Artist's Book Yearbook 2003-2005 - Book Arts - University of the ...

Yes it’s True; Artists Make Books
Andi McGarry
There are ordinary books and there are Artist’s
Books in the words and graphics of John
Dilnot. The ordinary book is everything that
the artist’s book is not. The definition about
what these books actually are, throw up endless
contradictions, some of which are quite
entertaining. There is no safeguard or
comfortable standpoint when it comes to
describing/defining artists’ books; just imagine
shifting sands!
Around seventeen years ago I became involved
in making artists’ books, I formed the Sun
Moon and Stars Press and my mission
statement was to “circulate organic ideas.” I
have produced over 100 titles since then, in
unique, limited and unlimited editions. I am
one of hundreds, perhaps even thousands of
artists who now make books as part of their
practice.
YES IT’S TRUE; ARTISTS MAKE BOOKS.
Do all the books artists make constitute artists’
books? Surely it’s an artist’s book if an artist
made it etc. There are no hard and fast rules in
the artist’s book world, and this in itself is an
attractive proposition. The punk rock
revolution signalled exciting times for young,
‘would-be’ bands. I remember quite well as I
was part of that scene, and the artist’s book
scene closely mirrors that garage band
philosophy in many ways. There is a loosely
based artist’s book community out there;
groups networking with other groups,
individuals networking and swapping, sharing
opportunities, setting up gigs etc.
Artists are increasingly finding their voice
through the medium of the book if the
proliferation of shows, fairs and new works is
anything to go by. It is a different ballgame to
the old canvas or limestone block; exploring
through the book is more like making a movie
than anything else, a flick book is in fact a mini
movie!
But it is more than that, there is a contract of
sorts between the artist who makes books and
the viewer who bookgazes, it is unwritten and
based on shared intimacy, and one the maker
exploits to the full. The added possibility of
tactile and other surprises always exists and is
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perhaps the hallmark or trait, and almost
expected.
In my experience there are not any huge
profits to be made in artists’ books, most
people are making them because they WANT to
make them, NEED to make them, any sales are
almost a bonus. That said, there are plenty of
opportunities for the upwardly mobile maker,
those include Frankfurt Bookfair which
recently featured artist’s book sections, London
Artist’s Book Fair and Halifax Contemporary
Artist’s Book Fair at Dean Clough to name but
a few. They do represent good opportunities
but take a lot of time and money; they remind
me of fishing or hitchhiking.
Other outlets include institutions like Tate
Britain and NCAD along with collectors and of
course any personal contacts. The artist’s book
shows come in all shapes and sizes: tri-annuals
in Lithuania, bi-annuals like Pays Pasage and
annuals like the Wexford Artist’s Book
Exhibition (which it just so happens I
conceived and co-curate). This eclectic
gathering of the clans is a golden opportunity
for the uninitiated to try their hand at the
making of an artist’s book. Along with my
colleague Denis Collins we offer a great ‘deal’
for the incoming artists. There is no fee to
participate, it is open submission, we guarantee
to exhibit your book, the accent is on userfriendliness
- so the books are handled by the
public. The show usually tours to a few
different venues and is alternatively an
International. This allows a bi-annual
promotion of indigenous growth to take place.
Purchases are made every year for the growing
Wexford Artist’s Book Collection that is used for
further artist’s book exhibitions, promotion
and education. We have an annual purchase
fund of around 1000 Euros.
It is really great to get the chance to see so
many wonderful books; I’ve certainly seen
quite a few ‘beauties’ since these shows began
eight years ago. Seeing the works of my
contemporaries on a regular basis has enabled
me to keep in touch with this anarchic
community of makers along with other book
gazers.
If it is true that “Everything exists in order to
end up in a book” as Mallarmé states then I feel
that the artist’s book makers of the world are
ideally placed to enact this prophetic line in the
fullness of time.