The Graphic Alphabet (1996) David Pelletier Paper on board, embossed with the letter A, casebound, sewn and glued. H255 x W250 mm, 32 pages. Acquired from Amazon, 24 August 2021. Photos of the work: Books On Books Collection.
David Pelletier’s 1996 Caldecott Honor Book follows in the footsteps (the tumbles?) of Suse MacDonald’s Alphabatics (1986) another Caldecott Honor Book. The difference between them is a fine one depending in part on the reader’s age — or the collector’s eye. Both push the reader’s visual imagination. Both provide the words to be associated with the letter and image. MacDonald has shapes and images that turn into letters, where Pelletier has letters than turn into images (A), images whose shapes hint at letters and enact words (B and Y), letters found in images (W and X) and letters made from shapes on the page and the enacted word (Z). In a sense, Pelletier keeps the reader jumping more than does MacDonald. He crisscrosses several of the subgenres of alphabet books: wordplay and visual puns, hidden letters, conceptualism and abstraction.
One can see an affinity with Claire Van Vliet’s Tumbling Blocks for Pris and Bruce (1996) and Scott McCarney’s AlphaBooks (1981-2015), which underscores the cross-currents of alphabet books and artists’ books.
The art of the alphabet seems to be a rite of passage for graphic artists. Perhaps it is that art and the alphabet find common ground in the urge to make sense of the world. Perhaps it’s that the alphabet’s invention, development and artistic treatment present a rich tradition for artists to follow or challenge. Perhaps it’s that letterforms and the alphabet offer raw material, subject and organizing principle all in one. Semic or asemic. Calligraphic, typographic or even plastic. Representational or abstract. All are options. But most often, something bookish results. From Islam Aly’s 28 Letters(2013) to Ludwig Zeller’s Alphacollage (1979), a significant part of the Books On Books Collection is taken up with book art based on the ABCs and letterforms. The Collection’s two facsimiles of Geofroy Tory’s Champ Fleury provide a useful historical backdrop that throws into relief several of the Collection’s works and their performance of this rite of passage.
Geofroy Tory de Bourges (c.1480-1533) straddles the letters of the late Middle Ages and Renaissance. Appointed by François I in 1530 as his printer, Tory operated on the Petit Pont under the sign of le Pot cassé (“the broken pot”) and was known for his workshop’s handwritten Book of Hours (1524). Rooted in the horae tradition reaching back to the 13th century, Tory’s Book of Hours is an early-to-mid-Renaissance version of its predecessors. As beautiful as his Book of Hours is, Champ Fleury (1529) became his best known work. Authored and designed by Tory, it was produced by hand typesetting and letterpress printing in Paris with Giles Gourmont. Printed less than 100 years after Gutenberg’s innovation, Champ Fleury represents the printed book toddling out of its incunabula period.
Book of Hours Geofroy Tory (1524) Bound in the 18th century, 113 leaves of vellum. Lessing J. Rosenwald Collection (Library of Congress). Accessed 30 May 2021.
According to Jeremy Norman’sHistory of Informationsite, the first separate printed title page appeared in 1463. Subject indices date back to the 13th century, originating at the University of Paris, and the first printed indices, to 1470. Champ Fleury‘s front matter boasts a title page, two prefaces to the reader, a statement of the King’s Privilege awarded for the book for ten years (a forerunner to the copyright page), a name index without location references and a subject index with folio references. Champ Fleury’s back matter consists of a colophon preceded by a lengthy appendix illustrating various forms of the alphabet (Hebrew, Greek, Latin, etc.).
Tory’s placement of the indices in the front matter rather than the back matter reflects the gradual development of the anatomy of the book towards the structure that would ultimately be codified in reference works like the Chicago Manual of Style. Paratextual elements like the title page, table of contents, page numbers, etc., did not spring up overnight. If, as Eric Havelock and others assert, society, the arts and culture are a superstructure erected on the foundation of the alphabet (see below), Champ Fleury and its “letterology” make for a particularly fitting exemplar of the book as an element of the superstructure arising from the alphabet.
Perhaps book artists sense this, which again leads to that alphabet art rite of passage and the elaborate variations on it. The illustration of various forms of the alphabet in the appendix also draws on another developing tradition: the typesetter/printer’s sample book advertising the firm’s fonts. Abecedaries and artist books have sprung from that tradition, too.
Tory was not the first to propose an art and science behind the letterforms of the alphabet. Predating his efforts were Giovanninno de’ Grassi (1390-1405), Felice Feliciano (1463), the Anonymous Chicagoensis and Anonymous Monachensis (1468?), Damianus Moyllus (1480), Fra Luca Pacioli (1509), Sigismondo Fanti (1514), Francesco Torniello (1517), Ludovico Arrighi (1522), Albrecht Dürer (1525) and Giovanni Battista Verini (1527). Leading up to Champ Fleury, these earlier efforts track the development of humanism. Arguably, Tory’s effort is a capstone, combining myth, allegory, metaphysics, geometry, linguistics, calligraphy, typography and cryptography.
Book One, concerned with the mythical origins of the French language, also addresses the fabled origins of the alphabet: the story of Jove, Io and Mercury behind the letters I and O and their claim to being the first letters and also the tale of Apollo’s accidental murder of Hyacinth explaining the letters A and Y and their similar claim. Two works in the Collection built on alphabet origin stories are Francisca Prieto’s Printed Matter series (2002-2008) William Joyce’s The Numberlys (2014), but many more follow in Champ Fleury’s art and science footsteps.
Tory’s late medieval/early Renaissance perspective gives way to 20th and 21st century poetics and phenomenology in most works of the Collection. Aaron Cohick’s The New Manifesto of the NewLights Press (third iteration) (2017) offers a good example. Another — closer to Tory’s moral and geometric perspective but of a more modern spirituality — is Jeffrey Morin and Steven Ferlauto’s Sacred Space (2003).
Compile all the abecedaries ever created and it would approximate the result of Adam and Eve’s task of naming all the creatures and things of the world. Leonard Baskin echoes that innocence in Hosie’s Alphabet(1972) with its words and animals supplied by his children. If Adam and Eve had had an alphabet, they might have been tempted into pareidolia, which is represented in the Collection by VUES/LUES: Un Abécédaire de Marion Bataille (2018) and Typographic Universe (2014) by Steven Heller and Gail Anderson. Heller and Anderson’s compendium extends to letters formed of natural and drawn objects from the real world, which Champ Fleury’s appendix foreshadows with its floral and fantastic alphabets.
Of course, Tory’s work is not an abecedary. In Books Two and Three, it develops into a full-blown treatise on letterforms whose meaning and appearance are explained allegorically and driven by the compass, rule and geometry expressed within a 10x10x10 cell cube. It would overstate the case to call it “typographic design”. As drawn, Tory’s diagrams would serve poorly for cutting and forming punches or matrices (although it has been done). Nevertheless, his geometric approach foreshadows the grids and algorithms of Wim Crouwel’s New Alphabet (1967), Timothy Epps and Christopher Evans’ Alphabet(1970) and Ji Lee’s Univers Revolved: A Three-Dimensional Alphabet (2004).
Before the age of computers and algorithms, though, the artist and designer Bruce Rogers did bring typographic design to bear on Champ Fleury. The Grolier Club sponsored the printing of George B. Ives’ English translation. Rogers’ design “translates” Champ Fleury just as much as Ives does, perhaps more so. The Grolier Club edition is one of only ten books to be set completely in the Centaur typeface designed by Rogers.
Of course, the translation entails a complete resetting of the text, and Centaur naturally delivers crisper letters. Also, in redesigning with Centaur, Rogers alters the original’s layout and, therefore, the reader’s experience of it. Notice in the OAHK pages above and in the three double-page spreads below how Rogers changes Tory’s flow or jumpiness to something fixed or stately. Attention to the page and its layout offers book artists as well as book designers yet another creative avenue. For proof of that, compare the Collection’s entries for Angel, Baskin and de Cumptich.
Architecture is another of Tory’s well-developed analogies and explanations of the ancients’ thinking behind the letterforms. In his drawings below, he aligns the letters AHKOIS with the parts of a building and letters IL with floor plans. He connects the circularity of the Coliseum’s exterior and the ovalness of its arena with the proper shape of the letter O. In the Collection, the analogy reappears fantastically in Johann David Steingruber’s Architectural Alphabet (1773/1972), Antonio Basoli’s Alfabeto Pittorico (1839/1998) Antonio and Giovanni Battista de Pian’s efforts in 1839 and 1842.
The architectural analogy provides Tory with his segue from plane to solid geometry in aligning the shapes of letters with human anatomy and virtues. His three-dimensional analysis of letterforms also finds contemporary analogues in two of Pieter Brattinga’s Kwadraat Blad series: Crouwel’s, mentioned above, and Anthon Beeke’s Alphabet (1970). Tory’s three-dimensional letterforms foreshadow Crouwel’s investigation of units based on the assembly of organic cells and his later musings on a laser-generated four-dimensional typography (Elliman, 62). And it is hard to evoke anything more humanoid and three-dimensional — albeit far less analytical or prudish — than Beeke’s alphabet formed with naked female models. (Tory comments that in a correctly drawn A, the crossbar will virtuously cover the genitals of Vitruvian man inscribed in the 10×10 grid. Modesty seems to extend to H as well but not so much to O and K.)
The calligraphic impulse that underlies Champ Fleury‘s typographic representations shows itself clearest in the woodcuts for the Cadeaulx alphabet in the appendix. The Books On Books Collection has its share of calligraphic abecedaries such as Marie Angel’s An Animated Alphabet (1996) and Andrew Zega and Bernd Dam’s An Architectural Alphabet (2008) as well as more purely calligraphic alphabets such as Islam Aly’s, mentioned above, and Suzanne Moore’s A Blind Alphabet (1986) .
Two artists whose abecedaries blend the calligraphic and typographic are Robert de Vicq de Cumptich and Cathryn Miller. In de Cumptich’s Bembo’s Zoo (2000), letters and punctuation marks from the Bembo typeface form calligraphic animal shapes. Miller’s L is for Lettering(2011) joins up the alphabetic rite of passage, calligraphy and typography by allying each of her hand-drawn letters with the name of a typeface from “A is for Arial” to “Z is for Zapfino”.
The last page of Tory’s illustration of additional alphabets is not the end of his work. The colophon plays that role. Curiously, Tory misses out the character that plays that role for the alphabet itself: the ampersand. “Curiously” because the character & appears throughout Champ Fleury — even at the end of the colophon’s fourth line in French — and it is after all the most flowery of the alphabet’s characters. Perhaps some book artist will follow Bruce Rogers’ example in his joking Depression-era homage to Tory on the back of Champ Rosé and create an homage to Tory and Rogers of three-dimensional ampersands.
Golec, Michael. 2015. “Champ Fleury in the Machine Age”, lecture at the School of Visual Arts, NYC. Uploaded 4 June 2015. Accessed 12 May 2021. Good slides and a comparative look at Tory’s original and Rogers’ resetting.
Bound in a leather folding case, a set of 7 hand-colored and variously collaged / cut / embossed etchings, plus title page, on Hot Pressed Saunders paper. H160 x W160 x D40 mm. Edition of XXXIX signed copies in existence, of which this is #XXXVII. Acquired from the artist, 6 August 2020. Photos: Books On Books Collection.
Egyptian Hours falls somewhere between book and portfolio box. Somewhat like photos and captions in a photobook, text and relief images play off one another, but only somewhat: at a distance the table of contents names and orders the hours; only the Arabic number glyphs from the “table of contents” mediate the named hours. If the table of contents is held apart as in the photos, the distance shortens.
In the western tradition, the named hours suggest the medieval book of hours, another signal that this is more than a portfolio of prints. There is pleasure in trying to remember the name of the hours from their numbers or guessing it from the evocative images — the image of a window lattice through which to watch, an image of a tile fragment — but the name of the fourth implies a mystery narrative at which to guess.
Who is watching from the window? What does the broken pattern of tiles mean to the watcher? Were the numbered shards found beneath the tiles? What clue do the images of papyrus plants give, or the overlying image of a plot of land (?) bringing the plants into green, the diagonal pattern into blue and black, and the sheet of papyrus into burnt umber? Whose seal holds the folded sheet closed? Whose shroud? Whose garland or necklace with its thread weaving in and out of the intaglio?
The watcher could spend hours turning or spreading the panels out and guessing — and just contemplating this artwork as an evocation of ancient time and time passing.
Egyptian Hours — Addenda
This comparative view of the un-colored embossed prints — especially for the “Hour of Watching” and “Hour of Fragments” — enhances an appreciation of Phillips’ artistry.
Set of 7 blind embossed etching prints, plus 1 intaglio title page. Letterpress numerals. Unnumbered copies. 160 x 160 mm each. Acquired from the artist, 6 August 2020. Photos: top row, Books On Books Collection and, bottom, courtesy of the artist.
Pack of magic playing cards. Offset litho, silkscreen, die cut and held in a silkscreened box. H110 x W62.5 x D22.5 mm. Edition of 10, of which this is #2. Acquired from the artist, 6 August 2020. Photos and video: Books On Books Collection.
Egyptian Cards may be the joker in the pack for the Books On Books Collection. A deck of cards? A magic trick? A dos-à-dos flip book? Without doubt, it is another evocation of different frames of time passing. In one time frame, Nefertiti becomes a mummy.
In another time frame, day dawns on the Pyramids.
And in a third and fourth time frame — the time of the artists’ collaboration and that of a magic trick — a joker (a self-portrait of Fiorenza Bassetti) appears.
Phillips, who has turned to watercolors of a photographic intensity yet pastel texture, continues to layer time in ways that lead the viewer as much into meditation as appreciation. Fitting, then, that these two early works strike that lasting chord.
Henry, David J. Beyond Words: The Art of the Book (Rochester, NY: Memorial Art Gallery of the University of Rochester, 1986). Catalogue for the exhibition held 31 January – 30 March 1986. Catalogue designed by Scott McCarney.
Artist, curator and historian Jeffrey Abt wrote that the “irresistible” idea of placing an exhibition of artists’ books alongside the University of Chicago Library’s collection “broadly representative of the history of the book” started with a visit to famed art dealer Tony Zwicker‘s studio. It was also, however, almost as if he were taking a cue from this statement by artist-printers Betsy Davids and Jim Petrillo just the year before:
A representative collection of artists’ books often does not seem visually remarkable in a gallery, where a wide range of visual experience is the norm. The same collection, installed in a library or bookstore, can seem visually startling almost beyond the limits of decorum. — “The Artist as Book Printer: Four Short Courses” in Artists’ Books: A Critical Anthology and Sourcebook, edited by Joan Lyons (Rochester, NY: Visual Studies Workshop Press, 1985).
The handful of images below would lead anyone to suspect that the 49 works (many loaned by Zwicker) were selected to startle and, in a subtle way, challenge the notion that ”a representative collection of artists’ books often does not seem visually remarkable in a gallery”. The peculiar shape of the exhibition catalogue deepens the suspicion. The rest of its design and identity of its designer — Buzz Spector — clinch it.
While Abt’s introductory essay rings the historical changes on the roots of book art — once there was Mallarmé’s Un Coup de Dés, but before Mallarmé, there was William Blake — the works included and the catalogue’s design ring some chimes of their own about book art. One way or another, all book art self-consciously draws attention to some particularly bookish element. For the most part, the 49 works listed in the catalogue ring true. The catalogue design itself, however, chimes not only to that notion of self-reflexiveness but also to wider notions about the nature of book art within contemporary art.
Not long after this 1986 exhibition, Spector wrote of “the language of the book” and all its parts — pages, signatures and cover as well as its letter forms and their placement on the spread page — as having a syntax. With its pencil-circled numbers, alignment guides, pastedowns and other designer’s marks appearing throughout — as if a printer’s devil had run amok and let the marked-up proofs go to press unchanged — the catalogue draws attention to that syntax, the underlying processes of bookmaking and and this object’s “bookness”. The colophon’s note initialed by Jeffrey Abt to Buzz Spector and “pasted” on the last page seals the self-reflexive joke of the markings throughout the catalogue.
Page 36 and cover 3 from The Book Made Art (1986) Permission of the curator and designer.
The second chime comes in the catalogue’s verbal and visual punning. Like book art, punning is self-reflexive, words playing on words. The title ”the book made art” can be read with different meanings: “the book made into art”, “art that is bookish” and so on. The catalogue’s trim and two-dimensional representation of three-dimensions create the visual pun of a glass or white cube. The verbal and visual puns also play with Abt’s “irresistible” context. Here in the Joseph Regenstein Library was an exhibition catalogue, teasing the viewer with a reminder that vitrines separated them from the bookworks. Reviewing two other exhibitions of book art, Spector elaborated explicitly on his visual tongue-in-cheek irony:
The dilemma in staging exhibitions of books as art objects is the denial of access to the work that conservation necessarily demands. … and it is a morethan passing irony that implications of hermeticism and elitism should surround books shown to a public using the library as a means of gaining access to texts. — Buzz Spector, “Art Readings” in The Book Maker’s Desire (Pasadena, CA: Umbrella Editions, 1995), p.13.
The catalogue also teases with its title and design by suggesting that once books have been placed on display like this, the setting is no longer a library but a “white cube gallery“. As the catalogue progresses, black-and-white photos of items from the exhibition appear on the verso page in frames that appear to be hanging on the trompe l’oeil cube’s rear wall.
Pages 14 and 20 of The Book Made Art (1986) Permission of the curator and designer.
But a viewer standing in the “brutalist” construct of the Regenstein Library and holding this catalogue of The Book Made Art might have asked, “What makes these objects I cannot touch — or, in some cases even if I could, cannot read — art?” There is the catalogue’s third chime. From the start, book art has faced a constant definitional or identity crisis and even the challenge “but is it art?” The catalogue’s title echoes Lucy Lippard’s Duchampian proposition: “It’s an artist book if an artist made it, or if an artist says it is”. The catalogue’s design says, “This is the gallery, these are the objects on display in it, they are art”.
The “white cube gallery” brings on a fourth and final ironic chime. In the 1970s and early ‘80s, artists’ books were pitched as a “democratic” medium and means by which art could escape the clutches of the gallery and reach a wider public. In another catalogue — the one for the 1973 Moore College exhibition, nominated as the first of book art — John Perreault writes:
Books as art, from the artist’s point of view and the viewer’s point of view, are practical and democratic. They do not cost as much as prints. They are portable, personal, and, if need be, disposable. Because books are easily mailed, books as art are aiding in the decentralisation of the art system. — John Perreault, “Some Thoughts on Books as Art”, in Artists Books, Moore College of Art, 23 March – 20 April 1973 (Philadelphia, PA: Moore College of Art, 1973), p. 21.
By the mid-80s, lo and behold, The Book Made Art’s catalogue-cum-gallery jokingly recaptures “books as art”. And in a further irony, by the mid-80s and since, the increased rareness and price of such bookworks have made them into galleries‘ and museums’ expensive objects of desire.
With the catalogue for The Book Made Art being so scarce and with its inclusion of images of only 13 of the 49 works displayed, it is difficult to reconstruct and imagine what the exhibition must have been like. Why try? By the mid-80s, book art had opened its arms to a variety of works not existing in the 1960s to mid-70s when the Moore College of Art and the Nigel Greenwood landmark exhibitions occurred. From what the catalogues for Dianne Perry Vanderlip’s Artists’ Books and Germano Celant’s Book as Artwork: 1960/72 convey, from the images for each that can be found, the experience in Philadelphia and London must have differed greatly from that in Chicago with The Book Made Art.
What follows is a resource for comparing and contrasting The Book Made Art with the two earlier catalogues. Although he is present in The Book Made Art through Spector’s Altered LeWitt entry, Lewitt and many of the earlier catalogues’ illuminati are missing: Art-Language (Atkinson, Baldwin, Burn, Hurrell, Kosuth and Ramsden), Carl Andre, John Baldessari, Mel Bochner, Stanley Brouwn, John Cage, Robert Filliou, Mario Merz, Bruce Nauman, Claes Oldenburg, Tom Phillips, Dieter Rot, Ed Ruscha, Daniel Spoerri, Lawrence Weiner and Emmet Williams. These omissions leave The Book Made Art with fewer works that are purely text-based, algorithmic or typographic (as in construction poetry). The overarching impression — urged on by Spector’s inspired design — is that The Book Made Art emphasizes more of the painterly and sculptural and offers a new group of claimants to the circle of book art illuminati: Beube, Broaddus, Löhr, Share, Smith, Spector, Van Horn and several others shown below.
In addition to images retrieved or provided by the artists, links to information about the artists, to sources or images of the displayed work or to images of similar work are offered. Where possible the links provided are persistent links (avoiding “Page Not Found” messages). As with the online annotation of Celant’s Book as Artwork: 1960/72 (see Further Reading), this one offers some comparison/contrast links to earlier and later bookworks to aid in appreciating continuities and departures.
Also under Further Reading, Jeffrey Abt has kindly provided additional context about the roles played by Tony Zwicker and Robert Rosenthal, Curator of Special Collections at the University of Chicago Library, in making The Book Made Art possible.
Caveat lector/observator: Even with a work’s measurements supplied by the catalogue, it is difficult to call to the mind’s eyes and hands the presence of the object — even harder to imagine the experience of an exhibition and its environment. Measure or scale is not the only issue. As one of the artists below — Timothy Ely — puts it: “Time is scale” and “On the scale of time, some books may well last a thousand years and a drawing on a beach only a few hours. Exhibits end and fortunes change.” But then that’s why it’s called an essay.
The Artists and their Works
Algardi, Alessandro. L’Immagine della scrittura [maquette]. Milan? (1983). Paint and graphite pencil over paper; codex binding in calf; 12 leaves. Signed. 20 3/16” x 14 1/4” x 3/4”. [No image of the work found]
Some of Algardi’s works can be seen here and more extensively and clearly in the online version of Ubeir Peeters’ book Alessandro Algardi (2006), pages 112-20 in particular. As a maquette, L’Immagine della scrittura (“The image of writing”) would have required the viewer to project in the mind the executed work. Algardi’s work ranges widely in materials: acrylic, oils, cementite, titanium, vinyl tempera, emulsified canvas and from large paintings to oversized and lesser books constructed of overpainted card and even plexiglas in various bindings, including the accordion. His constant subject (the written word) and use of impasto make Algardi’s work distinctive.
Allen, Roberta. The Traveling Woman, Book IV (1985). Paint and ink over paper; codex binding with string loops and painted boards; 6 leaves. Signed. 8 15/16” x 6 5/8” x 5/8”.
The Traveling Woman, Book I (1985) Roberta Allen Photos: Courtesy of the artist.
Allen has provided images of Book I as all four books were similarly formatted. She notes, however, that the binding for all four books consists of archival paper, not boards. These artist’s books are one manifestation of The Traveling Woman oeuvre. Several stories from this vein of Roberta Allen’s imagination appeared in WhiteWalls, the magazine of writings by artists founded in Chicago in 1978, continuing up to 2002. In 1986, The Traveling Woman morphed into a novel.
The technique of roughly painted-over paper appeared among many of the works in The Book Made Art, thereby contributing to the exhibition’s painterly ambiance. While The Traveling Woman’s size is close to the US standard of 6 x 9 in., together with several other much larger painted-over paper bookworks, it must have created a colourful overall effect. It is a technique varying but traceable at least to the ‘70s if not earlier (for example, John Latham’s Skoob works) and continues today (for example, Bodil Rosenberg’s Vandstand).
Appel is mentioned in the Umbrella archives as being associated with the short-lived review/cooperative KLAB, but there is little else online. This image of the encounter of Dante with Beatrice comes from the Walker Art Center Library (see the image’s lower right hand corner) and yields two of the seven panels of the twenty-edition work in accordion form, published out of Amsterdam by Da Costa Editions. Zooming in on the image behind the link, one can detect considerable and vigorous overdrawing. Vibrant turquoise, orange and lavender distinguish this work from these images of other works by Appel in the Bibliotheca Librorum apud Artificem. Appel’s Postkarten in the Joan Flasch Artists’ Book Collection shows up only in its slipcase.
Baltazar/Michel Butor.Zodiaque des Nuages (1984). Watercolor, ink, and pastel over paper; in codex gathering but not sewn; with rigid publishers’ cloth cover and slip case; 18 leaves with paper wrapper. Script in author’s hand. Signed by artist and author. With autograph postcard, decorated with collage, Butor to Baltazar, 10.19.85. 11 5/16” x 7 9/16” x 1 3/8”. [No image of the work found]
Baltazar is Hervé Lambion‘s nom de plume. He has created numerous livres d’artiste with many authors in addition to those with Butor. No online image of Zodiaque des Nuages is readily located. The image below shows a similar work: Entre Deux Avalanches (1980).
Two other artist’s books by Baltazar can be seen here in the Champetier Gallery, and several images and an analysis of another (with Butor’s text) — La main sur le mur — can be viewed here from the Koninklijke Bibliotheek in The Hague. Baltazar’s work with the author Michel Butor has been extensive enough to warrant this lengthy (but minimally illustrated) essay. As can be gathered from the images of these other works and from the essay, Baltazar’s contribution to The Book Made Art served as an exemplar of the traditional artist’s book.
Beube, Douglas. Ashes: The Effect of Fire on Paper (1980). Cloth, fabric edging and cords, marbled and found papers, and specimen bottles; mounted on found and hinged compartment trays. Signed. 16 11/16” x 11 5/8” x 2 5/16”.
Pages 12 and 13 of The Book Made Art (1986) Permission of the curator and designer.
No online image seems available, and the one in the catalogue is black and white. Framed on the back wall of the page, it hangs there like a religious diptych. This work became the second in the M.A.D. trilogy (matches, ashes, dust), and full-color images of Ashes and the trilogy have been provided here by the artist. These can also be seen in full color and context in Beube’s Breaking the Codex (New York: Etc. Etc. The Iconoclastic Press, 2011), p. 186.
M.A.D. trilogy. Photo: Courtesy of the artist.
Beube has been extraordinarily inventive with the book as raw artistic material. His works have altered the codex form and deployed nearly every element of its “syntax” to address recurring political, social and philosophical themes. His outcomes range as well across larger sculptural works as well as action installations. Breaking the Codex documents the impression that Beube has foreshadowed and/or echoed nearly every variation of book art in play. With Beube’s Ashes and works below by Lori Christmastree, David Horton, Andrew Masullo, Anne Hicks Siberell and Paul Zelevansky, The Book Made Art gives a significant nod toward the tradition of the Cornellian “box” in book art (see “The Box from Duchamp to Horn” in Further Reading below).
____________. My Book Journal: 1980-1982. Graphite pencil, watercolor, coloured marking pens, stamping, coloured pencil, found and layered papers, photographs, miscellaneous materials, small objects, and ephemera; codex binding in printed fabric-wrapped boards; 33 leaves. Unsigned. 5 13/16” x 10 5/8” x 1 9/16”. [No image of the work found]
Images of bound sketchbooks from other date ranges can be found on the artist’s website. Here is Sketchbook #1: My Book Journal (1979), which comes closest to the work described for the exhibition.
Sketchbook #1: My Book Journal (1979) Doug Beube Collage, fabric, paper, gouache, graphite, water color, thread, silver gelatin print, rubber stamp. H6 x W10 x D2 1/2 in.
Brater, Meryl.Black Pool White Pillow #2 (1984). Graphite, graphite pencil, coloured pencil, and printing ink over paper with ribbon ties; combination codex and accordion bindings; four principal panels. Signed. 23 7/8” x 16 11/16” x 1 5/8”. [No image of the work found]
As described in the catalogue, this work combined codex and accordion structures. Another of Brater’s works — Hidden Agenda — appears to do the same but adds a protective four-fold envelope. The accordion form is well represented among the catalogue’s entries: Appel, Brater, Haynes, McCarney, Polansky, Robinson, Schnabel, Senser, Van Horn and Vogel.
This image of Brater’s Hidden Agenda (1991) appeared on AbeBooks (23 January 2020); a thumbnail image of the same appeared on Printed Matter’s website the same date; and an exterior-only view can be found in the Joan Flasch Artists’ Book Collection.
Broaddus, John Eric. Meridian Passage (1979). Paint and ink over paper; codex binding in painted boards; 9 leaves. Unsigned. 22 7/16th x 22 3/8” x 7/8”.
This unique work now resides with the Fine Arts Museums of San Francisco. Its record is “John Eric Broaddus, American, 1943–1990. Meridian Passage, 1979 Unique book, each page hand painted with acrylic, tempera, watercolor, and ink with abstract cut-outs Folio: 572 x 616 mm (22 1/2 x 24 1/4 in.) L15.99.2“.
Along with Allen’s, Apple’s and several others’ works below, the bold colours and cutouts of Meridian Passage underscore the painterly and sculptural nature of the book art celebrated by The Book Made Art. Despite the strong theme of democratic multiples around him, Broaddus explored the unique bookwork. Meridian Passage and the next work by Broaddus are unique, not limited editions or multiples.
____________. France I (1983). Found printed codex [popular geography] altered with paint, ink, coloured pencil, glitter, and cutting; with painted slip case and painted cloth outer wrapper; 104 leaves. Signed. 12 1/8” x 9 1/16” x 1 11/16”.
At 104 leaves, this was one of the larger works in the exhibition. The three small black-and-white images of double-page spreads in the catalogue do not do the work justice, nor does the one in The Cutting Edge of Reading by Renée Riese Hubert and Judd D. Hubert. With the latter, however, we have this bit of description to aid in visualising the work:
By cutting away large sections of pages, Broaddus playfully establishes astonishing connections between well-known monuments as well as between them and his own imaginative creations. … By clever cutting, a cute photograph showing children observing an artist drawing, it would seem, their portraits, metamorphoses on the other side of the leaf into a gigantic statue consisting of Watteau’s famous Arlequin partly framed within a dark blue Broaddus abstraction. — Hubert, Renée Riese, and Judd D. Hubert. The Cutting Edge of Reading: Artists’ Books (New York: Granary Press, 1999), p. 230.
Best of all, though, for visualising the work, we have the tribute video from the Jaffe Center for Book Arts, which includes full-colour images and discussion by the Huberts and others.
Christmastree, Lori.You Have to Break the Glass to Get Out (1984). Graphite pencil, colored ink, watercolor, found materials, and glass shards over layered papers; unbound in double-lidded box with ribbon ties; 9 leaves. Signed. 25 1/4” x 19 1/8” x 2 3/16”.
You Have to Break the Glass to Get Out (1984) Lori Christmastree Photos of pages 3, 6 and 7: Courtesy of Misha Tomic via Buzz Spector.
Much of Lori Christmastree’s work and documentation of it were destroyed in a house fire. The artist Misha Tomic, her partner, kindly provided the images above, which echo her other works’ characteristic use of collage, ink and watercolour.
Crawford, Elsie. Willow Waterway (1985). Colored ink over wood veneer-backed paper scroll mounted on wooden dowel with leather tie; with hollowed-out tree stump case. Unsigned. 6 1/2” x 4 5/8” x 4” [No image of the work found]
Ely, Timothy C.Field Points 3 (1985). Ink and watercolor over pigment, foil-stamped, and embossed paper; in codex binding with painted boards with collage elements, and pigment and foil stamping; in drop-spine book box with buckram covering; 26 leaves. Signed. 16 3/4” x 11 5/16” x 1 1/2”. [No image of the work found]
Synesthesia, a work that in some ways exemplifies Ely’s output but in others does not, provides a stand-in here. It contains drawn and painted images by Timothy Ely and text by Terence McKenna. The typography and printing are by Philip Gallo and The Hermetic Press; the binding is by Daniel E. Kelm and The Wide Awake Garage; and the publishing, by the Granary Press. It is a limited edition (75). Note the precision of production, especially in the binding, as well as the distinctive effect of ink and watercolor over pigment. Compare it with the Baltazar/Butor work above. This is a distinctively American livre d’artiste.
Synesthesia (1992) Timothy C. Ely Bound between black boards blind stamped with multiple symbols and shapes; boards have touches of copper, blue, and pink paint; copper triangle with symbols written on it is mounted on front board; exposed spine shows 3 bands of sewing attached at each end to a metal rod running through each board. In black cloth box. 250 mm in box of 270 mm. Photos: Books On Books.
Forget, Carol.The Diplomat’s Handbook (1981). White cloth gloves stuffed with miniature flags of various nations, sewn end to end. Signed on display instructions. 8 1/4” x 4 1/4” x 3 9/16”. [No image of the work found]
With its flag-stuffed gloves punning on its title, The Diplomat’s Handbook hands us the catalogue’s first “book-alluding object“. The use of gloves finds later echoes in the work of Jules Allen (below):
The Book of White (in progress) Jules Allen Kid leather gloves, hand made paper, housing a collection of utilitarian antiques and collectibles from the mid to late 20th century. H270 x W80 x D50 mm
Forget’s tongue-in-glove tendency is evident from these images of another work — Margin Release (1976), a collection of loose cards (no binding, thus releasing the margins) — and from the New York Times’ mention of yet another of her works: “A Formica steak on a base of shredded newsprint, for instance, is titled ’Model for the Historical Novel (Meat Plus Filler)’ by the artist Carol Forget of New York.“
____________. VHF Salvation (1984). Found printed codex [Bible] altered with cloth ribbons. Signed on display instructions. 11 3/8” x 5 11/16” x 1 5/8”.
The caption for this work tantalisingly refers to signed display instructions. With that (and unable to enact the instructions), the viewers must have felt their noses being rubbed in both the catalogue’s joking “vitrine” and the exhibition’s real glass case. It is a guess that the instructions helped the viewer to decipher this instance of an “altered-book object” (or, in keeping with its spirit, an altared-book object) that preserves the altered book.
VHF Salvation is a King James Version of the Holy Bible altered with a multitude of ribbon placeholders protruding from its lower edge to provide the “very high frequency” means of “saving one’s place“. In a special issue of Visible Language, Renée Riese Hubert describes the work as an “aggressive antibook” (p. 130). Even though VHF Salvation preserves the book being altered — unlike Beube’s Ashes diptych (above), which alters the book or books beyond recognition — some viewers might nevertheless have felt as uneasy as some viewers of Meg Hitchcock’s more aggressive alterations of the Bible, Koran and Bhavagad Gita.
Freeman, Jane. The Book of Sisters (1978). Watercolor and color marking-pen ink over collage elements including packaging ephemera, postcards, clippings from magazines and books, and photographs; in codex binding with cloth-covered boards and fore-edge ties; 23 leaves. Unsigned. 5 9/16” x 8 7/8” x 1 9/16”.
The Book of Sisters (1978) Jane Freeman Photo: Courtesy of the artist.
As with Forget’s work, images of Freeman’s early works are hard to find. The description of the 23 leaves as a collage of packaging ephemera, postcards, magazine and book clippings and photographs — all covered by watercolour and colour-marking pen ink — serves well to capture Freeman’s approach in these additional images of another work — A Freelance Life (1988).
A Freelance Life (1988) Jane Freeman 9” x 6 1/2“ Photos: Courtesy of the artist.
____________. Worse Verse (1983). Found printed codex [poetry] altered with watercolor, color marking pen, and collage elements including string, postage stamps, and clippings from magazines and books; in codex binding in publisher’s cloth altered with paint; 12 leaves. Signed. 8 13/16” x 5 3/8” x 9/16”. [No image of the work found]
The New York Center for Book Arts shows four images of another work by Freeman — New, Improved (1985) — which is an altered Sotheby Parke-Bernet Inc. fine art auction catalogue. The artist has provided images of a similar work — Highly Important Paintings (1985) — shown below. With their heavily overpainted layers of acrylic and gouache obscuring and/or revealing parts of the underlying work and text and with tipped-in images and found bits of ephemera, these two works likely give an impression comparable to Worse Verse.
Highly Important Paintings (1985) Jane Freeman Auction house catalogue, each page collaged and painted. 10 1/4” x 8” closed. Photo: Courtesy of the artist.
As mentioned in the entry for Robert Allen, the technique of painted-over pages has been widespread. So has the technique of painting over book and magazine pages and selectively allowing text to show through. Tom Phillips’ A Humument is perhaps the best known of the type that creates a new novel, a type not represented in the Chicago exhibition. The type that comments on the underlying form and content is well represented by Broaddus and Freeman.
Hartmann, Werner. Krankengeschichten (1979). White pencil over slate; assembled in cloth sleeves in codex format in cloth wrapper with ties; 10 slates. Signed. 11 5/16” x 7 7/8” x 2 1/4”.
In the catalogue, two images show Krankengeschichten (“Medical Records”) closed and open. Closed, it is a codex shape made up of page-size cloth sleeves; two cloth ties hold it closed like a hospital gown. Open, it displays one of ten dark slates removed from its sleeve and showing white-pencilled text and an image (a cross section? an X-ray?). Hartmann worked with images on slate in at least two other instances, but nothing as book-like as Krankengeschichten.
Haynes,Ric.Early Fish (1984). Paint, ink, and rubber stamping over layered papers in combination with decorative and marbled papers; in accordion-fold binding with rubber stamping and marbled-paper decorated slip case; 8 panels. Signed. 9 5/16” x 20 1/4” x 4 1/2”. [No image of the work found]
The description of Haynes’ entry conjures a work very different from his other work self-published under his Joke Bone Press imprint. With no image of Early Fish readily discoverable, Haynes’ Aquatic Yoga with Dangerous Foods (1984) may serve as an alternative with which to imagine what Early Fish depicts and to have a sense of Haynes’ sense of humor as well as to remind us of humor’s presence throughout The Book Made Art.
Photos: Books On Books Collection.
Aquatic Yoga subjects a number of targets to parody — including the New Age as well as the artist’s book as democratic multiple. His anecdote recounted in The Sun (March 1984) captures this:
Ric says that when he first published the book, “I took it to a ‘New Age’ bookstore and was thrown out for being insulting to the Art and Life of Yoga. However, I know that Yoga people, like the rest of us, get off on a nice chocolate mint-chocolate chip ice cream sundae with kaluha syrup on top and a shot or two of creme de cacao on the side once in a while. Maybe at least they dream of it. I am sure.” — The Sun (March 1984).
Along with her partner Dieter Froese (d.2006), Hines pioneered video installation art and co-founded Dekart Video. Both were part of the Fluxus movement. Displayed in the same space as Jana Kluge’s Untitled (see below), this loop of film altered with ink and mounted as a Möbius strip would certainly have contributed to the exhibition’s startle factor. The video behind the link shows the work more clearly and includes its reading by the performance artist Arleen Schloss. What a boon to book art exhibitions if each work displayed under glass were accompanied by similar videos.
Hines writes that the inspiration for The Endless Filmscript was twofold:
It was based on 2 concepts. One I wanted to correlate individual film frames with alphabet letters. And two, I was interested in the Möbius loop concept where the last sentence of a story leads back to the first. — Correspondence with Books On Books, 31 March 2020.
The Möbius strip is not uncommon in book art. Two outstanding examples are Daniel E. Kelm‘s Neo Emblemata Nova (2005) and Doug Beube’s Red Infinity #4 (2014). But combining the use of film with the allocation of one letter per film frame is one of the more uncommon challenges in book art to the page as a syntactic unit.
Hocks, Paula.No Caryatids(1982). Multiple: one of two. Black-and-white and color photocopy reproductions of collages; in codex binding with publisher’s cloth with inner and outer cloth wrappers; 115 leaves. Unsigned. 9 1/16” x 10 11/16” x 1 9/16”. [No image of the work found]
Founder of Running Women Press, Hocks (d.2003) relied on a photocopier to reproduce imagery and text that was hand written, typed, or clipped from printed material. This seems to have been more of financial necessity than allegiance to the ”democratic multiple”. Images of her other works can be found here. The Otis College of Art and Design has images of four of her works, including Head and Bodies 2, which illustrate the likely techniques of No Caryatids. The Paula Hocks archive resides at the New Mexico Museum of Art Library.
Horton, David.In Celebration of the Discovery of the Abandoned Star Factory(1982). Multiple: one of thirty. Paper maché and electric motor in commercial salesman’s samples case; with cloth pouch containing: David Horton. In Celebration of the Discovery of the Abandoned Star Factory. Atlanta, Georgia. Nexus Press, 1982 [halftone illustrations and text printed lithographically with serigraphed designs over paper and string collages, and silver print (photograph); in codex binding in publisher’s cloth; 12 leaves]. Construction: unsigned. 11 15/16” x 15 1/8” x 5 11/16”. Codex: signed. 9 15/16” x 8 11/16” x 1”. [No image of the work found]
As noted in Ric Haynes’ entry, Horton can be associated with the comic or cartoon book tradition in book art. Although In Celebration does not fall into that category, it predicts Horton’s fictional character “Dr. Thelonious Tinker, Cosmic Archeologist”. According to Horton’s entry at William Paterson University, “In addition to making artifacts, appliances and notebook pages, he is currently drafting writings and drawings for a series of graphic novels on this character’s life and adventures“. This work by Horton with its commercial salesman’s sample case reflects the Duchampian “boîte-en-valise” tradition in book art, and its introduction of moving parts and motors reflects another sub-genre in the field. See Regan Avery’s The Groton Avery Clan (2014) or Doug Beube’s Dis/Solve(2018).
Kluge, Jana.[Untitled] (1984). Found printed codex [Spanish/English dictionary] altered with seawater borne vegetable and mineral matter. Signed. 4 9/16” x 5 7/8” x 1 11/16”.
The description above matches that for her work entitled se(e)a book (1984) displayed by Galerie Horst Dietrich in Berlin in 1987 as well as that for the description of the work entitled Book Written by the Sea, Cadaqués, Spain (1984) listed and shown in Odd Volumes: Book Art from the Allan Chasanoff Collection (2014). In correspondence with Books On Books, Kluge writes that the work was one of a series created over the summers of 1983-85 in Cadaqués, Spain. The technique or tradition in book art of creating a work by exposing it to the elements runs back to Marcel Duchamp’s Le Readymade Malheureux (1919) and forward to Mark Cockram’s Kintsugi (2013) and Decomp (2013) by Stephen Collis and Jordan Scott.
se(e)a book (1984) Spanish/English dictionary, covered under water with seaweed and seashells, being formed by movements of the sea, dried in the wind and by the sun); 23 x 18 x 7 cm. Photographer: Horst Dietrich. Photo: Courtesy of the artist.
Photo of page from Odd Volumes: Book Art from the Allan Chasanoff Collection (2014) Photo: Books On Books
From the late 80s though, Kluge felt another force impinging on the book form, and her work moved from collaboration with the elements to the communal and expanded into the digital. Her collaboration Gutenberg‘s Galaxy (2014) represents Marshall McLuhan’s themes of alphabetization, print culture and electronic medias altered by a “village” of artists employing audiovisual fantasies, video-works, digital art on paper and twelve electro-acoustical compositions.
Image: Courtesy of the artist
Kostiuk, Michael. Airplane Shadow Book (1981/82). Found codex, plastic airplane model, wood, and photolithography-offset reproduction altered with paint. Signed. 7 7/16” x 16 1/16” x 16 1/16”.
The found codex is apparently penetrated by a diving plastic model airplane (cut in two and attached to the back and front covers). From the Franklin Furnace “New Zealand Tour” of artists’ books, Kostiuk’s comments on his approach shed some light on Airplane Shadow Book, and images on his FaceBook page use an approach similar to that in Airplane Shadow Book.
I use the book format to involve the viewer personally and tactually [sic] by elements of surprise within the motion of opening and viewing the pop-up books and the physical or visual three-dimensionality of various works. Sometimes clear vinyl is used for pages, instead of paper, and are loose-leaf/ring bound, giving the viewer an option of hand viewing or, by attaching each grommeted page with push pins to a wall, linear viewing.
I use various artistic experiences to create an imagery that is both clearly stated and contradictory. The concepts are seen as paired imagery, visible speech narratives, and three-dimensional pop-ups, incorporated in various media of drawing, painting, and sculpture on photographic surfaces to create a personal style.
Kostiuk’s book penetration is quite distinct from those of, say, John Latham and Doug Beube. The Michael Kostiuk Collection is held at the University of Texas at Austin, but no online images are currently available there, and Airplane Shadow Book seems not to be part of the collection. Images of Kostiuk’s photography can be found in the Dallas Museum of Art.and archival material resides with New York’s MoMA.
Lavater, Warja.Jeu : livre en “papier modulé” (1980). Multiple: One of twenty-two. Cast paper, some color-dyed; in codex gathering but not sewn; in drop-spine book box with publisher’s cloth covering; 10 leaves. Signed. 18 1/2” x 11 11/16” x 1 7/16”. [No image of the work found]
Lazaron, Edna (d.2007). Terror (1985). Multiple: One of four. Black-and-white and color photocopies of collages over paper and transparent polyester, altered with ink, paint, and color photographs; in codex binding with foil over heavy paper front board altered with paint and string, and colored plastic back board, with electrical coil cord, string, and field clasp tie; in matte plastic draw-string bag; 6 leaves. Unsigned. 9” x 12 1/4” x 1 7/8”.
The catalogue shows two images of this work: closed and open. A related work — Terrorism (1985) — resides in New York’s Center for Book Arts and is shown in the catalogue Multiple, Limited, Unique (2011), p.88. The Joan Flasch Artists’ Books Collection holds two other works — Souvenir vignette/Yucatán (1982) and Markings (1985) — that suggest a penchant on Lazaron’s part for soft containers for her bookworks, further confirmed by the plastic sleeve enveloping Worth the Wait?, four images of which can be seen in the Artists’ Book Collection, University of Louisville Margaret M. Bridwell Art Library.
Worth the Wait? (197?) Edna Lazaron Unbound artists’ book folded to 11 x 11 cm with illustrations; 22 x 22 cm unfolded. Artists’ Book Collection, University of Louisville Margaret M. Bridwell Art Library.
Löhr, Helmut(d.2010). Blablabla (1985). Found codex wrapped in layered and rubber stamped colored tissue papers. Signed. 11 5/16” x 7 13/16” x 3 1/4”. [No image of the work found]
The many instances of Löhr’s works in the National Art Library at the Victoria & Albert Museum are nothing like that described in The Book Made Art. In Visual Poetry (1987), below, Löhr distorts blocks of type and the type within the blocks and presents them in irregular pentagrams. The text may be found text, but the production value is unlike that in most found codex works.
Visual Poetry (1987) Helmut Löhr Artist’s book, featuring typewriter art printed on double leaves cut in the shape of an irregular pentagram. Photos: Books On Books at National Art Library, Victoria & Albert Museum.
Mud Hand Prints was published by an early champion of Long, Coracle Press, which is also represented in The Book Made Art by Erica Van Horn (below). The incorporation of raw natural material in book art has a long tradition and ongoing
Masullo, Andrew.Pandora (1985). Twenty tablets wrapped in letterpress- and photolithography-offset-printed papers; in hinged box with glass-covered compartments containing dried flowers, a photograph, and found papers; box covered with found and painted papers. Unsigned. 2 5/16” x 6 5/8” x 4 5/8”.
Masullo retains the work, and the only view of it is that in the catalogue. Like Beube’s entry in The Book Made Art, the description of Masullo’s will remind the viewer of Joseph Cornell’s boxes. According to Masullo, the work’s full title is 1029; Pandora. His subsequent works (mostly paintings in vibrant colours and numbered sequentially), the titles are simply the number reflecting the order in which they were created. According to most articles about Masullo, the numbers reflect his aim “to prevent the viewer from being unduly influenced by words“. More than that, as Masullo writes: “using words to explain my visual life is something I do my best to avoid“ (correspondence with Books On Books, 17 February 2020).
So if the work had been named only 1029, how might the viewer in 1986 have responded to this hinged box, closed with a “P”-shaped clasp and containing dried flowers in their glass-covered compartments, images of classical busts and the Sphinx, medical drawings of the human organs, a globe and twenty tablets wrapped in paper and embedded in the upper half of the box? From that clasp, might the viewer have sussed that it was “Pandora’s” box? Would the viewer have known what had been irretrievably released by opening the box? Hard to say: like Pandora, the viewer/reader today cannot un-know what is known when responding to this work of art. The conundrum does, however, focus attention on the role of words and text in book art.
McCarney, Scott.Home Sweet Home(1985). Multiple: One of four. Paper in accordion-fold binding with decorative and marbled paper-covered Boards; with paper-covered slip case. Signed. 11 5/8” x 9 1/12” x 1 3/4”.
Home Sweet Home (1985) Scott McCarney Photo: Courtesy of the artist.
The role of words and text in Scott McCarney’s art runs long and deep. McCarney’s use of the pop-up and leporello forms is most often seen in his abecedaries, a common genre in book art that is surprisingly not represented in The Book Made Art. As Spector might put it, in Home Sweet Home, McCarney is a master of the syntax of the book. Using the leporello and pop-up structures, the forms of letters and their placement on the spread page, he creates a striking effect of simultaneity.
Miller, Brenda. The Aleph (1985). Pastel over stencil pattern-cut decorative paper [correction per correspondence with artist, 8 May 2020: “Blue editing pencil on hand made paper from sisal, cut from alphabet stencil“]; in codex binding with leather over boards and gold foil title stamping by Gérard Charrière; 31 leaves. Signed. 16 13/16” x 15 1/16” x 1 5/8”.
Miller’s other alphabet-related works differ from The Aleph in their size and in this work’s more literary inspiration (the Borges story, according to Miller in correspondence with Books On Books, 21 March 2020). This “blue editing pencil on hand made paper from sisal, cut from alphabet stencil“ and Miller’s Horizontal alphabet (26) south-east in the Harry Ransom Center Book Collection, University of Texas Austin, share Gérard Charrière as binder. Clearly from the title of the latter, it is closer to the spirit of the installations under the titles Vertical Alphabet and Horizontal Alphabet, which can be seen on the New York MoMA site. An interview with Barbara Haskell on the occasion of an exhibition at the Whitney explains Miller’s conceptual and systematic creative technique.
Osborn, Kevin.Vector Rev (1983). Multiple: One of one hundred. Color offset lithography over decorative die-cut papers with glass marbles; in fan-shape binding (hinged near base); with brushed aluminum outer covers and cloth ribbon tie with aluminum clasp; 140 leaves. Unsigned. 19 3/16” x 2 1/16” x 1 7/8”.
Like Kay Hines’ The Endless Filmscript and many other works displayed in The Book Made Art, Osborn’s Vector Rev challenges to the very structure of the book. But this challenge is rooted in the book’s historical structure. Books shaped like fans are an Asian and Indian tradition, dating back to manuscript sutras.
Photos: Left – “Pattra”, Cangminzho • CC BY-SA 4.0; Right – “Palm leaf manuscripts of 16th century in Odia script”, Manoj Choudhury • CC BY-SA 3.0.
Phillips, Nicholas. Egyptian Hours (1980). Multiple: One of ninety. Color intaglio over paper altered with cutting, watercolors, thread, and graphite pencil; unbound in paperback edition leather folding case; 8 panels. Signed. 6 7/16” x 6 7/16” x 1 3/4”
Egyptian Hours falls somewhere between book and portfolio box. Somewhat like photos and captions in a photobook, text and relief images play off one another, but mediated by glyphs in the “table of contents”, the named hours are distant from the images associated with them. If the table of contents were held apart, the distance would shorten, but the images are so evocative, there is more pleasure in guessing the nature of the hour that the image represents: the image of a window lattice through which to watch, an image of a tile fragment or the image of archivally numbered shards.
Egyptian Hours (1980) Nicholas Phillips Photos: Books On Books at the National Art Library, Victoria & Albert Museum.
____________. Tales of the Floating World (1983). Multiple: One of forty-five. Color intaglio over paper; unbound with two protective boards in publisher’s cloth and paper-covered telescoping box; 9 leaves. Signed. 10 1/4” x 10 3/16” x 1 1/16”.
Photos: Courtesy of the artist.
A sequence of images where the viewer floats away from the earth and its orbit to the far reaches of the universe. Starting with a view of the pyramids at Kareima (from drawings I’d done from high up on the Gebel Berkal), thence a low earth orbit view of cloud formations over the ocean, and so on past the moon to be amongst the exploding galaxies. The images increase in size as we travel: from the single squares at the start to the doubles for space walk and moon to the final image where the view opens out across 3 side-by-side sheets. The colophon text, a quote from a 17th cent Buddhist priest [Tales of the floating world, by Asai Ryoi] says it all. — Nicholas Phillips
The words of Asai Ryoi, partially hidden in the first row’s center image, are
Living only for the moment, turning our full attention to the pleasures of the moon, the snow, the cherry blossoms, and the maple leaves; singing songs, drinking wine, diverting ourselves in just floating, floating …Tales of the Floating World (Columbus, OH: Ohio State University, 1984).
Polansky, Lois.Anatomical Digressions (1985). Gold ink, graphite pencil, charcoal, printing ink, watercolor, paint, and dry transfer and self-adhesive lettering over cast and machine-made papers; in accordion-fold binding; 12 panels. Signed. 15 3/8” x 11 1/2” x 3 3/4”. [No image of the work found]
U&LC, February 1985, Vol 11, No 4 contains “The Metamorphosis of a Book”, an essay on Polansky’s bookworks. A small thumbnail appears on the “Art in Embassies” site, and two loose album pages have been offered for sale by RoGallery (see below).
The Heart Leves (n.d.) Lois Polansky From “Lois Polansky”, Art in Embassies, U.S. Department of State, accessed 3 February 2020.
Album Pages IX & X (n.d.) Lois Polansky From RoGallery, accessed 5 February 2020.
Robinson, Aminah Brenda Lynn.Sapelo Hog Hammock Community (1984). Cloths, buttons, and embroidery yarns; in accordion-fold binding; 3 panels. Signed. 24” x 16 5/8” x 2 3/4”.
A halftone image of the bookwork is included in the catalogue, so the full glory of the work has to be appreciated by a look at its quilt work companion. The quilt work shown below surpasses the book work in size, but both thrust a vibrant narrative grounded in the African concept of Sankofa, “learning from the past in order to move forward“. Both works draw on her extended visits to Sapelo Island, Georgia, USA. [Image of the book art from Artnet]
Senser, Andreas.I remember Italy (1985). Paint, graphite pencil, and ink over layered papers, found illustrations and text, photographs, and clear polyester; in accordion-fold binding; 11 panels. Unsigned. 13 3/16” x 10 3/16” x 15/16”. [No image of the work found]
Images of thirteen works by Senser can be viewed at Visual AIDS. The one below is the only accordion-fold among them.
Share, Susan Joy.The Bell Show (1982). Game board and game board pieces, black-and-white and color photocopies of packing ephemera, found illustrations, and text, altered with watercolor, paint, and rubber stamping; mounted on painted publishers’ cloth-wrapped panels; in end-to-end gate-fold binding with brass snap-buttons on buckram band closure; 4 panels. Signed. 14 7/8” x 14 5/8” x 1 9/16”.
The Bell Show (1982) Susan Joy Share Photos: Courtesy of the artist.
Another example of Share’s “architectural” flair in making art of the book’s form, Vivian’s Photos (below) from the same period combines discarded photos of buildings and sidewalks with painted papers to create changing atmospheres and architectural formats. This work did not appear in The Book Made Art but did show up in Book Ar(t)chitecture, curated by Richard Minsky the year before.
Vivian’s Photos (1984) Susan Joy Share Cloth, board, photo, paper, acrylic, cord. The eight signatures are made from board-weight collaged panels, laminated to linen hinges. The signatures are oversewn onto a single common cord, creating a clothesline-like appearance. A collage folding-box contains the piece. 7” x 6.25” x 2.5” opening to 6.25” x 13″” x 30”. Photos: Hiro Ihara. Courtesy of the artist.
Update: still more can be found in this interview with Helen Hiebert, accessed 15 November 2020.
Shaw, Karen.Petit Larousse: Various Editions (1980). Found materials including twelve miniature blank books, pins, metal title plate, glass-lidded box, cotton, and small labels altered with dry-transfer lettering. Signed. 12 3/16” x 16 1/4” x 2 1/2”.
The catalogue provides a halftone image, but the zoomable, online images at the Yale Art Gallery, where the work is part of the Allan Chasanoff Collection, provides some of the color’s impact. Shaw’s bookworks have a great sense of humor, as does the best of book art. These images of another of her dictionary-related works demonstrate that humor well.
Entomological–Etymological Specimens Karen Shaw From a series of nine. Open: 14” x 22”. When these works were displayed, they were only partially open and mounted on the wall to resemble the shape of butterflies. Photos: Courtesy of the artist.
Siberell, Anne Hicks. Wotan (1984). Colored and cast plasters imbedded with found objects including photographic slide mount altered with paint, packaging labels, and ruler fragment; with wood box and cover and elastic band closure containing ink on vellum manuscript poem. Unsigned. 8” x 5 15/16” x 1 3/8”.
Wotan (1984) Anne Hicks Siberell Photo: Courtesy of the artist.
Unboxed: Wotan (1984) Anne Hicks Siberell Photo: Courtesy of the artist.
Clockwise from top left: Goddess Doormat (), Archaeology (), Three Blind Mice (), He Said She Said () and Pisa (). Anne Hicks Siberell. Photos: Courtesy of the artist.
Skuber, Berty.A Different Game (1977). Ink, graphite pencil, and watercolor over paper in combination with black-and-white photocopies, black-and-white photographs, color photographs, and postage stamp; unbound in publishers’ cloth drop-spine book box; 16 leaves. Signed. 9 1/16” x 6 3/4” x 15/16”.
Last two pages of the bottom row from A Different Game (1977) Berty Skuber Photos: Courtesy of the artist.
This work has “long, strong legs”. It appeared as recently as 7 March – 7 June 2019 in the exhibition called Anatomia del linguaggio at the Galleria dell’Accademia di Belle Arti in Macerata, Italy. In requesting that the work be framed in two rows, one above the other, each eight pages long, and shown on a wall, or displayed in a vitrine, Skuber makes clear that she does not think of A Different Game as exclusively a book. In correspondence, she also notes, “This was the form most typical of my work at that time, most of which, like this piece, made use of photographs, India ink, watercolor, and elements of collage.“ In 2002, Henry Martin wrote an insightful piece in NY Arts Magazine about Skuber’s work then. Skuber’s work will be shown in New Orleans in 2020, and for that show she writes: “Words are an essential part of [my work], and another of its features is a constant return to grids and grid-like stuctures that also have something to do with a sense of the scansion of time. This is particularly clear, moreover, in my animated video collages, all of which are visible on my website, and three of which I’d especially call to your attention: Widdershins, parts 1 & 2 (2015-2016); Epicycles/eclipse (2013); and Sieben Farbraeume, for which the best English title might be “Seven Spaces, Seven Colors” (1996).
Smith, Keith A.Book 91 (1982). Multiple: One of fifty. Die-cut and embossed paper with string; in quarter publishers’ cloth and paper-sides binding; 24 leaves. Signed. 10 3/16” x 14 3/8” x 1 1/8”.
Phil Zimmerman published Book 91 under Spaceheater Editions 1984 and released the video above in 2013. Another example of how an accompanying video can somewhat counter the glass case. Also known as the ”String Book”, Book 91 boasts images at the Boston Athenaeum] and the Jaffe Center for Book Arts, which has an excellent descriptive essay by Judith Klau.
Spector, Buzz.Altered Lewitt (1985). Multiple: One of five. Found printed book [Sol Lewitt. (untitled. n.p.:) Sperone/Fisher, 1974. Edition: one of fifteen hundred.] altered by tearing and mounting text block in open position. Signed. 17 11/16” x 8 7/8” x 7/8”.
Photo: Courtesy of the artist. Taken during preparation for June 2020 exhibition at Saint Louis Art Museum.
Photo: Courtesy of the artist.
At the 1’55” mark, this video provides a view of Spector’s handling a similar work (a Jasper Johns catalogue). The technique of altering another book artist’s work or another artist’s catalogue of works is a recurrent practice among artists. Bruce Nauman’s 1968 Burning Small Fires plays with Ed Ruscha’s 1964 Various Small Fires and Milk, and Dennis Oppenheim’s 1970 Flower Arrangement for Bruce Nauman returns the favour. Noriko Ambe has come closest to Spector’s variation; she has altered catalogues of Koons, Lichtenstein, Richter, Warhol and several others.
Terauchi, Yoko.Terra (1984). Multiple: One of ten. Powdered pigment and paper; in codex binding with cloth ribbon fore-edge ties. Unsigned [correction per artist’s correspondence: “the title Terra on the first page is handwritten by myself and it is my ‘signature’ for all my art works”]. 14 5/8” x 10 15/16” x 5/8”.
Terra was the first of several works that Terauchi published with Coracle.
Toparovsky, Simon. Companions in Spirit (1985). Sequins, wire, thread, and cloth over synthetic mesh in silk-wrapped mats; in accordion-fold binding with silk over shallow bas-relief covers; with drop-spine book box in silk-wrapped, embossed, and shallow bas-relief outer covers; 6 panels. Unsigned. 19 1/8” x 15 3/4” x 2 3/8”. [No image of the work found]
Bruce Schnabel taught bookbinding at the Otis College of Design. Around 1990, he abandoned book art and began sculptural work under the name Simon Toparovsky. Toparovsky writes, “I believe ‘Companions in Spirit’ is in Special Collections at the University of Southern California… The most similar book about which I have a record is in the Getty Research Institute– ‘Chaos Should be Regarded as Extremely Good News’.” (correspondence with Books On Books, 24 April 2020). Although a full description of the latter can be found under its link, there is no image there. The artist has been kind enough to provide images of other bookworks from the same period.
Healing Hand (1983) Simon Toparovsky Photos: Courtesy of the artist.
Tikal Codex (1982) Simon Toparovsky Photos: Courtesy of the artist.
The Mind Sees What the Eye Misses (1986) Simon Toparovsky From the artist’s collection: A screen book made of hand-dyed silk, heat tooled with gold and color foils over boards with onlays of hand-dyed silk. Bound with silk insertion stitches and glass seed beads. Edition of 9. Photos: Courtesy of the artist.
Permission of the artist. Additional images can be found in Yale University’s Beinecke Digital Collections.
The work is one sheet constructed of six sheets sewn together and folded accordion style. Displayed unfolded, the work exceeds seventeen feet. Nancy Kuhl’s The Book Remembers Everything (2010) shows images of La Ville aux Dames and places the work in context of Van Horn’s other works of that period.
Vogel, Cornelia.6 Livres (1982). Each book containing a number of collage elements including ink, graphite pencil, paint, and watercolor over paper with string, intaglio prints, color photographic transparencies, and cloth mesh; in accordion-fold bindings with similarly prepared paper covers; 6 leaves each. All signed. With painted compartment box. Unsigned. 3 1/2” x 3 11/16” x 4 15/16”. [No image of the work found]
Wygonik, Melanie (d.2005). Lost Playground (1985). Colored pencil, graphite pencil, ink, and paint over layered and sewn papers in combination with collage elements including fabrics, fabric edgings; embroideries, embroidery threads, buttons, sequins, and charms; in codex binding; 7 leaves. Signed. 22 1/4” x 15 3/16” x 1 3/8”. [No image of the work found]
Images of some of the artist’s two-dimensional works can be easily found, not so for the three-dimensional. From the same decade, Just Desserts (1980) and Shimmering (1983) are representative; unfortunately the images are black and white. The detail from this untitled watercolour can be found here (accessed 25 February 2020).
Detail of untitled watercolor (1977) Melanie Wygonik From eBay, accessed 25 February 2020.
Zelevansky, Paul.The Case for the Burial of Ancestors, Book I (1979-81). Ink, watercolor, graphite and blue graphic layout pencils, rubber stamping, dry-transfer lettering, and typewriter printing over paper in combination with photographs and photolitho-offset reproductions; unbound in solander case with carrying handle; 101 leaves. Signed. [Partial manuscript for: Paul Zelevansky. The Case for the Burial of Ancestors, Book I. New York: Zartscorp, Inc. Books and Visual Studies Workshop, 1981.] 2 15/16” x 15 3/8” x 13 1/2”.
Zush. Portrait of New York City (1976-82). Found blank codex, with fore-edge leather ties, altered with ink, graphite pencil, and watercolor with the addition of found objects including photographs, string, metal scraps, fabric, vegetable matter, map fragment, and postcard. 23 leaves. Signed. 12 15/16” x 10 3/16” x 1 5/16”. [No image of the work found]
The Catalan artist Alberto Porta y Muñoz assumed the name Zush in 1968 and gradually switched to Evru starting in 2001. Portrait of New York City may have looked like the work Untitled (1979-1984) in Colleció “La Caixa”. Another work Uroxos (2000) is one of the last bookworks by Porta under the name Zush. Although Uroxos is an accordion-fold, its appearance alongside those of the accompanying prints and Untitled may stand in here for that of Portrait of New York City.
Credit for the exhibit’s inception goes to Tony Zwicker (1925-2000) a passionate, knowledgeable, courageous, and caring dealer of modern and contemporary artists books. I first met her on a visit to her home/gallery located in a former artist’s studio in the National Arts Club building overlooking Gramercy Park (on 20th Street in New York) around 1983 or 1984. With its nearly two-story tall glass wall facing north over the park, it was a memorable setting. I was visiting her in the company of Robert Rosenthal, Curator (head) of the Special Collections Research Center, University of Chicago Library, where I worked as exhibition coordinator. In addition to that job, I also advised Bob on the acquisition of artists books for the rare book collections; and we were there to learn and perhaps make some purchases. Tony not only knew the history of artists books and kept up to date on the latest developments, she was also discerning, insightful, and generous with her learning. When the idea for doing this show came about in thefollowing year, we did not–originally–intend to rely so heavily on her holdings, but it became inevitable because she was so widely connected and the artists she represented trusted her (nearly all the works in the exhibit were very fragile and had to be prepared for shipment by fine arts packers). Bob, who was nothing if not adventuresome in his approach to book culture, enthusiastically backed my proposal for the exhibition despite its cost and encouraged the University’s Library Society to fund it and publication of the exhibit catalogue.
Tony’s importance at this particular point in the development of contemporary artists books warrants further exploration. Her papers are preserved at the Art Institute of Chicago: Tony Zwicker Archive. — Jeffrey Abt, Professor Emeritus, James Pearson Duffy Department of Art and Art History, Wayne State University, 12 May 2020.
Since 1981, Scott McCarney has diligently extended the lineage through a series of alphabets designed in book form, where the letterforms depend upon the materiality of the book. The limits and possibilities of the book — its material, form and processes by which both can be handled — have inspired McCarney’s Alphabook series. According to the artist, all the Alphabooks (with the exception of numbers 3, 10 and 13) “are one-of-a-kind, and have not been shown much (if at all), so I’m not aware of them being illustrated anywhere“. Fortunately, Alphabook 1 (1981) appears in The Penland Book of Handmade Books: Master Classes in Bookmaking Techniques (2004), p.134, and Alphabook 9 (1985), which McCarney produced as a one-of-a-kind book of photograms in a residency at Light Work in 1985, appears in the Light Work Collection. McCarney describes his inspired manipulation of material, form and process in creating Alphabook 9:
I folded pop-up letterforms with unexposed photo paper in the darkroom and exposed it to directional light then developed, fixed, dried and flattened the prints. I made a book for Light Work for their collection that spelled out “LIGHTWORK” in the photogram alphabet, which can be seen in their database here: Light Work Collection / Artwork / Photogram Letter book .
Correspondence with Books On Books, 7 February 2020.
And WorldCat shows that Alphabook 13 (1991) can be found in at least three institutions. It was produced in an edition of 25 and consists of one volume (110 x 100 mm) in which the letter A gradually morphs into the letter Z.
With three of the series works now in the Books On Books Collection, the lack of illustration can be somewhat remedied.
Alphabook 3 (1986)
Alphabook 3 (1986) Scott McCarney Two volumes, each of 26 unnumbered die-cut pages and wrapped in translucent belly band. Edition of 300, signed but not numbered. Each volume, closed: H151 x W104 mm; open: H151 x W2195. Acquired from the artist, 14 August 2017. Photos: Books On Books.
Photos: Books On Books.
Unlike most others in the series, Alphabook 3 is a multiple of 300 copies.
Alphabook 10 (2015)
Alphabook 10 (2015) Scott McCarney Laser cut duplex papers hand bound with long stitch through slotted cover; housed in archival box. 56 unnumbered pages. 130 x 310 mm; in box 140 x 310 x 30 mm. Edition of 14, of which this is #11. Acquired from the artist, 23 January 2020. Photos: Courtesy of the artist
The codex form receives McCarney’s playfulness in Alphabook 10. The artist writes:
… The fore edge of each page is cut into geometric forms from black, white and cream toned duplex stock (two sheets of different colored paper laminated together). … Produced during a residency at The Institute for Electronic Arts, a high technology research studio facility within the School of Art and Design, NYSCC, Alfred University, New York, committed to developing cultural interactions spurred by technological experimentation and artistic investigations.
The handling of the cover and first page draw attention to the role that empty space, light and stock color will play throughout the book.
Photos: Books On Books.
The binding warrants a closer look as well. Outside and inside, the red thread, its pattern and function stand out.
Photos: Books On Books.
And notice how the thread calls out the textured surface of the paper.
Alphabook 13 (1991)
Alphabook 13 (1991) Scott McCarney Flipbook, created with a Macintosh IIcx running Aldus® FreeHand™️ software. H100 x W92 mm. 32 pages. Acquired from the artist, 15 February 2020. Photo: Books On Books Collection.
Photos: Books On Books Collection.
Photo: Books On Books Collection.
In correspondence with Books On Books, McCarney explains that the Alphabooks’ mismatch of numbering and chronology stems from discrepancies between dates of conception and opportunities to execute. This little flipbook was conceived and executed as a photocopy edition of 25 in 1991; of more importance here though is the coming together of computer-based typesetting, book structure and pun. As we know, the shortest distance between A and Z is not B to Y, but the points in A reconfigured into Z across 24 flipping pages. It is interesting to compare this transformation with Claude Closky’s calligraphic version De A à Z (1991).
Various Small Books (2019/20)
Various Small Books (2019/20) Scott McCarney Photo: Books On Books.
Various Small Books (2019) Scott McCarney Photo: Courtesy of the artist.
The 2019 edition was conceived for a fundraising exhibition at Artspace in Richmond, VA. Both the 2019 and 2019/20 editions consist of 35mm slides documenting various of McCarney’s bookworks. Consisting of different slides, the two editions of Various Small Books are unique, and since the slides are bound together and cannot be projected, the images of the books appear small indeed.
Various Small Books (2019/20) Scott McCarney Photo: Books On Books
Courtesy of the artist, the inclusion in Various Small Books (2019/20) of slides documenting Alphabook 4, Alphabook 6 and Alphabook 10 makes the 2019/20 edition particularly apropos for the Books On Books Collection.
“Scott McCarney, Special Edition”, Contact Sheet, No. 164 (Syracuse, NY: Light Work, 2011). Exhibition catalog, which kicked off the conference “Photographers + Publishing”, 3-5 November 2011, Light Work and Syracuse University.
Home Sweet Home (1985)
Home Sweet Home (1985) [Not in collection] Scott McCarney Paper in accordion binding with decorative and marbled paper-covered boards and paper-covered slip case. 11 5/8” x 9 1/2” x 1 3/4”
Theme and Permutation (2012) Marlene MacCallum Hand sewn pamphlet, images custom-printed in offset lithography on Mohawk Superfine, text printed in inkjet, covers inkjet printed on translucent Glama. H235 × W216 mm Edition of 100, of which this is #54. Acquired 5 October 2018.
Photos: Books On Books Collection.
Theme and Permutationis one of a series of artist’s books inspired by the experience of living in Corner Brook’s Townsite area on the west coast of the island of Newfoundland. Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled labourers. Over a period of 10 years, I have photographed in several homes, all the same type-4 model as the one I live in. These homes vary in condition from close to original in design and décor to highly renovated. This project gave me the rare opportunity to record the evolution of interior aspects of these homes. It has been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Having grown up in a suburban housing development, my earliest memories of home is that of living in a space that is reminiscent of my neighbors’. Each artist’s book explores a distinct facet of image memory, multiplicity, sequence and offers the viewer a visual equivalence of the uncanny. Theme and Permutation is a response to the permutations and variations of the type-4 Townsite House. Digital tools were used to translate the original film source of eight different window images from five houses. The sixteen offset lithographic plates were custom printed in twenty-nine separate press runs. Each image is the result of a different combination of plates. The structure is a sewn pamphlet with translucent covers. The viewer enters the body of the book with a tritone image of a single Townsite window. As one moves into the piece, new window images appear and layer over each other. The images become darker and more heavily layered towards the mid-point. The center spread has an inkjet layer of two text blocks printed over the offset litho images. The text speaks of the history of the homes, the architectural permutations and economic shifts within the Townsite area. The ensuing pages continue to provide new combinations of window layers, gradually lightening in tonality and allowing the individual windows to become more distinct. A third text block provides a personal narrative. The piece concludes with a tritone image of one of the Townsite windows in original condition.(From artist’s website. Accessed 1 September 2019.)
Chicago Octet (2014)
Chicago Octet (2014) Marlene MacCallum Hand bound artist’s book with folded paper structure, letterpress and inkjet printing, H166 × W78 mm closed, H443 x W293 mm open Unique. Acquired 5 October 2018.
Photos: Books On Books Collection
Chicago Octet is a work of visual poetry by eight masters of book art. If they were performing music (and you can almost hear the music of Michigan Avenue), MacCallum would be their performing conductor.
The piece I created, Chicago Octet, had several collaborative components. The letterpress printing consisted of a word selected by each participant printed on one of Scott [McCarney]’s folded structures. The images were a digital layering of every cityscape photograph that I made and then inkjet printed on top of the letterpress. The final folded structure was designed by Mary Clare Butler. The case was designed and built by Scott McCarney, the front cover embossment was by David Morrish and Clifton Meador. (From artist’s website. Accessed 31 August 2017.)
Update: With funding from the Canada Council for the Arts Digital Originals Grant and assistance of Matthew Hollett and David Morrish during the Covid pandemic, the artist created Shadows Cast and Present, a digital re-imagining of her three most recent book works. The three cantos into which the work is divided also enrich one’s appreciation of Theme and Permutation and Chicago Octet. MacCallum orchestrates the various media — text; sound from music, voice and the noise of city and nature; video — with a touch as light as paper and light.
Books On Books. “Architecture”. Books On Books, 12 November 2018.
Otis Artist Book Collection. “Conrad Gleber ‘Chicago Sky Line’”, 27 January 2014. Gleber’s work is an interesting one to compare with Chicago Octet. Chicago Sky Line (1977) is a fan book of photographs secured at a single point by the binding and, when spread clockwise, reveals the sky above Chicago and, when spread counterclockwise, shows the Chicago “skyline” below clouds and sky.
Architecture — be it theory, principles, practices or instances — inspires book art. Lay the book flat; you have a foundation. Open and turn it on its fore-edge; you have a roof beam or arcade. Stand it upright; you have a column or tower. Turn the front cover; you open a door. Put the text and types under a microscope; you have a cityscape. As the examples in this virtual exhibition show, architecture-inspired book art goes beyond these simple analogies.
There are seemingly unrelated texts that help considerably in going there. The Eyes of the Skin (2005) and The Embodied Image (2010) by Juhani Pallasmaa, architect, teacher and critic, are two of them. He writes as if he were an artist preparing an artist’s statement or descriptions of the book art below. The title of his earlier book gives away his alignment with the visual and tactile nature of book art. Pallasmaa’s two books will enrich anyone’s enjoyment of the works shown and mentioned here.
Malone’s Ten Books of Architecture is a good place to start in the collection. Like Pallasmaa, Malone takes a broad historical and, most important, haptic view of architecture from Vitruvius to Hadid. Each of the ten books is a bookwork that exemplifies its subject.
Adapted tunnel book with accordion sides Photo: Books On Books Collection
A watercolour at the tunnel’s end to evoke the stained glass clerestory windows in the Basilique Saint-Denis, Paris Photo: Books On Books Collection
The aspiration to fuse the cosmic and the human, divine and mortal, spiritual and material, combined with the systems of proportion and measure deriving simultaneously from the cosmic order and human figure, gave architectural geometries their meaning and deep sense of spiritual life.The Embodied Image, p. 23.
And further apropos the link between the book and architecture, consider the connection that Vasari drew between Gutenberg and Alberti:
In the year 1457 [sic], when the very useful method of printing books was discovered by Johann Gutenberg the German, Leon Batista [sic], working on similar lines, discovered a way of tracing natural perspectives and of effecting the diminution of figures by means of an instrument, and likewise the method of enlarging small things and reproducing them on a greater scale; all ingenious inventions, useful to art and very beautiful. Lives of the Most Eminent Painters, Sculptors and Architects, vol. 1, trans. Gaston Du C. de Vere (London: Medici Society/ Philip Lee Warner, 1912-1914), 494.
In “An Architectural Confession”, Pallasmaa writes:
One’s most important teacher may have died half a millennium ago; one’s true mentor could well be Filippo Brunelleschi or Piero della Francesca. I believe that every serious artist — at the edge of his/her consciousness — addresses and offers his/her work to a superior colleague for approval.The Eyes of the Skin, p. 82.
This curiously textured cube sits perfectly alongside Pallasmaa’s observation: “The basic geometric shapes have their symbolic connotations, but more important than their conventional meanings are their conceptual and visual organising powers” (The Embodied Image, p. 58).
This edition of Malone’s Ten Books is unique in its inclusion of Hadid, who is not mentioned in either of Pallasmaa’s books but whose artistry and turn to the organic and curves of nature certainly fit with their spirit. Photo: Books On Books Collection
Malone’s Ten Books has a predecessor in Laura Davidson’s contribution to the 1994 Smithsonian show on book art inspired by its collection of rare science books (see section below). Although there is also Karen Wirth’s sculptural take on the Ten Books as well as Ron Keller’s take (see section below) on Palladio’s Fours Books of Architecture, which is Palladio’s take on Vitruvius, I have not found any other Vitruvian-inspired works of book art. (Pointers welcome.)
These two works — 30 St Mary Axe: Diagrid (2009) and 30 St. Mary Axe: Cladding(2009) — are among several architecture-inspired works of book art that Brannan has created. The text in one of those several — Situated — could have come straight from Pallasmaa, Bachelard or Merleau-Ponty:
Being situated is generally considered to be part of being embodied, but it is useful to consider each perspective individually. The situated perspective emphasizes that intelligent behaviour derives from the environment and the agent’s interactions with it.
30 St Mary Axe: Diagrid (2009) Mandy Brannan London has nicknamed the building at 30 St. Mary Axe “the Gherkin”. Photo: Books On Books Collection
Photo: Books On Books Collection
30 St. Mary Axe: Cladding (2009) Mandy Brannan Photo: Books On Books Collection
By integration of image, colour and structure, Brannan situates the “Gherkin’s” architecture in your hands.
In the The Radiant Republic (2019), Sarah Bryant (Big Jump Press) brings together concrete, wood, glass, paper, ink and embossed printing, sewn binding, box container and texts from Plato and Le Corbusier.
Note the embossed text on the verso. Across the five volumes, the embossed text is the same as that printed in ink, but it runs in fragments backwards from this last page of the last volume to the last page of the first volume. Photo: Books On Books Collection
Bryant’s insightful integration of Plato’s and Le Corbusier’s texts and ideas and her setting them in the physicality of the blond wood, linen cover, embossed type and sewn papers could easily be a response to Pallasmaa’s comment in The Eyes of the Skin: “The current overemphasis on the intellectual and conceptual dimensions of architecture contributes to the disappearance of its physical, sensual and embodied essence.” (p. 35)
Chinese Whispers (1975) is conceptual, visual and spatial narrative that takes the reader into a “game of embedded games”: a game of Chinese Whispers used by the artists to combine the process of making a book with the process of recovering an old cottage, making a corner cupboard, making jam, making ideas and making an exit.
Chinese Whispers (1975) Helen Douglas and Telfer Stokes Photo: Books On Books Collection
The selection of images above begins with the front cover’s photo of a patch of grass outside an abandoned farm building and ends with the back cover’s photo of the underside of the patch of grass. In between, the pages take the viewer through the trimmed hedge and the doorway into the room, through the building, the stocking of the shelves, using of the stock and closing of the shed cupboard, and so back to the other side of the patch of grass. As Stokes explained in the Journal of Artist’s Books (Vol. 12, 1999):
We started with the corner cupboard, that was the part that occupied our thinking most, that and the two colour vignettes (as we called them) printed on different stock. But then we started to think backward to what might be before the cupboard’s construction. To the thing before that, and the thing before that, and the thing before that which was cutting of the hedge and before that which was the boot brush which we called the hedgehog- that was where the book started. Then we started to photograph from that point forward, through the book.
The work blends the features of book structure, collage and montage to create something that resonates uncannily with Pallasmaa’s approving citations of Bachelard’s central idea of the hearth and domicile as central to our time-bound “being-in-the-world”.
Your House is a laser-cut model of Olafur Eliasson’s residence in Copenhagen at a scale of 1:85, which means that each page equates to a 220 mm section of the actual house. How do you read a work like this — physically? At the 22″ mark in this video, the pages fall in a cascade like a flipbook, but for the most part, their size, accumulated bulk and weight — and delicacy — defy that handling. As in the video below, they must be turned slowly and carefully. Your House heeds the task of the arts as posed by the architect Juhani Pallasmaa, “in our age of speed, …to defend the comprehensibility of time, its experiential plasticity, tactility and slowness” (The Embodied Image, p. 78).
Folded book pages rarely generate a work that rises above mere craft. Heather Hunter’s Observer Series: Architecture (2009) achieves the necessary height. It combines the altered book with an accordion book that incorporates a found poem composed of the words excised and folded outwards from the folded pages of The Observer’s Book of Architecture.
Chicago Octet (2014) byMarlene MacCallum embodies the collaborative creative approach often taken in architects’ practices. Collaborative working arises almost as frequently in book art. Think of Blaise Cendrars and Sonia Delaunay, Helen Malone and Jack Oudyn, Julie Chen and Clifton Meador, Robin Price and Daniel Kelm. Many more can be added. As described by MacCallum:
From May 19 – 26, 2014 a group of eight gathered at the Columbia College Center for Book and Paper Arts for a final collaborative project. This event was organized by Clifton Meador and myself and included David Morrish, Scott McCarney, and four Grenfell Campus BFA (Visual Arts) grads, Stephen Evans, Maria Mercer, Virginia Mitford, and Meagan Musseau…. The letterpress printing consisted of a word selected by each participant printed on one of Scott’s folded structures. The images were a digital layering of every cityscape photograph that I made and then inkjet printed on top of the letterpress. The final folded structure was designed by Mary Clare Butler. The case was designed and built by Scott McCarney, the front cover embossment was by David Morrish and Clifton Meador.
Chicago Octet (2014) Marlene MacCallum Hand bound artist’s book with folded paper structure, letterpress and inkjet printing, 6.5 × 3 × 0.5 inches (closed dimension). Photo: Books On Books Collection
Photo: Books On Books Collection
Chicago Octet fully unfolded, 17.5 × 11.5 inches Photo: Books On Books Collection
Can you hear the traffic and sense the layers of experience? What Pallasmaa writes here of rock art in Africa and Australia reminds me of Chicago Octet (or is it vice versa?): “
At the same time that great works of art make us aware of time and the layering of culture, they halt time in images that are eternally new. … Regardless of the fact that these images may have been painted 50,000 years ago, … we can … hear the excited racket of the hunt.The Embodied Image, p. 109.
Mill: A journey around Cromford Mill, Derbyshire (2006) is the result of the artists’ exploration of Cromford Mill in Derbyshire, the first water-powered, cotton-spinning mill developed by Richard Arkwright in 1771. Solid, plaster cast blocks are held softly between calico pages containing hidden texts, bound in recycled wooden library shelf covers that indicate there is history to be found within.
Mill: A journey around Cromford Mill, Derbyshire (2006) Salt + Shaw (Paul Salt and Susan Shaw) Photo: Books On Books Collection
Having Mill is like having the building inside your house.
Architecture plays more than an inspirational role in Karen Wirth’s portfolio. As mentioned above, she has created her own take on Vitruvius’ Ten Books. She designed the Gail See Staircase at Open Book and the Hiawatha Light Rail Station, both in Minneapolis. The collage work Paper Architecture is based on an architectural installation at the Minnesota Center for Arts Design and draws on Wirth’s photos of Ayvalik, Amsterdam, Florence, Istanbul, New York City, Rome, San Diego and Venice.
In The Embodied Image, Pallasmaa singles out “the collaged image” as creating “a dense non-linear and associative narrative field through initially unrelated aggregates, as the fragments obtain new roles and significations through the context and dialogue with other image fragments” (pp.71-72). The materially disparate words in the title of Wirth’s work imply the dialogues she creates among paper, designs of letters and architecture, buildings across time and the globe, and photos tinted, four-colour, and black-and-white in palimpsest.
Former professor and head of the Department of Architecture at MIT’s School of Architecture and Planning, Yoon is now Gale and Ira Drukier Dean of the College of Architecture, Art and Planning at Cornell University. She is also cofounder of Höweler + Yoon, a design-driven architecture practice. Absence appears to be her only work of book art so far.
When you hold this small white brick of paper and turn its thick pages, a small pinhole appears on the page. Then two larger square holes emerge, one of which falls over the pinhole. Page after page, the two square holes repeat, creating two small dark wells in the field of white, until on the last page they take their place in the cut-out schematic footprint of the city blocks and buildings surrounding the Twin Towers of New York City. What you hold in your hands at the end is an object of art and book of memorial prayer.
Absence (2003) J. Meejin Yoon Photo: Books On Books