstance that can only be apprehended by survey and the will to move forward.
The year 2012 marked the centennial of composer and artist John Cage’s birth. An aficionado of “chance”, Robin Price revisited this work that had begun in December 2010 when she discovered on the Crown Point Press’ Magical-Secrets website the quotation by Cage. Cage had made this remark to Kathan Brown in 1989 after the Crown Point Press’ building was condemned following an earthquake. By chance, it now seemed fitting as a centenary birthday wish to this artistic master of “the purposeful use of chance and randomness”. Also by purposeful chance, Price turned to a technique that seemed entirely fitting for the work, its history and her personal perspective. Price writes:
… I took up the project anew and practiced writing on several different occasions, feeling dissatisfied with various trials. Eventually I found my way to writing with my left (non-dominant) hand as the most authentic expression I could bring to the content, as visualization of struggle, fear, and acceptance of imperfection.
Counting on Chance (2010)
Perfect bound. H305 x W229 mm. Acquired from the artist, 25 March 2015. Photos: Books On Books Collection.
The very covers of the book were created by chance operations. Generated solely on press using three of the four process color printing plates from the book’s interior via “make-ready”, areas of image were built up on the paper by repeatedly passing the sheets through the press, and consistently rotating the sheets prior to their feeding through ensured variation among the covers within the edition.
In addition to the theme core to Price’s art, Counting on Chance embodies another aspect key to her work: choice and collaboration. Published in conjunction with the exhibition held at Wesleyan University’s Davison Art Center, the volume includes a brilliant essay by Betty Bright, interview by Suzy Taraba and a catalogue raisonné prepared by Rutherford Witthus. Like choosing the right colors, the right combination of fonts, the right layout, the right weight and opacity of paper, and the right structure, Price’s choice of collaborators (or their choice of her) in her work and publishing is an artistic practice itself.
The Anatomy Lesson (2004)
Housed in a custom-made, engraved stainless steel box (H370 x W326 x D44 mm), concertina binding co-designed with Daniel E. Kelm and Joyce Cutler-Shaw, produced at The Wide Awake Garage; twelve signatures of handmade cotton text paper, the central ten signatures each made up of one sheet H356 x W514 mm and one sheet H356 x W500 mm glued to the 14 mm margin of the first sheet, for a total of 96 pages, each measuring H356 x W253 mm.
Binding of leather covered boards (a hologram embedded in front cover) with an open spine, taped and sewn into a reinforcing concertina structure: H361 X W259 mm.
The hologram, produced by DuPont Authentication Systems, features an early eighteenth-century brass lancet. Edition of 50, of which this is a binder’s copy. Acquired from the binder, Daniel E. Kelm, 15 October 2018.
Generating two double-page spreads, one for the Fasciculus Medicinae on the left and Cutler-Shaw on the right, the foldout pages extend to 1016 mm.
Responding to the 1993 Smithsonian challenge to book artists to create a work in response to a scientific or technical work in the Dibner Library, Joyce Cutler-Shaw approached Price for assistance in creating a unique book based on Shaw’s response to the Fasciculus Medicinae (1495), the first printed book with anatomical illustrations. A decade later, Price was convinced to issue this 50-copy edition. In Counting On Chance, Betty Bright recounts the story behind this brilliant collaboration. Detail and additional images about the work can be found here.
Counting on Chance: 25 Years of Artists’ Books by Robin Price, Publisher, exhibition catalog / catalogue raisonné. Wesleyan University Davison Art Center, 2010
Bright, Betty. No Longer Innocent: Book Art in America 1960-1980 (New York: Granary Books, 2005), pp. 249-50.
Bright, Betty. “Handwork and Hybrids: Contemporary Book Art,” in Extra/ordinary: Craft and Contemporary Art, edited by Maria Elena Buczek (Durham, NC: Duke University Press, 2010). Essay highlighting the work of Robin Price and Ken Campbell.