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21/12/2010

Artist book, an alternative

Associate videoes do not exist

The whole art of the twentieth century reflects the struggle to broaden the concept of a work of art. And there
doubt that artistic expression in book form is included in one of his conquests paramount in the artist's book called, as pointed out by Robert C. Morgan, is not an art book or a book to be read.


Artists' books Are Not books,
Are Not To Be read books.


ROBERT C. MORGAN 1

The artist's book definitely breaks the traditional concept of picture book, based mainly on the combination of text and image that writers and painters had been doing since the mid-nineteenth century. This new book concept, born from the will of the artist as a work of art as an art object where brings together space and time, is definitely rooted in the early seventies, with the emergence and maturation of conceptual art. Morgan, one of the few American critics who have written about this subject notes that these books were born with the intention to place outside the framework of gallery space and gallery - that is, the art trade - information on art and the artist's intentions. Thus, the book becomes a vehicle for ideas and hence arises the notion of the book as an idea.
Some works of futurists, Dadaists, Constructivists and Surrealists may be considered - along with the operating aesthetic rupture leading journals - background artist's book of the seventies.


PRECEDENT OF MARCEL DUCHAMP

There is no denying that the notion of ready-made doors open first look to a book as an object and its inventor Marcel Duchamp, is the more distant history, at once more immediate, the artist's book, especially with the known Boîte-en-Valise, 1936, and can be considered the first book-object, self, or anti-book of the twentieth century.

Previously, Duchamp had built La Boîte, 1914, La Boîte Blanche with notes dated between 1914 and 1923, and the Boîte verte, 1934. In this box are collected notes, work processes, prints and other items that help to understand Le Grand Verre. The Bride Stripped même Bachelors a couple tries (1915-1923). La Boîte-en-Valise Duchamp inaugurated for another term of art books and so I put on record: "Another new form of expression. Instead of painting something, trying to reproduce those pictures that I like both miniature and a volume too reduced. I did not know how. I thought of a book, but I liked the idea.
Then I got the idea of a box that contained all of my work would be like a miniature museum, a portable museum, which explains why install it in a suitcase. La Boîte-en-Valise is the only one of the night club that is conceptualized as a space and closed. The other three (Green, and the Boîte Blanche, 1914) have an open nature and documentary, and either "attend" a parallel graphic information (Grand Verre, Trois Stoppages-Etalon), or simply outlines isolated occurrences and reflections "2.

This extension of the concept of book that outlines and Duchamp made as early experiences left him no further. He tried to introduce elements objectual on the covers of books for bibliophiles, editadosdurante the fifties and sixties, with great skill on his part, since it is only from the cover makes us believe that we find ourselves before an artist's book. For Prière de toucher, the deluxe edition of the catalog Le Surrealism in 1947, published by Galerie Maeght in Paris, or the case cover d 'EAU & GAS. A tous les étage, for the bibliophile edition of the monograph of R. Lebel Sur Marcel Duchamp, 1958.


HOW THE IDEA BOOK

In fact, the conception that Duchamp started requires a certain distance of the various processes of what can be a book and that often leads to great confusion. This means that an artist's book is not the same as a picture book, made with techniques spectacular, with a covering quirky, textured or unusual, but everything else, in short, "the artist's book is not a book of art. "

Another concept that Duchamp opened is the facsimile and the manifold that both applies to ready-made as well as "boxes" artist books "that are no longer original objects and unique, as they had been until then the works of art . It is certainly one of the fundamental conditions of the artist's book made the editing can be expensive and must be accessible to the public at a price socially economically. This definition answers the opinion of Hubert Krettschmer "artists' books are those designed for one or more artists as an independent work of art and presented in many ways a gathering comprehensive information to a wide audience and even at relatively low. " 3 Not surprisingly, the evolution of the artist's book has followed a path parallel to the development of currents conceptualist which, in turn, have raised a different relationship with society. Since Duchamp, the book is again the conceptual role in the Fluxus boxes and collect multiple documents, objects and photographs that allude to their actions. All this is coupled with technological and cultural development of the sixties that plays a text or an image at low cost to reach the simplicity and reach of the photocopy, which has led to extensive research into the experimental field of artist's book.


Nor can not forget the role that photography began to play during this decade in the work of some artists whose conceptual process requires a support-book. This is the case of the photographic sequences and serial images of the books of the American Ed Ruscha, Bruce Nauman, John Baldessari and Sol LeWitt. Also some English artists like Hamish Fulton or Richard Long, left in their respective books Hallow Lane (1971) and Inca Rock Campfire Ash (1974) photographic record of their tours and excursions proposed as a work of art.
Likewise, we might consider the conceptual structures of Laurence Weiner books explore the syntax of words and phrases.

Since the mid-seventies, several exhibitions have been happening around the world dedicated to the artist's book, its title referring explicitly to this new concept, often differentiating art book and extending it to other media such as video or the cassette. Some samples linked him to the world of object: Buchobjekte (Fribourg, 1978), others, freedom of creation: Format lib (&) ro (Florence, 1978); while others was relevant to assessing creative subject as the artist's book a new phenomenon in contemporary art: A Contemporary Artist 's Books Exhibition (Philadelphia Art Alliance, The Pittsburgh Center for the
Arts, Southern Alleghenies Museum of Art, 1981).

Perhaps the most interesting displays was organized by Edwin A. Ulrich Museum of Art, Wichita (Kansas), November 1979 to January 1980, entitled Artist and Books: The literal use of Time that gave the artist's book full recognition for works of art.
Copyright Following these samples were also born some publishers, Printed Matter Inc., New York and even some galleries also published art books, but without ever becoming a commercial organization strong.

Apart from the option "as an idea book, and from a more traditional, the book has attracted many artists who have worked from a material point of view, assessing its constituent elements such as paper, writing or binding.


EXPERIENCES IN CATALUNYA

In Barcelona, the Board Metrònom, released a year before the Berlin Street, opened the 1981-82 season by inviting the edges to participate in an international exhibition is titled Artist 's Books and received seven hundred works from thirty-three countries - now part of the Tous Collection - among whom are many Catalan artists, most of whom engage in the practice of conceptual:
F. Abad, F. Torres, Noguera, J. Cerdà, S. Terrades, J. Xifra, J. Rabascall, etc. Alongside other international artists such as D. Adams, L. Weiner, K. Wodiczko, taking into account that the unconditional admission of the call also admitted more traditional proposals and closer to the book picture book artist.
In general, however, dominated the second option.

During the early eighties, the cycle on the trip, developed in the Espai 10 Joan Miró Foundation, showed that probably the travel books were a haven for many artists and passenger laptop.
In the late seventies, the growing use of visual poetry and pollution of the visual arts led likewise to collective experiences such as eczema, in Sabadell, or CAPSA, Mataró, with periodicals, magazines atypical, which could be considered today within the category of artists' books in each of its editions. In 1985, the Institute for North American studies outlined in Barcelona under the title New Narratives a set of artist's books of interest, which gave the Documentation Centre of art
Contemporary Cirici.

The past decade, eclectic, pluralistic, diverse, very demanding on the conceptual aspects of art, left the door open to cohabitation of the book illustrated with the artist's book, with virtually no distinction.
The exhibition presents today is a result of the coexistence of the different options that have been practiced in the eighties. Next to the shared experience between painters and poets in books illustrated with engravings and watercolors and exemplify partnerships Jacques Dupin Antoni Tàpies in Matière du Souffle (1991), Enrique Juncosa, Miquel Barceló in the Book of Ocean (1991), Jaume Plensa, Antoni Tàpies Barba in Llibre de vidre (1981), Joan Brossa, Evaristo Benitez Foc negre (1993), Carlos Pazos, Vicenç Altaió in L '
latent amour (1990), Pere Antoni Tàpies Gimferrer-La llum (1990), Michel Butor, La Rosa Vives jourèe (1990), Joan Brossa-Perejaume home in El bosc (1986-89), Josep Carles Uclés-H . Mor Afrika in the book, Antoni Llena, Antoni Tàpies Barba L 'Eclipsi, reaching many more.
We also find books autonomous creation, often unique items, resulting from the need of the artist started tackling the emotions of a journey or the expression of experimental work, with no concession illustrative. These would be cases of books Mercel.lí Antúnez, Zush Viladomiu Angels, Jordi Cerdà, Monica Arranz Serentil or Rome.


A third option in this exhibit the creations occupy Edicions de l'Eixample, an initiative of Salvador and Ramon Saura Torrente, which have incorporated the concept of artist's book of the seventies as a graphic designer, opening a single track between the book-building and industry, greatly enriching the landscape of publishing with books like Sol Solet o Nit, Comediants, alongside many others, including Copyright Following these samples were also born a few publishers, such as Printer Matter Inc., New York and even some galleries also published art books, but without ever becoming a powerful marketing organization.
Apart from the option "as an idea book, and from a more traditional, the book has attracted many artists who have worked from a material point of view, assessing its constituent elements such as paper, writing or binding.


EXPERIENCES IN CATALUNYA

In Barcelona, the Board Metrònom, released a year before the Berlin Street, opened the 1981-82 season by inviting the edges to participate in an international exhibition is titled Artist 's Books and received seven hundred works from thirty-three countries - now part of the Tous Collection - among whom are many Catalan artists, most of whom engage in the practice of conceptual:
F. Abad, F. Torres, Noguera, J. Cerdà, S. Terrades, J. Xifra, J. Rabascall, etc. Alongside other international artists such as D. Adams, L. Weiner, K. Wodiczko, taking into account that the unconditional admission of the call also admitted more traditional proposals and closer to the book picture book artist.
In general, however, dominated the second option.

During the early eighties, the cycle on the trip, developed in the Espai 10 Joan Miró Foundation, showed that probably the travel books were a haven for many artists and passenger laptop. In the late seventies, the growing use of visual poetry and pollution of the visual arts led likewise to collective experiences such as eczema, in Sabadell, or CAPSA, Mataró, with periodicals, magazines atypical, which could be considered today within the category of artists' books in each
one of its editions. In 1985, the Institute of American studies outlined in Barcelona under the title New Narratives a set of artist's books of interest, which gave the Documentation Centre of Contemporary Art Cirici.

The past decade, eclectic, pluralistic, diverse, very demanding on the conceptual aspects of art, left the door open to cohabitation of the book illustrated with the artist's book, with virtually no distinction.

The exhibition today presented is an example of the coexistence of different options that have been practiced during the eighties. Next to the shared experience between painters and poets in books illustrated with engravings and watercolors and exemplify partnerships Jacques Dupin Antoni Tàpies in Matière du Souffle (1991), Enrique Juncosa, Miquel Barceló in the Book of Ocean (1991), Jaume Plensa, Antoni Tàpies in Llibre de vidre Barba (1981), Joan Brossa, Evaristo Benitez negre Foc (1993), Carlos Pazos, Vicenç Altaió L 'latent amour (1990), Pere Antoni Tàpies Gimferrer-La llum (1990) , Michel Butor, La Rosa Vives jourèe (1990), Joan Brossa-Perejaume home in El bosc (1986-89), Joseph H. Uclés-Carles Mor Afrika in the book, Antoni Llena, Antoni Tàpies Barba L 'Eclipsi, reaching many more.

We also find books autonomous creation, often unique items, derived from the need
artist started tackling the emotions of a journey or the expression of experimental work, with no concession
illustrative. These would be cases of books Mercel.lí Antúnez, Zush Viladomiu Angels, Jordi Cerda, Monica
Arranz Serentil or Rome.

A third option in this exhibition would occupy creations Edicions de l'Eixample, an initiative of Salvador Saura and Ramon Torrente, which have incorporated the concept of artist's book of the seventies as a graphic designer, opening a single track between the book-building and industry, enhancing significantly the landscape of publishing with books like Sol Solet o Nit, Comediants, alongside many others, including cualesse will run from now on this list which are authors.

Postscript:


Notes:
1.Morgan, Robert C., Commentaries on the New Media Arts: Fluxus & Conceptual Art, Artists' Books, Correspondence Art, Audio & Video Art
Umbrella Associates, Pasadena, CA, 1992.
2.Texto Marcel Duchamp quoted in the catalog of the retrospective Duchamp, Joan Miró Foundation, Barcelona, 1983
3.Krettschemer, Hubert; Catalogue Artists' Books, Metrònom, Barcelona

 

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