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

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Knife Edge at the Eagle: Another Situation: No Style Bruce McLean and Mel Gooding, 1992 Knife Edge Texts Bruce McLean and Mel Gooding, 1992
Making Books Emma Hill Moving house two years ago, I counted sixteen boxes that contained my books. I have books from four generations of my family. Books I have re-read at intervals throughout my life and other books I will probably never read but keep because they have become in some way familiar. As Calvino understands you can read a person's life by looking at their books, they represent the past and are held, with unknown potential, for the future. I make books because I think books are important. When you take a book into your hands you are taken on a journey that leaves you somewhere different from where you started. I make artists’ books because they can contain more than one creative language in a structure that holds time. I make books for the same reason I imagine most people are drawn to making them, because they are satisfying to make. As a publisher of books which bring together the work of contemporary artists and writers one enters interesting but problematic territory. The experience of a book is generally a private one, a subjective gathering of images in the mind to visualise the words we read, fluid and individual to each reader. A work which attempts to ‘make visual’ words, to create visual narrative, or to play conceptually upon the 'bookness' of itself, is by nature a hybrid thing and risks overloading the space where what you see or read becomes real in the mind's eye. Good artists' books are never merely illustrative. The best of them integrate formal qualities to create “harmony among our various modes of perception...” 1 - the intangible effect all good art has to provoke a sense of recognition, even in the first glance. A book comes with a certain set of rules which can be utilised or broken and I am less interested in debating what an artist's book is than in finding out what an artist's book can be. I am encouraged by the view that “a book is a space for imaginative action” 2 - a particular kind of site where an artist can use what we 95 understand about how a book holds language to make us pause, contemplate and look anew. Over the last ten years I have published books which range from unique objects to limited run, hand printed books to long-run commercially printed editions. The only defining feature of the imprint is that it brings together words with images and in most instances words which have been written contemporaneously with the making of the images. Early books tended to be made as a record of temporary installations at the Eagle Gallery and were simple letterpress, block print or litho publications. The gallery is situated in an area of London traditionally associated with printing and in the early 90’s still had a working community of small scale commercial print workshops, which made printing the books financially possible. In 1992 Bruce McLean and Mel Gooding’s Knife Edge Texts brought together the writing from their previous collaborations in a simple board bound book printed entirely in letterpress by Tom Shaw. McLean liked the utilitarian feel of the blank billboard covers and incorporated a line of the books on the wall of the installation Knife Edge at the Eagle: Another Situation: No Style. Having a gallery it seemed to make sense to show books in the same way as we showed other art works and to present them in a context where they were not an adjunct to the other objects but attendant to them. It was important to make them accessible and readable. I can't see the point of making a book with text if the viewer can't read it and however precious a book is, the experience of it as an object is lost if contained in a glass case. In 1995 I was approached by Terry Smith, who was gaining recognition as an installation artist and had recently made a number of interventions in a group of Acme houses in the east end of London which had been cleared to make way for the M11 link road. Smith’s work by then existed only as documentation - sequences of mainly black and white photographs which showed how he had referenced the histories of these spaces in simple, eloquent repetitions of architectural details, cut directly into the walls.
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Artist’s Book Yearbook 2003-2005
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Contents Artist’s page Genevieve
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Ron King, photograph: F. A. Parisod
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doodle in a spiral-bound notebook,
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Other critics mentioned Ron’s pre
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Exhibition at Yale Center for Briti
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Ten books on my new bookshelf; a re
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Noggins Mark Pawson (October 2001)
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Voyage into Matter: Four Mylar and
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Paul’s Unwrapping the Body from 1
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later in the year. Although careful
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Sampler, with an essay by art histo
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But in the context of the book, wha
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'The Services Ancient The For Use I
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were added, coded, reworked and pro
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Book 2: The Legacy continues onward
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Love Karen Reimer (writing as Eve R
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drainboard. This is a reformed cook
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I imagine that the carved and graff
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Booklyn: describing an artist defin
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3. Commit to the codex. Booklyn lik
Page 47 and 48: Current Events Maureen Cummins, 200
Page 49 and 50: Education (see separate entry under
Page 51 and 52: Size Matters Dr Stephen Bury One of
Page 53 and 54: Above and below: The Book of the Wo
Page 55 and 56: Yes it’s True; Artists Make Books
Page 57 and 58: 13+: Contemporary Book Art From Ger
Page 59 and 60: Next, another group: 10 years ago,
Page 61 and 62: Mexico Clemens Tobias Lange / Steph
Page 63 and 64: Ein Cartesischer Hund John Gerard T
Page 65 and 66: egard as an attempt of reconstructi
Page 67 and 68: Im Städel Frankfurter Edition (Ber
Page 69 and 70: Books and boats are both strong met
Page 71 and 72: An Essay About Reading An Artist’
Page 73 and 74: It is also the time of the story, n
Page 81 and 82: The Special Books Collection of The
Page 83 and 84: From the collection, clockwise from
Page 86 and 87: Roberta Bridda Col ricordo infine 1
Page 88 and 89: Loretta Cappanera Ali di Carta (2)
Page 90 and 91: Images above: Stefania Missio Gli A
Page 92: and exhibitions about artists’ bo
Page 96 and 97: currently at play within the struct
Page 100 and 101: Smith was exploring ways of bringin
Page 102 and 103: The choice of artists went wider th
Page 104 and 105: set to resemble the pages of the Ta
Page 106 and 107: PUPA PRESS
Page 108 and 109: Red Fox Press Cashel Foxford Co. Ma
Page 110 and 111: Contemporary Printmaking British Ar
Page 112 and 113: Grahame Galleries + Editions Centre
Page 114 and 115: The center also sponsors a travelli
Page 116 and 117: Book Arts Collections / Archives UK
Page 118 and 119: Norwich School of Art and Design Ar
Page 120 and 121: Wimbledon School of Art Library Mer
Page 122 and 123: costly bindings; Jhr dr R.M. Raderm
Page 124 and 125: Visual Studies Workshop Press and A
Page 126 and 127: Pomeroy’s Stereo Views / Ver Mult
Page 128 and 129: Book Arts Organisations Booklyn (US
Page 131 and 132: Book Arts Websites www.andreweason.
Page 133 and 134: Artist’s Book Website Review Guy
Page 136 and 137: Artist’s Book Fairs There are var
Page 138 and 139: BA (Hons) Illustration, Design Craf
Page 140 and 141: Short Courses, Workshops and Summer
Page 142: The Faculty of Art, Media and Desig
Page 145 and 146: Curwen Print Study Centre Chilford
Page 147 and 148: Materials Suppliers William Cowley
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Magazines and Journals Afterimage V
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JAB JOURNAL OF ARTISTS‘ BOOKS ISS
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Smith, Keith A. and Jordan, Fred A.
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Artist’s Book Reviews Andrew Easo
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the assembly of poetic reflection a
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Judging by the quality of image and
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a labour of love, showcasing the ar
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The physical production of the book
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A Fishy Wish Hannah Grice Hannah Gr
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Artist’s page contributors For ea
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The Jante Law Mette-Sophie D. Ambec
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is Portuguese for islands). An oblo
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Bicknell, Les Eva’s Place Sibton
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December 2002 Book Works, London IS
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El Miró Invisible Nils Burwitz and
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of flints, untouched, existing only
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In the Time of Crow Artist: Penelop
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Firmament Andrew Eason Digitally -
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Wipe Mixed authors/artists Publishe
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Hamaniora Rosalind Nashashibi Chron
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Believe Me Artist: Rachel Hazell Au
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Idaho Center for the Book MS 1525 1
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irds, and text in middle slipcase.
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France Tel: 0033 1 4522 1228 lydiam
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created in the space between the pa
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Immoral Compass Artist / Author: Mi
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Limited handprinted edition signed
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Perforated Love Notes Lucy May Scho
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Sample Book Christine Tacq Inspired
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The Enduring Freedoms Mystik Writin
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Waller, Angie 2330 Stanley Hills Dr
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Wild Pansy Press School of Fine Art
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