art made from books: altered, sculpted, carved, transformed
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Prefacecopyright©2013byBrianDettmerIntroductioncopyright©2013byAlysonKuhnAllartcopyrighttheindividualartists.Page176constitutesacontinuationofthecopyrightpage.Allrightsreserved.Nopartofthisbookmaybereproducedinanyformwithoutwrittenpermissionfromthepublisher.
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ISBN:978-1-4521-2946-4
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CONTENTS
PREFACEBYBrianDettmer6
INTRODUCTIONBYAlysonKuhn8
ARTISTS
JamesAllen24
ThomasAllen30
NorikoAmbe36
Anonymous42
CaraBarer48
DougBeube54
SuBlackwell60
JenniferCollier66
BrianDettmer70
AriánDylan
76
YvetteHawkins80
NicholasJones86
JenniferKhoshbin92
LisaKokin98
GuyLaramée104
PabloLehmann110
JeremyMay116
PamelaPaulsrud122
SusanPorteous126
AlexQueral130
JacquelineRushLee134
GeorgiaRussell140
MikeStilkey144
KylieStillman150
JuliaStrand
154
RobertThe160
VitaWells166
ARTISTBIOS170
IMAGECREDITS176
PREFACE
BRIANDETTMER
ITowerofBabble,2012,Paperbackbooks,acrylicmedium.
Igrewupintheeightiesrightacrossthestreetfromaschoolforthedevelopmentallydisabled.MybrotherandIlovedtodumpsterdive,alwaysoutofcuriosityratherthannecessity.Theexcitementofexplorationwasbalancedwithanequallystrongsenseofobligationtosavevaluableitemsfrombeing
thrownaway.Thissensewasn’tmerelyforthesakeofbeingenvironmental.Itwasforthesakeoftheobject,andthepotentialforitsresurrection,revitalization,andrebirth.
Ourfavoritespotwastheclusterofdumpstersbehindtheschool.Therewereafewtimeswediscoveredseveraldumpstersfullofhardboundbooks.Wecouldn’tbelieveanyonewouldthrowthebooksaway,andwewouldgatherboxloadstotakehometoouratticlibrary.Theymayhavebeenoutofdate,oruselesstousspecifically,butwewouldtakethemforthetitles,thepictures,andoftenfortheactualstories,orsometimesjustbecauseitwasabook.Wehadamassiveatticlibraryduetoourdiving.
Encyclopediaswerelikeswimmingpoolstous.Wedidn’thaveourownsetbutwealwaysknewsomeonewhodid.Wecouldpolitelynegotiateaquickswimintotheneighbor’ssetor,ifweneededalongerswim,wecouldwalktothelibrarydowntown.Atthelibrarywecouldgetrefreshedandgatherinterestingideasfromdeepwithinthewaves.
Thesituationhaschanged.Thebookisnolongerthekingoftheinformationecosystem.Wecannow
accessalmostanythinginstantlyonline,andboundencyclopediashavebecomelargelandmammalsthatcan’tcompetewiththenewerspecies.Theyhavecollapsedandtheycan’tgoon.Dowefeedfromthecarcass?Ideas,likeprotein,arevaluableandshouldn’tgotowaste.Theyshouldbeconsumedbysomeone.Or,dowetreatthemthroughtaxidermytopreservetheminaninanimatestateforfuturegenerationstoviewinmuseums?
Icutbooks.Istartedcarvingintothemaroundtheyear2000.IwasworkingonaseriesofcollageswhereIbeganwithnewspapersandendeduptearingapartbooksforafragmentedsurfaceoftextonthecanvas.IfeltguiltyaboutwhatIwasdoing,butalsointriguedbythedeeptexturesandconceptualpotentialoftheprintedpage.Thisledmetosealupbooks,paintingtheedgesoforphanedencyclopedias—lonersfromthriftstores—andcarvingdeepholesintothem.Iwasexploringideasaboutnewwaystoapproachthepages.Atone
pointIwascarvingalargeholeintoabookwhenIcameacrossalandscapeonapage;withoutthinkingIbegantocutaroundthelandscapeandafigureemergedafewpagesbelow.Icarvedaroundthatfigureandanotherimageappeared.ItwasexcitingbecauseIhadnoideawhatwouldemergeonthenextpage.Itwaslikereading.Myintuitionswerestrongandtheresponsewasevenstronger.IknewIwasdoingsomethingnewandsomethingrelevantwitholdmaterials.Itisrecycling,butnotjustinthematerialsense;it’sarecyclingofideas,images,text,andtexturesfromourculturalpast.Wepullfromthepasttomakesomethingnew,thewayartalwayshas.
Therehasbeenalongtraditionofartaboutthebook,ofartrepresentingbooks,ofartists’books,andevenalteredbooks;however,inthelastfiveyearsIhavenoticedahugeriseinpracticingartistsandamoreinterestedaudience.Mostofthisbookworkhasemergedasaresultof,oraresponseto,theriseoftheInternetandthefactthattheroleofbookshasdramaticallychangedinourcurrentinformationecology.Manynonfictionbooks,specificallyreferencebooks,havelosttheiroriginalfunction.ButIdon’tthinkbookswilleverdie.Ithinkitistheperfectformformanyofourideasandstories.Thetraditionalnovel,mostfiction,largemonographs,art,design,andvariousothergenresoftextandimagearebestinbookformbecauseofthequalityavailableinprint—thetactility,thefunctionality,durability,andtheauthorityoftheobject.
Somebooksmaynolongerbeasvitalastheyoncewere,butlikepaintingatthebeginningofourlastcentury,itwon’tbereplacedorevendemotedinourculturalhierarchybyanewerform.Whenphotographyandhigh-speedprintingbecamecommonplace,peoplefearedandprophesizedabouttheendofpainting.Butinsteadofsuffocatingpainting,printingandphotographyfreedpaintingfromitspedestrianresponsibilitiesandallowedittoevolveintonewer,moremoderndirections.Thehistoryofmodernart,ledbythenewfreedomsofpainting,wouldn’tbethesamewithoutthesenewertechnologiesforcommunication.Thesameishappeningnowwiththebookinthedigitalage.Wehaveanexcessofoldmaterialwenolongeruseandanemergenceofnew
ideasaboutthebook.Byalteringthebook,wecanexplorethemeaningsofthematerialandtheideaofthebookasasymbolforknowledge.Wecanexplorequestionsaboutthehistoryandthefutureofbooksandtheimpactofnewtechnology.Wecancontemplateandillustrateideasaboutliteratureandinformationtechnology.
Itisnotaboutnostalgia.Itisabouttherichnessofitshistoryandthebeautyofitsform,thoughmoreoftenitgoesfarbeyondthis.Theinfinitewaysabookcanbeexploredwithourmindsandourtoolshasjustbegun.Weareatanexcitingandpivotalmomentinthewaywerecordandreceiveourinformation.Theformofthebook,asymbolforideas,information,andliterature,maybethemostrelevantsignifierandrichestmaterialwecanworkwithtoday.Weneedtotakeadvantageofthismomentandrespectthehistoryofthebookwhilecontemplatingitsfutureinthefaceofshiftstodigitaltechnology.
Thebookistechnology.Thebookisamachine.Thebookisfood.Thebookisabody.Itisavastpoolweneedtodiveinto.
INTRODUCTION
ALYSONKUHN
ISuBlackwell,TheBookoftheLost,2011.Secondhandbook,lights,glass,woodbox.
Thisanthologyshowcasestheworkofartistswhoseprimarymaterialisbooks.Theseartistsdonotmakebooks;rather,theytakebooksapart.Interestingly,astandardnomenclatureforthisrelativelyrecentartformhasyettoemerge.Theterm“alteredbooks”iswidelyusedbyartistsandcurators,butmanymembersoftheart-appreciatingpublicfinditmisleading.DougBeube,whohasbeenalteringbooksformorethanthirtyyears,likesthewordbookwork,whichislogicalandevocative.Beubeseeshimselfasasculptorwhomanipulatesbooks,andheusesthetermmixedmediaartistbecausehealsoemployscollage,installation,andphotography.BothBeubeandBrianDettmer,whocontributedtheprefacetothisanthology,havepioneeredtechniquesthatcontinuetoinspireanewgenerationofbookartists.
Jewelry-makerbestdescribeswhatJeremyMaydoes.Hecraftsrings,bracelets,andnecklacesbylaminatingmany,manylayersofpaperthathecutswithascalpelfromthepagesofasinglebook.JenniferCollierstitchespagesfromvintagestorybooks,cookbooks,andinstructionalmanualstofashionherpieces—clothes,shoes,andhouseholdobjects.InMay’swork,theoriginaltextisobscured;inCollier’s,theoriginalnarrativeliterallyprovidesthefabric.Otherartistsemploy,andsometimescombine,elementsoforigamiandpapercutting.
Sufficeittosay,theworksassembledhereareremarkablydiverseinform,size,andscale.May’s“literaryjewelry”andAriánDylan’spaperbackchesssetareatthediminutiveend,whereasPamelaPaulsrud’sBibliophilismturnsthespinesofseveralhundreddiscardedbooksintoahugearearug,andYvette
Hawkins’sinstallationsofcylindricalbooksfillanentiregallery.InbetweenareVitaWells’sairborneclusterofindividualvolumes,andencyclopedicmultivolumelandscapesbyGuyLaraméeandBrianDettmer.
Theartisticalterationofbooksgotitsstart,withabang,inthelate1960s.BritishartistTomPhillipssethimselfthechallengeofbuyingausedbookandalteringeverypageofitbypainting,collaging,orcutting.ThenovelhepurchasedwasAHumanDocumentbyVictorianauthorWilliamHurrellMallock.PhillipsnamedhisownworkAHumument:ATreatedVictorianNovel.Phillipscelebratedhisseventy-fifthbirthdayin2012,coincidentwiththepublicationofthefifthrevisededitionofAHumument.Phillipscontinuestorevisehisopus,andtosharetheworkinitsentiretyontheproject’sofficialwebsite(www.humument.com).Phillipshasfurtherembracednewtechnology:aHumumentappforiPadisnowavailable.
IIBrianDettmer,processshot.
Thenotionof“treating”abookinthiswayhashistoricalprecedent,albeitmoreaboutcollectingandlessaboutcreatingthanPhillips’sundertaking.Backineighteenth-centuryEngland,thepracticeofextra-illustrationbecamefashionable.Asitsnamesuggests,thisinvolvedaddingillustrationsandnewsclippingsfromothersources,usuallytoabiography.So,theoriginalboundtextwassupplementedbytheowner,whothenpossessedauniquelycuratededition—aninterestingvariationonvanitypublishing.Foratime,publishersactuallyincludedblankpagestoaccommodatesuchadditions;withother
books,anownerwouldhavetheoriginalvolumeunboundandthenrebound.TheBiographicalHistoryofEngland(1769)bytheReverendJamesGrangerwassopopularwithextra-illustratorsthatthispracticebecameknownasgrangerism.
IIIBrianDettmer’scollectionofusedX-Actoblades.
Today,referencebooksthathaveoutlivedtheirusefulnessassourcesofinformationaretreasuretrovesforcontemporarybook-alteringartists.Volumeswithpatterned,stamped,orotherwiseembellishedcoversalsohavepotential.Occasionally,aself-helpbook,atelephonedirectory,orascientificreportmaybecomefodderforabookwork.Somebookloversareuncomfortablewiththenotionofalteringbookstomakeart.Wearetaughtaschildrentorespectbooks,totreatthemwithcare.Yet,manyofusfindtheircontentssopersonallymeaningfulthatwewritenotesinthemarginsorevenhighlightentirepassages.Wemaydog-earthepagesofapaperbacktomark
ourplace.AuthorAnneFadiman,inheressay“NeverDoThattoaBook”(fromExLibris:ConfessionsofaCommonReader),dividesbookloversintotwocategories,the“courtly”andthe“carnal.”Thecourtiers,ifyouwill,treatbooksassacredobjects;thecarnalreadersmakenotesin,andtakeotherlibertieswith,theirbooks.Bothgroupslovetheirbooks,butshowitdifferently.
IVTwoofthemanybookshelvesinBrianDettmer’sstudio.
Alteredbookstapintoourcollectiveheightenedinterestinbooksasobjects.Physicalbooks,asdifferentiatedfromdigitalversions,tendtotriggermemories,bothvisualandtactile.Oureyesreadabook,ourhandsfeelitandholdit,andourmusclememorydeepensourrelationshipwithit.Somereaderskeepthereceiptforabookrightinsidethefrontcover,especiallyifitwaspurchasedonatrip.Manyshopsautomaticallysliptheirbookmarkintoabook.Handheldembossers,bookplates,andrubberstampsareallpopularwaystoidentifyyourbookasyours.
Then,whenwearefinishedreadingabook,wedecidewhethertokeepitorlenditorre-giftit.Wemaytakeittoausedbookstore,orsellitonline,ordonateittoalibrarysale—wherebook-alteringartistsfindtheirrawmaterials,andgivethemnewlife.
Imaginethatyouareanauthor,andonedayyoureceiveasagiftacopyofyourfirstnovel,butithasbeenphysicallyalteredtothepointwhereitisnolongerpossibletoactuallyreadthestory.ThishappenedtowriterJonathanLethemseveralyearsago.ThebookwasGun,WithOccasionalMusic,andithadbeencutintotheshapeofapistolbyartistRobertThe,whoseworkLethemdescribesas“thereincarnationofeverydaymaterials.”Thewriterreflectsonthis“strangebeautyofseconduse”inanarticlepublishedinHarper’sMagazinein2007,concluding“theworldmakesroomforbothmynovelandRobertThe’sgun-book.There’snoneedtochoosebetweenthetwo.”Theartisthasmadeothergun-books,includingonefromTheMediumistheMassagebyMarshallMcLuhanandQuentinFiore(p.164).
VGuyLaraméeusingasandblastingcabinettocontainthedust.
VIJeremyMay’ssanderbitsforhisrotarytool.
VIILisaKokin’ssewingmachine.
Moreandmoreartgallerieshavebeguntoshowalteredbooks.Onegalleristwhohasfeaturedtheseworks,bothinanannualArtoftheBookexhibitionandintheoccasionalsoloshow,isDonnaSeagerofSeagerGrayGallery.Shefeelstheseworksevoke,firstandforemost,surprise—andthencuriosityanddelight.
Abookisahighlyfamiliarandbelovedform.Whenitisaltered,somanyassociationsarecalledintoplay,includingthedeeprelationshipwehavewithbooksingeneralandwithcertainbooksinparticularSomepeople’sinitialreactionishorrorattheeviscerationofasacredorpreciousobject,butthenthefertilefieldthatabookcanbeasmaterialforartbecomesevident.Contentandform—andourattitudesorperceptions—aremanipulatedatthesametime.Theworkengagesnotonlytheeye,butalsotheintellect,allowingforpowerfulcommentaryinconcertwithextraordinaryvisualappeal.
Inthesummerof2012,theChristopherHenryGalleryinNewYorkmountedaninternationalexhibitiontitledACutAbove:12PaperMasters.Fourartistswhoseworkappearsinthisbookwereincludedinthatshow:DougBeube,BrianDettmer,GuyLaramée,andPabloLehmann.Throughspendingtimewiththeirwork,co-curatorDianaEwerobservedthatbytransformingabookintoasculpture,theartistinasensepermitsthebookanalter-ego.
Theseartiststurnbooksintonewobjectswithintheirownright,2-Dand3-Dsculpturalworksthatevokeavisualpleasureandalsochallengeourownunderstandingofwhatabookhasbeenandwhatitshouldbe.Theartistsplayonourfamiliarexperienceofthebook,turningitonitsheadbycutting,sawing,shredding,andstitchingspecificbooksrememberedfromchildhoodassacredculturalartifacts!Weareengagingwithsomethingthatisintellectualandtoanextentpolitical.Theseartistsareagentsofchange,invitingustoconfrontandquestionhowweunderstandandprocessknowledge.Whilstwe
continuetoremainawareofbooks’originalpurpose—bookworkshaveanimmediatepoignancyastheInternetsurpassesprintedmaterialasourprimaryfocusforobtaininginformationand,formanypeople,seekingentertainment.
VIIIThomasAllen,processshot.
IXJenniferCollierfinishingapairofshoes.
X
XI
X,XIAnonymous,@edbookfest(6/10),2011.
ThiswasmadefortheEdinburghInternationalBookFestival.Really,isthereanythingnicerthanacupoftea,acake,andalazyafternoonwithabook?—Anonymous
XIIAnonymousatworkinherstudio.
Thisanthologyincludesananonymousartist,someonewhohaschosentoreceivenopersonalrecognitionorcompensationforthetenbookworksshemade(shehasrevealedherselftobefemale)andmysteriouslyleftatlibrariesandotherculturalcentersthroughoutEdinburghinthecourseof2011.Thepiecesshareasenseofcreativeabandonorfrenzyortatter—asiftheyhaveweatheredastormoratempestinaMadHatter’steapot.Theyhavebeenwidelyacclaimedinprint,andtheattentiontheygeneratedintheblogosphereisquitefitting,aseachpieceboreahandwrittengift-tagaddressedtothevenue’sTwittername.Theoutpouringofaestheticdelightandmoralsupportfromlibraryloversisafinetestimonialtothegrowingawarenessandappreciationofalteredbooksasanengagingwaytoillustratethewondersofreading.
ANATOMYOFANALTEREDBOOK.
Onewayofreflectingonthediversityoftheseartistsisbyconsideringwhichpartorpartsofabooktheyworkwith.ForphotographerThomasAllen,theproverbial“Don’tjudgeabookbyitscover”istheexactoppositeofhisapproach.Thefirstbookheeveraltered,attheageoffive,wasaBetterHomesandGardensstorybook,ontowhoseinsidebackcoverhetracedtheoutlineofhishand.Today,forty-someyearslater,Allenusesthefrontorbackcoversofbooks,andtheoccasionalinsidespread,ashisblankcanvas.Hespecializesinliberatingpeopleorthingsfromthecoversandlettingthemstanduporflyofforplaybasketballontheirown.InRhyme&Reason,inspiredbyNortonJustersThePhantomTollbooth,Allenusesaperfectpairofwell-wornbooks(p.32).Hecutstwocharacters,whostepoutgracefullyfromtheircovers,elegantskirtsflowing.(Theywouldbethebestofbookends.)
XIIIThomasAllenpreparestophotographKingAzaz,theUnabridged(RulerofDictionopolis),cutfromthefrontcoverofavintageWebster’sNewPracticalSchoolDictionary.
MikeStilkeyalsospecializesinalteringcovers,butcollectivelyratherthanindividually.Hearrangesashelforstackorwallofbooks,andthenpaintsasceneorportraitoverthespines.Thesamebroodingblack-cladcoupleappearsinseveralworks,alwayslookingBohemianandbookish.InLoversAllUntrue,abook’soriginalcoverbecomesacarpet,atopwhichaneatlydressedhorse-manplaysagreenaccordionthatmatchesthechairhe’sstandingon,hismanedisappearingintothebackcoverofabookaboutAbrahamLincoln(p.147).
InherseriesStillStanding,VitaWellsturnsbookspinesintoskeletalspines.Shearrangesthembycolorintotoweringcolumns:shadesofred,gradationsofblue,acontinuumofneutrals.Eachcolumnisstackedonawoodandmetal“shoe.”Thevolumeshavebeensandedconvexly,sotheircontentsarebulgingout.Usually,hintsoftextarevisiblealongtheedges,andtheinkpatternswithcreamborderssuggestprintedtextiles,anotherofWells’sinterests.InoneoftheninefiguresconstitutingStillStanding,theartistpresentswordmarks(logosortrademarksmadefromletters)fromdecadespastofpublisherswhoarethemselvesstillstanding(p.166).
Analteredbookcanstilllooklikeabookevenifmuchofitscontenthasbeenremoved.Themissing—ortheremaining—contentsuggestsanewnarrative,onethatmayeitherreplaceorreinforcethewriter’soriginalintent.
Insomeofherpieces,NorikoAmbefocusesheralterationsonthe“interiorgeography,”arecurrentnotioninherwork.ForToPerfectLovers:TelixGonzalez-Torres,theartisthasmeticulouslycarvedtwocopiesofthesamebook,enticingtheviewertotrytofindthedifferences(p.40).Ambe’stinycircularcutsarelightandlacy,evocativeofacrocheteddoilyoramillefioripaperweight,butthetextthatremainsonthepagesuggestsadifferentscenario.Itpresentstwo1996entriesfromachronologydocumentingtheAIDSepidemic:thefirstoneannouncingthedeathofFelixGonzalez-TorresinMiami;thesecondabreakthroughinproteaseinhibitors.Withinthiscontext,thenonidenticalcutsrevealmutatingcellsunderamicroscope,orevenacraterofdespair.Butifwecouldonlyclosethebook,everythingwouldseemfine.
JeremyMayisalandscapearchitectturnedjeweler.Hetransformsvintagebooksintojewelryboxestoholdtherings,pendants,andbraceletsthathemakesbylaminatinghundredsoflittlesheetsofpapertogether—littlesheetsthathehascarefullycutoutofthebookinquestion.Thefirstpiecehemade,backin2007,wasaringforhiswifefortheirfirstanniversary,thepaperanniversary.IttookMayalmosttwoyearsofexperimentingtoperfecthis
secretlaminatingtechniquebeforegoingpublicasLittleflyin2009.Worksoffiction,nonfiction,andpoetryareallsuitable,aslongasthebookisthickenoughtoallowMaytocarvearecessforthefinishedpiece.
XIVJeremyMay’sstudio:bespokeringmadefromTheCollectedPoemsofW.B.Yeats,inspiredbythepoemTheSongofWanderingAengus.
Theoriginalbookstructurecanalsobecomeawindow,aframe,orastage.Someartistsstartbycuttingthecoverandthenworkingtheirwayin.Infact,JamesAllendescribeshisworksasBookExcavations.Hecutsintothecoverofvintagebooksandcarefullydelvesdown,onepageatatime.Ashegoesmoredeeply,Allenreinterpretsthebook’ssubjectbyselectingelementsforhisownvisualnarrative.Whatwasoriginallylinearorsequentialisnowlayeredandsimultaneous.InDresses,2010,heexcavateselaboratelyattiredladiesfromcenturiespast,allwithelaboratecoiffuresorheaddresses(p.24).Hisselectivehistoryofwomen’sfashionat-a-glanceleadstheimaginativeviewertofantasizeaboutthesurrealteapartyorliterarysalonatwhichtheseladiesfoundthemselvesjuxtaposed.
XVJeremyMay,Serialno.045—DieSchonheitdesWeiblichenKorpers,2009.Bookpageswithblack,red,andpurplepaper.(DieSchonheitdesWeiblichenKorpersbyC.H.Stratz)
“Criminalityandinsanityareplantswhichspringupfromthesamesoilofphysicalandmentaldegeneration.”
Gray’sAnatomyhasinspiredseveralartists,withitsmyriadofillus-xvtrationsanditspotentialforwordplay.ForDouble-sidedGray’s,JuliaStrandperformsanintricatedissectionoftheclassicanatomytext,cuttingthroughboththefrontandbackcoverstoexposeskeletalelements,organs,andother
bodyparts—allofwhichappeartobefloatingindependently(p.156).SeveralofStrand’sotherworksinvolvecutoutsofbutterflies,aperfectdoublemetamorphosis.
NicholasJonessometimesusesgraphicelementsonacoverashispointofdeparture.Inotherworks,hecutsthecovertocreateasilhouetteorashoreline.ForGedichte,theartistgentlyreconfiguresavintagevolumeofpoetry(p.90).Hisfoldsarecrisp,precise,andfromthedeliberationemergesanewlyricalform.Thepoemsaresuspendedinmidair,likeapirouettingskirtinslowmotion.Thewordswecannotreadcastapetaledorplumagedshadowontheendpapers.
XVIAriánDylan,Autorretratogritando(Self-PortraitScreaming),2010.Trimmedbook(laserandhand).Notethepairofsymmetricalsilhouettescreatedbythebackground.
XVIIKylieStillman,CommonOak,2007.
KylieStillmanoftenusestheforeedgeofbooks—thepartthatfacesinwardwhenabookisshelved—asherpointofentry.Shesecuresastackofbookstocreatehercuttingblock,andthencarvesoutabird,abranch,oraflowerinapot.Thecontrastoffieldbetweentheplantanditscontainercanbehypnotic.InHangingBasket—FishboneFern,thepothangsonitsthreestrandsofchainfromatrompel’oeilhookStillmanhascarvedintotheuppermosttwovolumesinatallstack(p.151).
Someartistsspecializeinflippingbooksinsideout,whichcanturnthepagesintoacylinder.Byfoldingeachsuccessivepageinonitselfinexactlythesameway,YvetteHawkinscreatesjewel-likelittlesculptures.InherinstallationAioLandinParticular,2010,shearrangeshundredsofcylindersintoadenselandscapeoforderlytreestumps,orperhapstheyarenewshoots,whichthenstartclimbingupthegallerywall,formingaDNAchainofliterarycreation(p.80).
AriánDylansculptstheedgesofpaperbacksandthenturnstheminsideouttocreateformsthatlooklikesmoothlittleorbsorornamentsorfruits.Whenhungtogether,theysuggestagalaxyorasucculentgarden.DylanusesthesametechniqueinTheOrderandtheChaos,afullsetofchesspiecesonaboard(p.79).
Otherartistsalterbookstoapointwherethepagestakeonalifeoftheirown,assculpturalobjectsthataremorelikefireworks,exoticflora,oretherealcreatures.Giventhatthebasematerialisusuallyadamagedordiscardedbook,thetransformationisasdramaticasthatofanuglyducklingintoaswan,orevenafrogintoaprince.CaraBarerenticesbookpagestobehavelikevibrant,flowingfabricandthensuspendstheminmid-maneuver.Theyarecrimped,undulated,curled,andscrolled—andtheyseemtodefygravity.Themosthumbledirectorycanbecomearesplendentbutterflyorawhirlingdervish.Colorededgesmakethemseemliketheyaredressedupforaperformance,thoughsomeofBarer’spiecessuggestthatthedancemightbeover.Barerphotographsherworks,whichmeansthattheviewercannotwalkaroundthem,buttheartistpresentstheperfectangle.
JacquelineRushLeereformatsbooksintopetals,leaves,andexoticflorathatshowcasethesymmetryofnature.Theartistspiralsdirectoriesintoacrosssectionofalogoraplantstem—fromwhichtheyoriginallycame—oranaerialviewofanisland.Insomeworks,pageshavegentlyrolledinonthemselves;inothers,theyundulateinaninvisiblecrosscurrent.
Referencebooksareabrilliantrawmaterialforworksexploringhowwe
obtain,preserve,andshareinformation.Frequently,thetitlesoftheseworksreinforcethetheme.Inmanyofhispieces,DougBeubereflectsonthewaysinwhichlanguageisusedtohideorrevealintentions.Hehascreatedaseriesofmasks,eachcarvedonabandsawfromanentiredictionary,usingastencilhehasmadeinadvance.Thesuccessofthecutisnotagiven,whichiswhyBeubekeepsplentyofdictionariesonhand.Oncecut,thebookisliterallyturnedinsideouttogettheconfiguration.ForMaskedWords,2011,Beubemadeahairpieceoutofanotherbook,slicingitintostrandsonaguillotinecutter,thencollectingthestrandsintoabundle.WhenBeubeexhibitsapairofmaskstogether,onlyonewearsahairpiece—andit’snotgender-specific.Thehairpieceisremovableand,intheory,interchangeable,whichmighthintathoweasyitistotalkoffthetopofyourhead(p.55).
XVIIICaraBarer,Shiitake,2007.Archivalpigmentprintonragpaper.(Who’sWho,2003)
LisaKokinhasrecentlyturnedherattentiontoself-helpbooks.Sometimes,shecutsthecoversupandstitchesthemintoleavesandpetals.Kokin’sparentswereupholsterers,andsheishandywithasewingmachine.She’salsotakentoreducingbooksbacktotheirrawform,whichistosaypaperpulp.Kokincompactsthepulpintostonesorballsornuggetsandusuallyconfiguresthemwithabookthatisstillwhole.Somehighlycondensedinformation—oreven
elementalgraymatter—seemstobeoozingoutofTheTamousRothMemoryCourse,suggestingthatthereader’sstreamofconsciousnesscanindeedoverflowitsbanks(p.101).
XIXMikeStilkey,TimeandTimeAgain,2010.Acryliconbooks.ExhibitedatBristolCityMuseum,Bristol,UnitedKingdom.
XXPabloLehmann,GameText1,2006(detail).CansonpaperprintedwithanexcerptfromImagesandWordsbyHoracioZabalaandcutoutwithtextfromthesametitle.
AlexQueralandGuyLaraméebothuseabookasablockofmaterial,buttheirsourcebooksare“informationopposites.”Queralusesdiscardedphonebooks,whichareultra-disposable,evenephemeral.Hecarvesreliefportraitsoutofthem,transformingthousandsandthousandsofanonymouslistingsintoasingle,highlyrecognizableface,withfeaturesenhancedbytheuseofshadow.Laraméeusesverysubstantialoldreferencebooks,especiallydictionaries,tocarvescenesoutofthetops.Hismore-or-lessgreenlandscapesoffermountain
meadowsandpeaks,sometimeswithatinyshelterorrefuge.Laraméehasalsoexpressedtheimpactofavolcanooratsunamiinhisalteredbooks,reflectingchangesinthenaturalandtheintellectualclimates.
PamelaPaulsrudusesoldbooksaselementsinhermixed-mediasculptures,oftenaddingherowncalligraphy,drawing,orpaintingrightonthecover,orontoaseparatepanelthatsheattaches.Bitsofothertextsorephemerafindtheirwayintohercompositions,sometimesvisiblethroughalittlewindow.Paulsrudoccasionallymountsapieceonacaster,suggestingthatitisheadedsomewhere—likeabookmobile.
Someartistsworkwithindividualpagesremovedfromabook,andthepagemayormaynotremainreadableinitsnewincarnation.SusanPorteoustakesbookscompletelyapartandconvertstheircontentintopartofasculpturethatfrequentlyincludeswoodorstone.Inoneseries,shetwistspagesintopapertwineandwindsitaroundanoldspool.Shemightbespinninganewyarn,ortwistingtheoriginalmeaning,orsimplylosingthethreadofherstory.InBridgeComplete,foldedpagesarecompressedtoformasuspensionbridgebetweentworocks,overlookinganinformationgap,orevenanabyss(p.127).
JenniferColliertakesbooksapartandthenstitchesselectedpagestogetherassomethingaltogetherdifferent.There’smethodinherwhimsy:foreachcreation,Collierusesabookthatcorrespondstothefinishedpiece,frequentlyanitemofclothingorakitchenaccessory.AvintagetypingmanualprovidesallthepartsforherPaperTypewriter(p.68).Collier’splatenismadefromillustrationsofpropertypingposture;typicaltypingexercisesoftheirdayformtheoutsideofthemachine.ReadersallovertheworldhavenotedCollier’sblack-and-whitepaperdress,withredpapershoes,onthecoverofTheThoughtfulDresserbyLindaGrant.
XXIVitaWells,FlightsofMind,2012(detail).Books,filament.InstallationatOakopolisGallery,Oakland,California.
XXIIGeorgiaRussell,LesParavents,2011,aplaybyJeanGenet.Cutbookjacketinacryliccase.ParaventsisFrenchforscreens.
GeorgiaRussellcutspagesintoplumageortendrilsorveins.Insomeworks,thefeathersorshardspushtheirwayoutfrombehindtheiroriginalbeautifulcover.Inothers,Russellcutsthecoverinawaythatunderscoresthesubject;sometimesonlythetitleremainsintactastherestofthecovermeltsorflowsaway.WhenRussellmountsapieceinanacryliccaseorglassbelljar,it’sasifshehastaxidermiedanexoticbirdorpreservedanotherfragilespecies.
It’spossibletosendameaningfulandengagingmessagebycuttingindividuallettersoutof,orinto,atext.PabloLehmannspecializesinindividualletterforms,cuttinganewtext,oneletteratatime,outofanother.Insomeworks,thecharactersareinstantlyidentifiable,thoughthewordsorsentencesmayremaindisjointed.Inotherworks,theartistseemstobewritingamessageinapersonalalphabetofscript-likeswooshes.Sometimes,theoriginalpageisstillreadablearoundorbehindLehmann’stext;othertimes,severallayersoverlap,likeasuccessionofgossamercurtainsthroughwhichwecanvaguelysenseashadowyform.
SuBlackwell’scuttingworkisdelicateinadifferentwayfromPabloLehmann’s.Blackwellisknownforbooktableauxthatbringtolifeascenefromafairytaleorfolkstory.Alandscapeoftrees,alittledwelling,perhapssomebirds,andmaybeevenaninstantlyrecognizableheroine,allriseupoffthepage.Snippetsofwordsmayshiverinanimaginarybreezeorfloatintothinairorevenbesweptawaybyatinybroom.
JenniferKhoshbinalsouseschildren’sbooks,orotherbooksontowhichsheplaceschildren;sometimesthesefiguresgettoplaylikechildrenandsometimestheydonot.Khoshbincutssmallpreciselyplacedconcentriccirclesintoabook,taperingdowntoasinglewordatthebottom:faceorrescueorlife.InLook,onaslightlyspookynight,threeyoungboysclamberofftheirendpaper,boundforoneofKhoshbin’sholes(p.93).Downtheygo,andwewillneverknowwhathappensnext.
RobertThefrequentlyseemstorevelintheinterplayofpositiveandnegativespace.Cuttinganobjectoutoftheentirethicknessofabook,hecreatesatwo-partpuzzlethatismysteriouslyhumorousorthought-provoking,especiallywhenTheshowsusthebookfromwhichabigbugorcrustaceanhasliberateditself.InhisTractatusseries,Thehascutalargeoakleafthroughaweatheredvolume,TractatusLogicoPhilosophicusbyLudwigWittgenstein.Hescatterstheleavesintheforest,wheretheyseemrightathome(pp.160–161).
BrianDettmerrarelyconfineshimselftoonebookatatime.Encyclopediasetsandmultivolumedictionariesfrequentlycomeunderhisknife,asheexcavatesimagesbyexcisingthesurroundingpartsofeachoriginalpage.ICouldTellYouiscomposedofbooksfromadifferentgenre:fifty-threepaperbackmysteries,combinedandsandedtocreateonelargebeamofinformation(p.74).Dettmerhascarvedtheopen-endedphrase“IcouldtellyoubutthenI’dhaveto”intothesmoothsurface.Eachcutawayletterrevealshundredsofindividualwordsfromtheunderlyingbooks,exposingtheinnersecretsofthemysteries,butinafragmentedway.Bitsofrevealedwordsaroundthemaintextsuggestbitsofdataorthepunch-cardsystemofearlycomputing.Foreboding,aswellasbeauty,isintheeyeofthebeholder.
Theworksoftheartistsinthisanthologyhavebeenseen,andwillcontinuetobeseen,ingalleriesandmuseumsaroundtheworld.ThankstotheInternet,manyofthemarealsoviewableontheartists’ownwebsites.Someofthepeoplewholookatthemmaydosowithnostalgiafortheoriginalbooks’earlierlives.Othersmayhavehadlittleuseforthemasbooks.Peopleonbothsidesofthe“margin”canbeengaged,touched,andeveninspiredbythemasart.It’sexcitingtothinkabout.
XXIIIBookfragmentsinAnonymous’sstudio.
JAMESALLEN
Onepageatatime,JAMESALLENcutshiswaythroughbooks.Hebeginsbycreatinganopeninginthecover;hethenusesareductiveprocesstoshapeelaboratescenes,cuttingawaysectionsofeachpagetoreveallayersunderneath.Thebookremainsboundandthepagesintact.Byselectivelykeepingfragmentsofimagesandwords,Allen’sBookExcavationscometogetherasthecontentemerges.Allenconsidersbothnarrativeandcompositionaldynamicsofeachbooktoformhiscondensedreinterpretations.Indoingso,hedestroystheoriginalintentofthebookandcreatesanew,visualmeditationonitssubject.
IDresses,2010.(HistoricCostumeinPictures)
IITheArmyofNervesWhichGototheBrain,2011.(Everybody’sEncyclopedia)
IIISkulduggery,2012.(75YearsofDCComics:TheArtofModernMythmaking)
IVSkulduggery2012(detail).(75YearsofDCComics:TheArtofModernMythmaking)
VPatternDreaming,2009.(Machines)
VIProperTreatment,2009.(AmericanRedCrossFirstAidTextbookforBellTelephoneEmployees)
THOMASALLEN
THOMASALLENhasbeenalteringandphotographingbooksfromavarietyofgenres,includingprimaryreaders,dictionaries,andpulpnovels,fortwentyyears.In2011,AllenwasaskedtocreateaseriesofuniqueworksofartforprominentpublicspaceswithintheCharlotteR.BloombergChildren’sCenteratTheJohnsHopkinsHospitalinBaltimore,Maryland.HechoseStuartLittlebyE.B.White,TitePhantomTollboothbyNortonJuster,andHoops,ayoungadultnovelbyWalterDeanMyers.Foreachbook,Alencarvedsilhouettesonthecoversandpagesandthenphotographedtheworksfordisplay;inthecaseofTitePhantomTollbooth,Allenselecteddifferenttitlesthatevokeaspectsofthecharactersdepicted.
I
II
I,IIStuartLittle,2011.
AweatheredanddiscardedcopyofE.B.White’sclassic,StuartLittle,wasgentlymanipulatedtomakebigpicturesofalittlemouse.
III
IIIThePhantomTollbooth,2011.
InspiredbyidiomsfoundinThePhantomTollboothbyNortonJuster,referencebooksbecomesomeofthecharacters:RhymeandReason,KingAzaz,TheMathemagician,Tock.
IV
V
VI
VII
VIII
IX
IV-IXHoops,2011.
CharactersfromWalterDeanMyers’snovelaboutinnercityteensappearassilhouettesinthecoversofsixcopiestorevealpositivemessageswithwordsshapedbynegativespace.
NORIKOAMBE
ForNORIKOAMBE,cuttingbooksisacollaborationbetweentheartistandtheimagesortextalreadyonthepage’ssurface.Recognizingthatprintedmatterconveysaspecificmessage,shechooseshermaterialscarefully.Justasthestructureofthebookstraddlesthelinebetweentwoandthreedimensions,Ambecreatesworkthathoversbetweendrawingandsculpture.Hercuttingplaysagainstthepresetpatterns,andeventhoughthephysicalactionissimple,shedoesn’ttrytoperfectthelinesinherwork.Intheartist’swords,“Subtleandnaturaldistortionsconveythenuancesofhumanemotions,habits,orbiorhythms.”Forthisreason,Ambemeticulouslymakesallherworksbyhand.
I —ArtistBooks,Linear-ActionsCuttingProject,2010.InstallationviewatTheFLAGArtFoundation,NewYork.
IICuttingBookSerieswithEdRuscha:ArtistsWhoMakePieces,ArtistsWhoDoBooks,2008.(BookbyEdRuscha)
IIIArtVictims:DamienHirst,2009.(CatalogueofDamienHirst)
IVFlatGlobe“Atlas,”2006.
VToPerfectLovers:FelixGonzalez-Torres,2010.
VITheSand–TheAmericans:RobertFrank,2011.Book,Plexiglas.
ANONYMOUS
Overthecourseofeightmonths,fromMarchtoNovemberof2011,tensmallbooksculpturesbearingtags“Insupportoflibraries,books,words,andideas”weresmuggledintovariousculturalvenuesaroundEdinburgh.AlthoughtheartisthasremainedANONYMOUS,thebeautyofboththeworkandthemysterysurroundingithasgainedrenown.Whiletheindividualsculpturesaremadefromoldpaperandbooks,theprojectisinterwovenwithnewtechnology,witheachgiftaddressedtothevenue’sTwittername.
TheonlybooksusedthatwerewrittenbyalivingauthorwereExitMusicandHideandSeek,bothbyEdinburgh’sIanRankin.Inwhatseemedonlyafairexchange,sculpture11/10,@beathhigh,wasthesingleworknotgiftedtoaninstitutionbuttoIanwho,accordingtotheartist,isarguablyaninstitution.
ChrisScott,whobecamechiefrecorder,photographedandbloggedeachsculptureasitappeared,providingthestorywithanonlinehome.Hebecameavitalcollaborator,althoughheandtheartisthavenevermet.
I@byleaveswelive(1/10),2011.
PopularlycalledThePoetreeandinspiredbyTheScottishPoetryLibrary’stagline“byleaveswelive.”ThepoeminsidetheeggshellisEdwinMorgan’sATraceofWings,lamentingthelossofhisfriendBasil
Bunting,“ararebird.”
II@filmhouse(3/10),2011.
AsculpturewasleftatEdinburgh’sFilmhousetocelebrateagreatvenue,invaluabletothosewhoalsoenjoytheirbooksonthebigscreen.
III@curatoremg(8/10),2011.
TheWritersMuseumpaystributetoEdinburgh’sliteraryheritage.Inthissculpture,“Dr.JekyllandMr.Hyde”iscraftedfromIanRankin’snovelHideandSeek,andtwoofEdinburgh’sliterarysonsaregivinga
nodtoeachother.
IV@ntlmuseumsscot(9/10),2011.
ItwouldbewrongofmetotakecreditfortheideaofplacingArthurConanDoyle’sTheLostWorld,completewithaT.rex,intoEdinburgh’sNationalMuseum.ThisIthinkcamefromphotographerChrisScott.Itworkedwell.Dinosaursarecool,andmuseums,likelibraries,arefree,fascinating,andbeyond
value.
V
VI
V,VI@beathhigh(11/10),2011.
Thiswasmadefor@beathhigh(IanRankin)tomarkthepublicationofTheImpossibleDead,andasathankyouforhissupportthroughouttheproject.ViaTwitter,hewasinontheideafromthebeginning
andservedasasoundingboardthroughout.
CARABARER
CARABARERblursthelinebetweenobject,sculpture,andphotography.Shefirstfindsdiscardedorobsoletebooks,andbyusingwaterandvariousclamps,string,staples,andglue,transformsthemintosculpture.Shethenphotographsthem,capturingtheextraordinarygraceandbeautyoftheiralteredform.Barer’ssculpturesandtheiraccompanyingphotographsarealamentforeraspastwhenbookswereconsideredmuchmorevaluableandapathtoknowledge.Asbooksarebecomingincreasinglydisposable,replacedbytheInternetasaprimarysourceofinformation,Barerhopestoraisequestionsaboutthesechanges,aboutthetransientandfragilenatureinwhichwenowchoosetoobtainknowledge,andaboutthefutureofbooks.
IElegy,2011.Archivalpigmentprintonragpaper.(Enigmahardbacknovel)
IICorset,2007.Archivalpigmentprintonragpaper.(NortonAnthology)
IIILeap,2004.Archivalpigmentprintonragpaper.(Photoshop5computermanual)
IVFashion,2011.Archivalpigmentprintonragpaper.(BookongraphicsinJapanesefashion)
VExplorer,2011.Archivalpigmentprintonragpaper.(TheUltimateRoadAtlas)
VICarmen,2007.Archivalpigmentprintonragpaper.(HoustonYellowPages)
VIIBundle,2010.Archivalpigmentprintonragpaper.(TexasA&MDirectory)
DOUGBEUBE
DOUGBEUBEbeganalteringthebook’sstructurein1979,pushingitsphysicalpropertiesbycutting,folding,gouging,piercing,andslashing.Eversince,Beubehasexcavatedfoundbooksasiftheywereundiscoveredarcheologicalsites.Thecodexmaybeanoutdatedtechnologyinadigitalage,butitisthetransformationfromanalogprinttoelectronictypethatinspiresBeubetomorphsuchantiquatedrecordingdevicesofinformationandknowledgeintovisuallymeaningfulobjects.Theviewerengageswiththerecontextualizedobject,whichmightotherwisehavegoneunnoticedinitscustomarysetting,andparticipatesinitstransformationthroughacritiqueof,ordialoguewith,themethodstheartistusestomodifythebookwork.
ICity,1990/2002.Alteredbooks.
IIMaskedWords,2011(shownwithandwithoutheadpiece).Altereddictionary,wood,metal,marble.
IIIDisaster:Twisters:TwistedBorough,2009.Yellowphonebookpages.
IVRuffledCollar,2004.AlteredFrenchtoEnglishdictionary.
VVestofKnowledge,2008.Alteredencyclopedia,fabric,vinyl,wire,metal,wax.
VITheManyLivesofMissChatelaine,2008.Alteredbooks,collage,sculpture,acrylic,ink,thread,paper,zippers.
SUBLACKWELL
SUBLACKWELLfindsinspirationforherenchantingbooksculpturesintherealmoffairytalesandfolklore.Hertableauxtendtofeatureyounggirlswhoinhabithaunting,fragilesettingsthatconveythevulnerability,anxiety,andwonderofchildhood.ThereisaquietmelancholyinBlackwell’swork,depictedinherchoiceofmaterialsandsubtlecolor.Shereadseachstoryfirst,andherfinaldesignisintimatelytiedtothetale.Herworksarereminiscentofbelovedchildren’spopupbooksandmake-believeworlds.ForBlackwell,whohasalwayslovedtheideaofescapingintoagoodstory,books“cantransportyoutoadifferenttimeandplace,andsomewheremoremagical.”
IPandoraOpeningBox,2009.Secondhandbook,lights,glass,woodbox.
IITheLastUnicorn,2012.Secondhandbook,lights,glass,woodbox.
IIITheSnowQueen,2008.Secondhandbook,lights,glass,woodbox.
IVAlice:AMadTeaParty,2007.Deconstructedbookinabox.
VRedRidingHood,2010.Secondhandbook,lights,glass,woodbox.
VI
VII
VI,VIITheBaronintheTrees,2011.Secondhandbook,lights,glass,woodbox.
JENNIFERCOLLIER
JENNIFERCOLLIER’spracticefocusesoncreatingworkfrompaper—pagesfrombookssuchasnurseryrhymes,cookbooks,andchildren’sstorieswithdelightfulimagery.Scouringfleamarketsandcharityshops,Collierfindssourcematerialandthenexploreswaystotransformit,givingnewlifetothingsthatotherwisewouldgounlovedorbethrownaway.Booksserveasbothinspirationandthemediaforherwork,withthenarrativeonthepagessuggestingthefinalform.Withtechniquesofbonding,waxing,andtrapping,Collierproducesunusual“fabrics”thatshethenusestoremakeeverydayhouseholdobjects.Shetreatsthepapersasiftheywerecloth,stitchingwiththreadtocreateacontemporarytwistontraditionaltextiles.
ICookBookBalletSlippers,2012.Vintagecookbookpages,ribbons,buttons,hand-stitching.
IICurleyLocksGloves,2011.Vintagenurseryrhymebookpages,wax,buttons,machinestitching.
IIILadybirdBookBabyShoes,2012.VintageLadybirdbookpages,mouldingmedium,machinestitching.
IVSuper8Camera,2011.Vintagetheaterprograms,grayboard,machinestitching.
VPaperTypewriter,2011.Vintagetypewritermanualpages,grayboard,machinestitching.
VINurseryRhymeKnifeSet,2011.Vintagenurseryrhymebookpages,wallpaper,grayboard,machinestitching.
BRIANDETTMER
Throughmeticulousexcavationandconcisealteration,BRIANDETTMEReditstraditionalfoundbooks.Hebeginsbysealingtheedges,creatinganenclosedvesselfullofunearthedpotential.Hecutsintothesurfaceofthebookanddissectsdown,workingwithknives,tweezers,andsurgicaltoolstocarveonepageatatime,exposingeachlayerwhilecuttingaroundtextandimagesofinterest.Nothinginsidethebooksisrelocatedorimplanted,onlyremoved.Imagesandideasarerevealedtoexposealternatehistoriesandmemories.Dettmerconsidershisworkacollaborationwiththeexistingmaterialanditspastcreators,andthecompletedpiecesrevealamediumtransformed,thecontentrecontextualized,whilenewmeaningsorinterpretationsemerge.
I
II
I,IISaturationWillResult,2011.Encyclopediaset,acrylicmedium,pedestal.
III
IV
III,IVAmericanPeoples,2011.Hardcoverbooks,acrylicmedium.
VAbsoluteAuthority,2011.Hardcoverbook,acrylicmedium.
VITowerofBabble,2011(detail).Paperbackbooks,acrylicmedium.
VII
VIII
VII,VIIIICouldTellYou,2011.Paperbackbooks,acrylicmedium.
IXTheMarchofDemocracy,2010.Hardcoverbooks,acrylicmedium.
ARIÁNDYLAN
MostofARIÁNDYLAN’screativeprocessisbasedonthediscursivenatureofbooks.Hiscarvedbooks,orCavidades(cavities),combinevisualandverballanguage,andplayupontheimagesandtextwithin.WithaprecisionbladeDylancutsintocoversandpages,creatingintricate,thought-provoking,andoftenwittyimagerythatisaproposofthebook’ssubjectmatter.ForDylan,thebookisavehicletootherworldswithanenigmaticpowertofreethereaderfromamoreinsularplace.Subtractingfromthebookallowshimtointerpretitscontentandproposenewmeaning,andinthecarvingouthecreatesaspaceforideastoinhabit.
IElinsólitopaisajemexicano,2011.Trimmedbook(laserandhand).
IISemillasdelibro(SeedBook),2012(detail).Trimmedbook(laserandhand).
IIIASimpleMonk,2008.Hand-trimmedbook.
IVTheRealEmerald,2008.Hand-trimmedbook.
VInquietuddeAlicia(Alice´sConcern),2009.Hand-trimmedbook.
VIPedroPáramo,2010.Hand-trimmedbook.
VIIElordenyelcaos,2010(detail).Trimmedbook(laserandhand),bindingmaterial.
YVETTEHAWKINS
YVETTEHAWKINSmakestactile,engaging,andtexturalsculpturesandinstallationsthatexploresuggestionandsecrecy.Herpracticeisconcernedwiththephysicalactsoflooking,reading,andlistening,andbooksandprintedephemeralendperfectlytothisend.Hawkinsworksinintricatedetailonalargescale.Shefolds,cuts,prints,andstitcheshundredsoftimesover,employingtraditionalcrafttechniquestocreateelaborateinstallationsthatfillwholerooms,spanceilingtofloor,andofferspacesforviewerstowalkthrough.Theresult:aworldinterwovenwithliteraryandphysicalillusion.Hersculpturesencourageviewerstobeconsciouslyawareoftheirsurroundingsbycontrollingandmanipulatingthewaythingscanbeseen,read,andheard.
I
II
I,IINoLandInParticular,2010.InstallationattheGlobeHub,UnitedKingdom,2010.
IIIAllTheBooksIHaveNeverFinished,2010.InstallationattheGalleryofWonder,UnitedKingdom,2010.
IVWallFlowerBookSculptures,2012.
VIAlltheBooksIHaveNeverFinished,2010(detail,studioview).
V
VII
V,VIINothingtoReadHere,2010.InstallationatKeelRowShoppingCentre,UnitedKingdom,2010.
NICHOLASJONES
Obsoletetextbooks,tatteredpulpfictions,anddisuseddictionariesareasourceofcreativeinspirationforsculptorNICHOLASJONES.Inmostcultures,booksarereveredasrepositoriesofstories,factualinformation,andimages.Jones’suseofbooksasthebasisofhisartshiftsour“reading”ofthesefamiliarobjectstoasculpturalidiomappreciatedforitsphysicalshapeandallusion.Astheraisond’etreofthebookhasbeenalteredandallfunctionalitylost,theviewerisabletoengagewiththeinherent“bookness”ofthebook.Cutting,tearing,sewing,andfoldingtheleavesofeachbookradicallyalterthemannerinwhichweengagewiththesevolumes.
ITheVictorianAustralian,2009.Cutnewspapers.
IIConciseAtlasoftheWorld,2012(detail).Cutbook.
IIITheBarberofSeville,2008.Cutbookwithsteelpins.
IVBookwormEnsconced,2008.Cutbookwithbookwormmadefromtornandsewnpaperonlinenthread.
VGreekArt,2007.Cutbook.
VIGedichte,2008.Foldedbook.
VIIAustralianYearBook1969,2010.Cutbook.
JENNIFERKHOSHBIN
JENNIFERKHOSHBIN’screationshaveanillustrativefeel.Usingbooksashercanvas,Khoshbincreatesanewnarrativebeyondwhatthetextfirstintended.Sheexplorestheideaofstory,fable,andtalewithinamodernaestheticthroughimagesthatincludechildren,astronomy,botany,andanimals.Shedesignsherworksinawaythatallowsonlookerstorealizethebook’smeaningfromadifferentpointofview.Sincetheencounterwithtexthasnowbecomemostlyanonlineexperience,Khoshbinisreimaginingthefutureofthebookitself.Talescometolifeinherextensivelaborofpapercuttings,drawings,andsculptures.
ITrue,2009.Paper,graphite.
IIJune1974,2008.Cutbook,paper,graphite.
IIILook,2009.Cutbook.
IVMaskedLeap,2009.Cutbook.
VSwingingMyWayBack,2009.Cutbook.
VIHoles,2009.Cutbook.
VIIProveIt,2009.Cutbook.
LISAKOKIN
LISAKOKINgrewupinahomewherebooksweretreatedasreverentialobjects,soitwaswithmuchtrepidationthatshetookherX-Actoknifetoabookovertwentyyearsago.Thefirstcutwasthehardest,butsincethenshehasbeenhappilyreassembling,chopping,shredding,pulping,de-spining,andotherwiseevisceratingbooksthatsherescuesfromthelandfill.HumorandacritiqueofthestatusquoarehallmarksofKokinswork.Mostrecentlyshehasturnedherattentiontoself-helpbooksinneedoftransformation;usingmostlythespinesandaddedthread,shereconfiguresthemintodeceptivelycheerfulpieces,whichonlyuponcloserinspectionrevealtheirmoreintrospectivesource.
IHowtoStopWorryingandStartLiving,2010.Self-helpbookspines,batting,thread,waxedlinen.
IIHowtoStopWorryingandStartLiving,2010(detail).Self-helpbookspines,batting,thread,waxedlinen.
IIITheBride’sDowry,2008.Shreddedandreassembledbookpages,PVAglue,acrylic,imitationsinew.
IVPanaceaPlus,2010.Self-helpbookspines,PVAglue,mull,thread.
VTheFamousRothMemoryCourse,2007.Pulpedandreassembledbookpages,PVAglue,wire.
VIFourBallsShort,2008.Shreddedandreassembledworldatlaspages,PVAglue,wire.
VIIHowtoBe,2010.Self-helpbookspines,PVAglue,wire,mull,thread.
VIIIMeSeeHowYouDoIt,2009.Bookfragments,waxedlinen,woodenspools,metalhinges.
IXHowtoBe,2010(detail).Self-helpbookspines,PVAglue,wire,mull,thread.
GUYLARAMÉE
ForGUYLARAMÉE,theerosionofcultures,andofcultureasawhole,isathemehehaswoventhroughhispracticesince1983.Movedbywhatheseesasthediminishingstateofbooksandlibraries,Laraméeoriginateshisworkfromtheideathatultimateknowledgecouldbeanerosioninsteadofanaccumulation.Hecarveslandscapesoutofbooks,andthemountainsofdisusedknowledgemetamorphosetomountains,hills,andfieldsofanotherkind,placesthatapparentlydonotsayanything,placesthatsimplyare.Laramée’sintentisthatthesesceneswillchallengeeverythingweknowandeverythingwethinkweare.
I
II
I,IIElamorporlasMontañanoscura,2012.CarvedLitrédictionary,inks,ribbon,littlebookcutout.
III
IV
III,IVLarousseméthodique,2011.CarvedLaroussedictionary,inks,bitumenofJudea.
VTheWeb,2012.Carveddictionary(Webster’sEncyclopedicUnabridgedDictionaryoftheEnglishLanguage),inks,paint(covers),copperholder,bitumenofJudea.
VIPrajnaParamita,2011.Carvedartistbook(1,000copiesofaBuddhistSutra,boundbythemasterbinderClémentPoirier,coveredwithlinenandembossedwithgold).
VIIStupa,2012.CarvedTibetan-Chinesedictionary.
PABLOLEHMANN
Bytranscribingtextandcuttingpages,PABLOLEHMANNreconstructsbookstocreatemesmerizingformsthatoftenresemblenets,lace,orlabyrinthinewebsofwords.ForLehmann,cuttingpapersisawayofwriting,ofcreatingspaces,andoftransfiguringtextsintosingleobjects.Eachpage,eachdisjointedbook,enableshimtoargueapersonalpointofview;aboveall,itisaplacewherethereaderiscommittedtoinventingnewpathsofcomprehensionfromeachcuttext.Inthissense,wordsarenotjustvehiclesofmeaningbutalsoshapes;theyaremysteriouswebsthateveryonecaninterpretandread,usingtheirmostintimatecodesandtheirmostsecretdesires.
IReadingandInterpretationVIII,2009.PhotographicprintcutoutwithtextfromTheConceptof“text”byPabloLehmannoverTheGardenofForkingPathsbyJorgeLuisBorges.
IICut-outscreen1,2006(detail).CansonpaperprintedwithanexcerptfromSignatureEventContextbyJacquesDerridaandcutoutwithtextfromthesametitle.
IIIBaroqueVowel(E),2010.Photographicprintofbookfragments,cutoutwithtextfromVariationsonWritingbyRolandBarthes.
IVNakedBook,2007.PapercutoutwithtextfromVariationsonWritingbyRolandBarthes.
VIncompossibleText1,2006.CutoutpagesfromEdipoandLimitsbyJorgeLuisBorgesandDonQuijotedelaManchabyMigueldeCervantes.
VITheScribe’sHouse(theroom),2010.Lamdaprint,editionoffive,ofaninstallationatscale1:1madeofbookfragments.
VIITheScribe’sHouse(thedesk),2011.Lamdaprint,editionoffive,ofaninstallationatscale1:1madeofbookfragments.
VIIIThesaurus,2011.PapercutoutwithtextfromTheUnconsciousbySigmundFreud.
JEREMYMAY
JEREMYMAYtransformsbooksintojewelry,orwearable“narratives,”ofexquisitebeauty.Hisprocessismethodical:afterreadingthebook,heselectsadistinctivequotethatinspiresthedesignofthepiece;hethenremovesaselectionofpages,laminatingwithadditionalrecycledcoloredpaperandthenpolishingthemtoahighgloss.Textandimageextendthroughtheobjectbutareonlyexposedatthesurfaces,affordingatantalizingglimpseofthenarrativewithin.Whennotworn,thejewelnestsinthebook’sexcavatedspace,returnedtoitsoriginalcontext.Eachpieceisoneofakindandcarriesaserialnumber.
ISerialno.070—LesÉtapesdeMadeleine,2009.Bookpageswithgreen,brown,anddarkredpaper.(LesÉtapesdeMadeleinebyJoséphineColomb)“Levaitlesyeuxaucieletjoignaitles
mainspouruneprièred’actionsdegrâces.”
IISerialno.172—Bis(s)zumMorgengrauen,2011.Bookpageswithred,brown,green,andgraypaper.(TwilightbyStephenieMeyer)“Ilikethenight.Withoutthedark,we’dneverseethestars.”
IIISerialno.136—GeekLove,2011.Bookpageswithdarkgreen,burgundy,andbluepaper.(GeekLovebyKatherineDunn)“Itmaybethattheimpressionsofherinfancyarecaught
somehowinthepulpofhereyes,luringher.Ortheremaybesomehookedstructureinhercellsthattwistshertowardallthattheworldcallsfreakish.”
IVSerialno.028—VanityFair,2009.Bookpageswithorangepaper.(VanityFairbyWilliamMakepeaceThackeray)“Butthetruthis,neitherbeautynorfashioncouldconquerhim.Our
honestfriendhadbutoneideaofawomaninhishead.”
VSerialno.141—Flowers,2011.Bookpageswithblackanddarkbluepaper.(FlowersbyJanetHarveyKelman,C.E.Smith)“Whentheflowersarewitheredtheyarefollowedbygroupsof
beautifuldarkredberries.”
VISerialno.205—TheEverglades,RiverofGrass,2011.Bookpageswithblue,green,lightbrown,anddarkgraypaper.(TheEverglades:RiverofGrassbyMarjoryStonemanDouglas)
“Themiracleoflightpoursoverthegreenandbrownexpanseofsawgrassandofwater,shiningandslowlymoving,thegrassandwaterthatisthemeaningandthecentralfactoftheEverglades.
Itisariverofgrass.”
VIISerialno.140—LadyChatterley’sLover,2011.Bookpageswithred,pink,darkblue,andblackpaper.(LadyChatterley’sLoverbyD.H.Lawrence)“Allthelowerwoodwasinshadow,almostdarkness.Yettheskyoverheadwascrystal.Butitshedhardlyanylight.Hecamethroughthe
lowershadowtowardsher,hisfaceliftedlikeapaleblotch.”
VIIISerialno.161/1—ToKillaMockingbird,2011.Bookpageswithred,green,anddarkbluepaper.(ToKillaMockingbirdbyHarperLee)“I’dratheryoushootattincansinthebackyard,butIknowyou’llgoafterbirds.Shootallthebluejaysyouwant,ifyoucanhit’em,butrememberit’sa
sintokillamockingbird.”
PAMELAPAULSRUD
Thetactile,resonant,andcommunicativequalitiesthatbooksofferintheirtraditionalrolearethesamequalitiesthatattractPAMELAPAULSRUDtousebooksinhersculpturalwork.Inspiredbynature,language,dreams,andthosequietspaces,Paulsrudfindsthebooktheperfectsourcewithwhichtoexploreanewlanguage,anewperspective,andanewwaytotellastory.Aswithbooks,wherethemessageandstoryhiddenwithinonlyunfoldwhenonetakesthequiettime,space,andattentiontobewithit,Paulsrud’ssculpturalworksofferanewandenchantingrelationshipbetweentheviewer,theartist,andtheobject.
IBibliophilism,2006.Alteredbooks.
IITouchstones,1997–present.Alteredbooks.
IIIGenerationalIntegrity,fromtheseriesDreamPalimpsest,2008.Alteredbook,acrylic,plaster,Sumiink,stone,hardware,wire,photo,encaustic.
IVElaborateScheme,fromtheseriesDreamPalimpsest,2009.Alteredbook,acrylic,plaster,Sumiink,Xeroxtransfers,stick,stones,hardware,encaustic.
VAWP,fromtheseriesDreamPalimpsest,2009.Alteredbook,acrylic,plaster,Sumiink,Xeroxtransfers,hardware,encaustic.
VI
VII
VI,VIITheCompleatEnchanter,fromtheseriesDreamPalimpsest,2009.Alteredbook,acrylic,Sumiink,Xeroxtransfers,hardware,pencil,encaustic.
SUSANPORTEOUS
SUSANPORTEOUSusesfoundbooksasbothsubjectmatterandrawmaterialinherwork.Throughcutting,tearing,folding,andrebinding,shecreatesarelationshipbetweenthecontentoftheoriginalbookandthestructureofthenewform,andintheprocessaddslayersofmeaningandcomplexity.AlthoughPorteousutilizestraditionalbindingtechniquesinmanyofherworks,sheexaggeratesandmanipulatestheshapes,proportions,andmaterialssothatthebooksbecomesensualobjectsnolongermeanttobereadfromcovertocover,insteadseenasanimmediateandcohesivewhole.
ITheEssentialGandhi,fromtheseriesGandhi,2012.Alteredbook,antiquespool.
II
III
II,IIIBridgeComplete,fromtheseriesHowtoPlayBridge,2007.Alteredbook,linen,rocks.
IV
V
IV,VEncyclopedic,2008.Alteredbooksandlinen.(TheWorldBookEncyclopedia,completesetincludingreferencebookboundseparately)
VI
VII
VI,VIIAtoZ,2007.Alteredbook(AnIllustratedDictionary,publisherunknown)
ALEXQUERAL
Takinganordinaryphonebook,ALEXQUERALcarvesafaceintothisobjectofsomanyfacelessnames.WithaverysharpX-Actoknife,alittlepotofacrylicmediumtosetdetailareas,andagreatdealofcraft,Queralliterallypeelsawaythepagesofthebookasiftheywerethelayersofanoniontorevealtheportraitwithin.Oncethecarvingiscomplete,hewilloftenapplyablackwashtoenhancethefeaturesandthensealtheentirebookwithacrylictopreservethework.However,heneverlosesthelineregistration,andthebookremainsquitepliable.
IISeeYou(PhilSilvers),2011(detail).AcryliconcarvedNewYorkCityresidentialtelephonedirectory.
IIIt’sAllRelative(AlbertEinstein),2010.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.
IIIHeWasRightAboutBush(MichaelMoore),2007.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.
IVAmore(DeanMartinakaDinoPaulCrocetti),2011.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.
VFreeTibet!(HisHolinesstheDalaiLamaakaLhamoThondup),2008.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.
VIDeputyFife(BarneyFifeakaDonKnotts),2010.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.
VIIMr.Bean(RowanAtkinson),2010.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.
VIIITheManWhoFelltoEarth(DavidBowie),2010.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.
JACQUELINERUSHLEE
JACQUELINERUSHLEEtransformsbooksintosculpturesbyapplyingvariousphysicalandconceptualpractices.Drawntothecomplexityofthebookasfamiliarobjectandarchetypalform,shescramblesitsformalarrangementandcreatesnewnarratives.Sheselectsherbookscarefullyandherresponsetoeachisunique.MostofthetechniquesRushLeeemploysareinformedbybothtraditionalandnontraditionalartisticpractices.Sheutilizescomponentsinherentinthebooksthemselves,suchasinks,covers,pages,bookmarks,andheadbands.Mostofher“residual”sculpturesorinstallationsemergeasapalimpsest—somethingthatbearstracesoftheoriginaltextwithinitsframeworkbutpossessesanewnarrativeasavisualdocumentofanothertime.
I
I,IIInMediaRes:Vascellum2009–2012.Manipulatedbookcomponentsandarchivalglue.
III
IIIPeacock,fromtheseriesDevotion,2008.Usedbook,hand-paintedink.
IV
IVLoremIpsumIII,2010–2012.Bookcomponents,hand-stitching,archivalglue.
V
VAbsoluteDepth,fromtheseriesExLibris,2000.Installationoffiredperiodicalsheddingtextinwater.
VI
VIAnthologia,fromtheseriesDevotion,2008(detail).Usedhand-painted,sanded,andassembledbooks,
burnishedinks,bookmarks,archivalglue.
VII
VIIShrunkenEncyclopedia,fromtheseriesExLibris,2000.Petrifiedbook(bookhigh-firedinkiln).
CollectionoftheHonoluluMuseumofArt,Hawaii.
VIII
VIIIIsland,2012.Telephonebooks,screws,foundandappliedinks.InstallationattheHonoluluMuseumof
Art,Hawaii.
GEORGIARUSSELL
GEORGIARUSSELLslashes,cuts,anddissectsprintedmatter,transformingbooks,musicscores,maps,newspapers,andphotographs.Theatmosphereofheroriginalmaterialissignificantinconveyingherfeelingsandideas,anditisanemotionalexperienceforhertodestroyabookandliterallytakeapartthelayersofmeaninginthetext.Russell’scutbookworksareoftendisplayedlikeexoticspecimensinantiqueglassbelljars,andalthoughshehintsatorganicforms,theyarenotdescribedliterally.Herdissectedbooksarebothobjectandimage,andanyoriginalelementsthatsurviveherprocessbecomeareferencetotheirpastexistence.
I
IL’Artd’Aimer,2012.Cutbookjacketandpageoftextinacryliccase.
II
IIFirstandLastThings,2011.Cutbookinbelljar.
III
IIITheClansandTartansofScotland,2011.Cutbookinbelljar.
IV
IVTheStoryofArtV,2012.Cutbookincircularacryliccase.
V
VLeMaroc,2012.Cutandpaintedbookincircularacryliccase.
MIKESTILKEY
MIKESTILKEYlookstoeverydaylifeforhisartisticinspirationandideas.Heseespotentialinvintageorusedobjects,suchasrecords,books,furniture,andanythingthathasahistory.Hiscanvasforpaintinganddrawingispaper,albumcovers,bookpages,andevenbookcovers.Stilkeyimaginesthestorybehindeachobjectandseekstoconveyitinhissite-specificbookinstallationsandpaintings.Alsoinspiredbymusic,heoftenlistenstoasongandvisualizesthepaintingorimagethatcouldaccompanyit.Usingamixofink,coloredpencil,paint,andlacquer,Stilkeydepictsamelancholicandattimeswhimsicalcastofcharactersthatinhabitambiguousspacesandnarrativesoffantasyandfairytales.
I
IWhentheAnimalsRebel,2007(detail).Acryliconbooks.InstallationatRiceGallery,Houston,Texas.
II
IITheFantasticFive,2011.Acryliconbooks.
III
IIIThePianoHasBeenDrinking,2010.Acryliconbooks.InstallationatHurleyInternational,CostaMesa,
California.
IV
IVLoversAllUntrue,2011.Acryliconbooks.
V
VFallingforYou,2010.Acryliconbooks.
VI
VIBirdsAttackManonBike,2010.Acryliconbooks.
VII
VIIReminiscent,2010.Acryliconbooks.InstallationatHurleyInternational,CostaMesa,California.
KYLIESTILLMAN
Filteringmodernartandcrafttraditionsthroughherowninventivesensibility,Melbourne-basedartistKYLIESTILLMANtransformscommonmaterialsintodivineworksofart.Hersculpturesrevealadexterousabilitytoworkwitharangeofmaterials,frompaperstacksandtimberconstructstooutdatedbookvolumes,plasticbottles,andVenetianblinds.Datingfrom1999,herworkhasexploredaspectsofthenaturalworldandwaysinwhichitcanbecaptured,represented,andcultivatedintamedenvironments.Theartist’senchantingandskillfullycraftedworkcreatesanintriguingsenseofnarrativethroughitscarefulinterplayofpresenceandabsence.
I
IEucalypt,2012.
II
IIHangingBasket—FishboneFern,2010.(Twenty-six-volumesetofencyclopedias)
III
IIIRosemary,2011.
IV
IVFlock,2007.InstallationattheMuseumofContemporaryArtTaipei,2012.
V
VEuropeanGoldfinch,2008.
JULIASTRAND
JULIASTRANDrescuesbooksfromgaragesales,secondhandshops,andestatesales.UsingX-Actoknives,rotarycutters,tweezers,pliers,andfiles,shedeconstructsthesebooksandrefashionsthemintotopographicallandscapes,paperspecimenboxes,andthree-dimensionalcollagesoftheoriginalcontents.Herfavoritesubjectsarereferencebooks,severaleditionsoutofdate.Nolongervaluedfortheinformationtheycontain,thesebooksaregivenasecondopportunitytobeappreciatedthroughhercarvings.
I
ITopographicalFunk&Wagnalls,2010.(Funk&WagnallsStandardReferenceEncyclopedia,1963)
II
IIPracticalStandardDictionary,2010(detail).(Funk&WagnallsPracticalStandardDictionary,1931)
III
IIIWebster’sDiptych,2011(detail).(Webster’s3rdNewInternationalDictionaryoftheEnglishLanguage,
Unabridged,1966)
IV
IVDouble-sidedGray’sAnatomy,2011(front).(Gray’sAnatomy,1991)
V
VDouble-sidedGray’sAnatomy,2011(back).(Gray’sAnatomy,1991)
VI
VIWebster’sDiptych,2011(detail).(Webster’s3rdNewInternationalDictionaryoftheEnglishLanguage,
Unabridged,1966)
VII
VIICompton’sButterflies,2011.(Compton’sPicturedEncyclopediaandFact-Index,1955)
VIII
VIIIChemistryButterflies,2011.(OrganicChemistry:ABriefCourse,SecondEdition,1970)
IX
IXTopographicalTheoriesofPersonality,2010.(TheoriesofPersonality,1970)
ROBERTTHE
ObsessionwiththesemioticerosionofmeaningleadsROBERTTHEtocreateobjectsthatevangelizetheirownrelevancebyadirectfusionofwordandform.Books—manyculledfromdumpstersandthriftstorebins—arelovinglyvandalizedbacktolifesotheycanassertthemselvesagainst,andreflectbackon,theculturethatturnedthemintodebris.Drawntowhatistweakedanddiscordant,Theengagestexttodrawinspirationforhisforms,andinfusesthemwithafiercewitandirony.
I
II
I,IITractatus,2004.(TractatusLogicoPhilosophicus,LudwigWittgenstein)
III
IV
V
III-VDuchamp,2008.(TheWorldofMarcelDuchamp,1887–1968,Time-LifeLibraryofArt)
VI
VITheMediumistheMessage,2006.(TheMediumistheMassage,MarshallMcLuhanandQuentinFiore,
1967.ThetitleisavariationonMcLuhan’snotedphrase“Themediumisthemessage.”)
VII
VIII
VII,VIIIObject/Objectif,2006.(Objet/Objectif,RainerCroneandDavidMoos)
VITAWELLS
PerceptionhasbeenacorethemeinVITAWELLS’sworkovertheyears,particularlyinrelationtohowpeopleformidentitiesandfindmeaningintheirlives.Sheisinterestedinwhatcontributestohowweseeourselvesandtheworldaroundus—fromourneurologicalfunctioningtoourpsychologicalstructuretooursocialcontext—andthesignificantroleofreadingintheprocess.Throughhermanipulationsofbooks,Wellsexploresthediscretionaryandchangeablecharacterofperception.Herintentistopromptreflectiononwhatwethinkweknow.
I
II
III
I-IIIStillStanding,2009–2011.Books,steel,wood,glue.
IV
IVFlightsofMind,2012.Books,filament.InstallationatOakopolisGallery,Oakland,California.
V
VI
V,VIUnabridged,2007.Book,hair,lights,fan,key,screws,hinges,glue.
ARTISTBIOS
JAMESALLEN
OriginallyfromGreatLakes,Illinois,JamesAllen(American,born1977)currentlylivesandworksinSeattle,Washington,whereheisrepresentedbyWinstonWächterFineArt.HeearnedaBachelorofFineArtsfromtheUniversityofWisconsin-Milwaukeein2000.Allen’sartworkwasincludedinTiteBookBorrowers:ContemporaryArtistsTransformingtheBookattheBellevueArtsMuseumin2009.HehasalsoexhibitedinmanycitiesacrosstheUnitedStates,includingNewYork,Chicago,andMiami.(www.winstonwachter.com)
THOMASALLEN
ThomasAllen(American,born1963)isacareerartistandillustrator.Hisphotographsofreimaginedpulpnovelshaveappearedinbothprintandonlinemedia,includingHarper’s,theWallStreetJournal,andNationalPublicRadio.AllenisrepresentedbyFoleyGallery(NewYork)andG.GibsonGallery(Seattle).Allen’smonograph,Uncovered:PhotographsbyThomasAllen,waspublishedbyApertureFoundationin2007.HelivesinsouthwestMichiganwhereheisabeekeeperinthesummer,makesmaplesyrupinlatewinter,andproduceshandmadesoapallyearround.(www.thomasallenonline.com)
NORIKOAMBE
CurrentlylivingandworkinginNewYorkandTokyo,NorikoAmbe(Japanese,born1967)receivedaBachelorofFineArtsinoilpaintingfromMusashinoArtUniversityinTokyoin1990.Shebeganworkingwithpaperin1999withherprojectLinear-ActionsCutting/Drawing.Inherworks,Ambeindividuallycuts
andstacksthousandsofpiecesofpapertocreateanoriginaltopography.ShehashadsoloshowsatPierogiGallery(Brooklyn,NewYork),JoseeBienvenuGallery(NewYork),TheFLAGArtFoundation(NewYork),LoraReynoldsGallery(Austin,Texas),andSCAITheBathhouse(Tokyo),andgroupshowsattheMuseumofArtsandDesign(NewYork),andTheDrawingCenter(NewYork),amongothers.HerworkisinthepermanentcollectionsoftheMuseumofModernArt,NewYork,andtheWhitneyMuseumofAmericanArt,NewYork.(www.norikoambe.com)
ANONYMOUS
Ineverycitytherearespecialplacesthatenlivenourdaysandcolorourdreams.Anonymous’sworkwasconceivedinsupportofsuchplaces.Byplacingeachpieceinapublicspace,theartistensuredthattheycouldbeencounteredjustasonecomesacrossabookonashelf,itsformonlyhintingatagreateralchemythatturnssymbolsonpaperintolivingstories.Itisnotthattheartistisplayinghardtogetbychoosingtoremainanonymous;theworksimplyinsiststhatsheremainamystery,andintheartist’swords,“Anyway,mysteriesarefun.”(www.thisiscentralstation.com/featured/mysterious-paper-sculptures)
CARABARER
CaraBarer(American,born1956),originallyfromFreeport,Texas,graduatedfromtheArtInstituteofHoustonandthenmovedintoastudioandbeganpaintingandprintmaking.ShefurtheredherstudiesofartandphotographyattheUniversityofHouston,andtheGlassellSchoolofArtattheMuseumofFineArts,Houston.Afterbecominginspiredbyaweatheredphonebookonthesidewalkin2004,herworkchangedandherfocushasbeenonsculpture
andphotographyofbookseversince.Barer’sworkisinpublicandprivatecollectionsthroughouttheworld,andsheisrepresentedingalleriesintheUnitedStates,Canada,andEurope.(www.carabarer.com)
DOUGBEUBE
DougBeube(Canadian,n.d.)isamixed-mediaartistlivinginBrooklyn,NewYork,whoworksinbookworks,collage,sculpture,andphotography.BeubereceivedaMasterofFineArtsinphotographyfromtheVisualStudiesWorkshop(Rochester,NewYork)in1983.HeregularlylecturesandexhibitshisworkthroughoutCanada,Europe,andtheUnitedStates,andhisworkcanbefoundinbothprivateandmuseumcollections.Since1993hehascuratedtheprivatecollectionofAllanChasanoff,titledTiteBookUnderPressure,inNewYorkCity.Beube’smonograph,DougBeube:BreakingtheCodex,waspublishedinthefallof2011.DavidMcFadden,chiefcuratoroftheMuseumofArtsandDesign(NewYork)wrotetheintroductionandseveralwritersdiscusstheartBeubehasmadeoverthepastthirtyyears.(www.dougbeube.com)
SUBLACKWELL
BorninSheffield,UnitedKingdom,SuBlackwell(British,born1975)residesinLondonandworkspredominantlywithpaperandbooks.SincegraduatingfromtheRoyalCollegeofArtinLondonin2003,Blackwellhasworkedasanartist-in-residenceandhasexhibitedattheBronteParsonageMuseuminHaworth,WestYorkshire,andtheMuseumofArtsandDesigninNewYork.Blackwellhasabroadpractice:HerdesignsareusedingiftcardsproducedbyRogerlaBorde;shehascollaboratedwithNicoleFarhiandVogue;andshehasworkedoninternationaladvertisingcampaignsforCartier,Crabtree&Evelyn,
andtheFairmontHotels.BlackwellalsocreatedbeautifulillustrationsforabookoffairytalespublishedbyThames&Hudson.BlackwellisrepresentedbyLongandRyleGallery,London.(www.sublackwell.co.uk)
JENNIFERCOLLIER
JenniferCollier(British,born1977)livesinStafford,UnitedKingdom,wheresheworksfromhergallery,UnitTwelve,whichsheestablishedin2010.Sheoriginallytrainedintextiles,completingaBachelorofArtswithhonorsintextilesatManchesterMetropolitanUniversity(UK)in1999.Althoughherstudiesweretraditionalandshespecializedinprinting,knitting,andweaving,allthemethodsshenowemployswereself-taughtthroughexperimentationwithdifferentmediaandtechniques.Collierexhibitsnationallyandinternationally,andherworkhasbeenfeaturedinmagazinessuchasVogueandElleDecoration,Shemakesworkoncommission,undertakesartworkshops,andrunshergalleryspace.(www.jennifercollier.co.uk)
BRIANDETTMER
OriginallyfromChicago,BrianDettmer(American,born1974)currentlyresidesinAtlanta,Georgia.DettmerhashadsoloshowsinNewYork,Chicago,SanFrancisco,Atlanta,andBarcelona.HisworkhasbeenexhibitedthroughoutNorthAmericaandEuropeatgalleriesandmuseums,includingtheMuseumofArtsandDesigninNewYork,theMuseumofContemporaryArtofGeorgia,theInternationalMuseumofSurgicalScienceinIllinois,andtheMuseumRijswijkintheNetherlands.Dettmer’sbibliographyincludestheJVewYorkTimes,ArtNews,TheGuardian,Telegraph,ChicagoTribune,ModernPainters,Wired,theVillageVoice,andNationalPublicRadio.(www.briandettmer.com)
ARIÁNDYLAN
AriánDylan(Mexican,born1984)receivedhisdegreeinvisualartfromtheNationalSchoolofPainting,Sculpture,andPrintmaking,“LaEsmeralda,”inMexicoCity.Hehasobtainedartscholarships,suchastheYoungCreatorsFellowshipfromMexico’sNationalFundforCultureandtheArtsin2010-2011,andhasheldartresidencesinCanadain2005andtheUnitedStatesin2008.In2011,DylanreceivedtheEcoCreaciónawardforadesignandsustainabilitycompetitioninMexico.HehasparticipatedinindividualandgroupexhibitionsinJapan,Spain,Canada,theUnitedStates,Chile,China,andMexico.HeiscurrentlyinaMastersprogramattheNationalUniversityoftheArtsinBuenosAires,Argentina.DylanisrepresentedinMexicobyLaEstaciónArteContemporaneo(Chihuahua)andGaleriaMassimoAudiello(MexicoCity),andbySeagerGrayGallery(MillValley,California)intheUnitedStates.(www.ariandylan.com)
YVETTEHAWKINS
YvetteHawkins(British,born1979)isapaperartistofSouthKoreanandEnglishdescentwhomakesinstallationsandsculpturalobjectsusingbooks,maps,andotherfoundmaterials.HawkinstrainedattheGlasgowSchoolofArtandgraduatedfromNewcastleUniversityin2007.ShehashadnumerousgroupandsoloexhibitionswithintheUnitedKingdomandSpain.ShealsoworksoncommissionandhaspiecesincollectionsinItaly,Japan,andtheUnitedStates.HerworkhasbeenfeaturedinbooksandmagazinesandwasincludedinBookArt:IconicSculpturesandInstallationsMadeFromBooks(Gestalten,2011).HawkinsiscurrentlyrepresentedbyGlobeGallery,UnitedKingdom.(www.yvettehawkins.com)
NICHOLASJONES
BornintheUnitedKingdom,NicholasJones(Australian,born1974)completedaBachelorofFineArtsattheVictorianCollegeoftheArtsinMelbournein1997,andaMasterofFineArtsattheRoyalMelbourneInstituteofTechnologyin2001.Hisworkhasbeenshowninanumberofsoloexhibitions,includingTiteGardenofForkingPathsatGeelongArtGalleryinAustralia,andhehastakenpartinmanygroupexhibitionsinAustralia,NorthAmerica,andSouthAmerica.Jones’sworkhasbeenfeaturedinseveralpublications,includingMaketheCommonPrecious(CraftsmanHouse),BookArt(Gestalten),andWhereTheyCreate(Frame),andheisrepresentedinnumerouspublicandprivatecollectionsinAustralia.(www.bibliopath.org)
JENNIFERKHOSHBIN
OriginallyfromPhiladelphia,JenniferKhoshbin(American,born1968)wasexposedtoartatanearlyage:hergrandfatherandunclearemastercarpentersandhermotherisaceramicartist.KhoshbinstudiedFineArtsandSociologyattheUniversityofTexas,Austin,andtheUniversityofKentucky.ShehasexhibitedingalleriesandmuseumsthroughouttheUnitedStates,andherworkhasbeenfeaturedinseveralartandcraftbooksandmagazines,includingReadymade,HouseBeautiful,Glamour,andSpaces,Shealsocollaborateswithherhusband,PaulLewis,onpublicworksunderthenameRefarmSpectacle.KhoshbincurrentlylivesinSanAntonio,Texas,withherhusbandandtheirtwochildren.(www.jenkhoshbin.com)
LISAKOKIN
LisaKokin(American,born1954)livesinElSobrante,California,withherpartner,LiaRoozendaal,threeChihuahuastudioassistants,andBindithecat.Thedaughterofupholsterers,Kokinstitcheseverythingshecangetherhandson,includingdiscardedbookswhichsherescuesfromthelocalrecycling
center.KokinreceivedherBachelorofFineArtsandMasterofFineArtsfromtheCaliforniaCollegeoftheArtsinOakland,California,andsheistherecipientofnumerousawardsandcommissions.HerworkappearsinmanyprivateandpubliccollectionsintheUnitedStatesandabroad.KokinisrepresentedbySeagerGrayGalleryinMillValley,California,TayloePiggottGalleryinJackson,Wyoming,andGailSevernGalleryinSunValley,Idaho.(www.lisakokin.com)
GUYLARAMÉE
Overthecourseofhisthirtyyearsofpractice,interdisciplinaryartistGuyLaramée(Canadian,born1957)hascreatedinsuchvarieddisciplinesastheaterwritinganddirecting,contemporarymusiccomposition,musicalinstrumentdesignandbuilding,singing,video,scenography,sculpture,installation,painting,andliterature.HehasreceivedmorethanthirtyartsgrantsandwasawardedtheCanadaCouncilfortheArts’JosephS.StaufferPrizeformusicalcomposition.Hisworkhasbeenpresentedintheaters,museums,andgalleriesintheUnitedStates,Belgium,France,Germany,Switzerland,Japan,andLatinAmerica.Paralleltohisartisticpractice,Laraméehaspursuedinvestigationintothefieldofanthropology,andethnographicimaginationisanimportantthemeinhisartisticwork.(www.guylaramee.com)
PABLOLEHMANN
PabloLehmann(Argentinean,born1974)graduatedfromtheNationalSchooloftheArts(IUNA)inBuenosAires,andsince2000hehasbeenaprofessorthere.HehashadsoloexhibitionsatBlackSquareGallery(Miami),CarlaReyArteContemporàneo(BuenosAires),1/1CajadeArte(BuenosAires),andMattheiGallery(Santiago,Chile).Lehmann’sgroupexhibitionsincludethePhilipsdePury&CompanyauctioninLondonandtheSivoriMuseum,Bicentennialeditionauction,inArgentina.Hehasalsoparticipatedinartfairs,
suchasArtChicago,ScopeMiami,ScopeNewYork,MiamiInternationalArtFair,ArtBo—Bogotá,ArteBa—BuenosAires,andBuenosAiresPhoto.LehmannhastwicereceivedtheSalónNacionaldeArteTextilaward.(www.pablolehmann.com.ar)
JEREMYMAY
JeremyMay(British,born1976)isalandscapearchitectoriginallyfromSuffolk,UnitedKingdom.MayreceivedhisBachelorofArtsfromtheUniversityofGreenwich,andafterhavingworkedinhisfieldofdesignovertenyears,createdhisfirstpaperringinSeptember2007.HelaunchedhisbrandLittleflytothepublicinJanuary2009,aspiringtobringjoyandcolortosustainablymindedindividualsbytransformingpaperintolastingbeauty.May’sjewelshavebeenpresentedinLondon,Paris,Osaka,Athens,Hamburg,SaintPetersburg,andNewYork.CurrentlyMayisworkingonprivatecommissionsandoncreatingcollectionsofjewelsunderathematologytobepresentedinexhibitionsaroundtheworld.HelivesandworksinLondon.(www.littlefly.co.uk)
PAMELAPAULSRUD
PamelaPaulsrud(American,born1951),avisualartistrecognizedinternationallyasapapermaker,calligrapher,bookartist,andcollaborator,createsbothintimatepiecesandlarge-scaleinstallations.Paulsrud’sexplorationinenergyandvibration,lettersandlines,andherloveofthelandandtheearthanditsresonanceinspiresbothherworkandherlife.Herworkisincludedinnumerousprivateandpubliccollectionsandhasbeenpublishedinmanymagazines,books,andjournals.Sheteachesworkshopsinletteringandbookarts.Paulsrudisalsoextremelypassionateaboutanongoingprojectthatsheco-createdtitledTreewhispers(www.treewhispers.com),aninternational
collaborationawakeningourheartfeltconnectiontotrees.PaulsrudisrepresentedintheUnitedStatesbySeagerGrayGalleryinMillValley,California,and23SandyGalleryinPortland,Oregon.(www.pamelapaulsrud.com)
SUSANPORTEOUS
SusanPorteous(British,born1980)receivedaBachelorofArtswithhonorsinFineArtfromtheUniversityofLeedsin2003andaMasterofFineArtsfromCaliforniaStateUniversity,LongBeach,in2008.Sincethenshehascontinuedtoexplorebothsculpturalandtraditionallyboundbookswhileinvestigatingissuesofform,content,word,andimageusinghandmadeandcommercialproductionmethods.PorteousexhibitsworkinjuriedandinvitationalexhibitionsthroughouttheUnitedStatesandEurope,andherworkhasbeenpurchasedbyseveralpublicandprivatecollectionsandincludedinvariouspublicationsonbookart.ShecurrentlylivesandworksinDenver,Colorado.(www.susanporteous.net)
ALEXQUERAL
AlexQueral(Cuban,born1958)andhisfamilymigratedfromHavanatoMexicoandthentoMiamiwhenhewasayoungboy.HereceivedaBachelorofFineArtsfromtheUniversityofWashington,Seattle,andaMasterofFineArtsfromtheUniversityofPennsylvania.HisworkshavebeenexhibitedinCanada,China,England,Mexico,andthroughouttheUnitedStates,andtheyappearinthecollectionsofRipley’sBelieveItorNot!,JerrySpeyer,andtheKohlerfamily.Queral’scarvedtelephonebooksareexclusivelyrepresentedbyProjectsGalleryinPhiladelphiaandMiami.Severalofhisphonebooksarenowavailableashigh-resolutionphotographicimagesinavarietyofsizes.(www.projectsgallery.com/Queral.html)
JACQUELINERUSHLEE
JacquelineRushLee(Anglo-Irish,born1964),asculptorwholivesandworksinHawaii,isrecognizedforherinnovationinworkingwiththebookform.Herartworksarefeaturedinnumerousbooks,blogs,magazines,andtheinternationalpress,includingBookArt:IconieSculpturesandInstallationsMadefromBooks(Gestalten),Papercraft:DesignandArtwithPaper(Gestalten),theNewYorkTimes,theWashingtonPost,CourrierInternational,SculptureMagazine,DPIMagazine,Taiwan,andFocus,amongothers.RushLeeexhibitsherartworkinternationallyandherworkisinprivateandpubliccollections.(www.jacquelinerushlee.com)
GEORGIARUSSELL
GeorgiaRussell(Scottish,born1974)haslivedandworkedinFranceoverthepastdecade.RussellstudiedatAberdeenUniversity,Scotland,andgraduatedfromLondon’sRoyalCollegeofArtin2000.HermanysoloandgroupexhibitionsinLondon,France,andtheUnitedStateshaveincludedSlash:PaperUndertheKnifeattheMuseumofArtsandDesign,NewYorkin2009-2010.Russell’sworkhasbeenfeaturedinbooksandmagazinesinEuropeandtheUnitedStates,andsheisrepresentedinthecollectionsoftheVictoriaandAlbertMuseuminLondonandthePompidouinParis.(www.englandgallery.com)
MIKESTILKEY
LosAngelesnativeMikeStilkey(American,born1975)hasalwaysbeenattractedtopaintinganddrawingonvintageephemera,includingbooks.HisworkhasbeenexhibitedthroughouttheUnitedStatesandinternationallyingalleriesandmuseums,includingtheBristolCityMuseumandArtGallery(UK),LeBasseProjectsandKinsey/DesForgesGallery(CulverCity,California),DavidB.SmithGallery(Denver,Colorado),GilmanContemporary(Ketchum,
Idaho),andtheRiceUniversityGallery(Houston,Texas).Hehasalsocreatednumerouslarge-scaleinstallationsinTurin,Italy;Bern,Switzerland;HongKong;andBeijing.StilkeylivesandworksinLosAngeles.(www.mikestilkey.com)
KYLIESTILLMAN
KylieStillman(Australian,born1975)completedaBachelorofFineArtswithhonorsatRoyalMelbourneInstituteofTechnologyin1999.Shehassinceheldseveralsoloexhibitionsandparticipatedinnumerousgroupshows,includingWonderland,MuseumofContemporaryArt,Taipei(2012),2008AdelaideBiennialofAustralianArt,ArtGalleryofSouthAustralia,andUncanny:TiteUnnaturallyStrange,Artspace,Auckland(2005),NewZealand.StillmanhasbeenawardedAustraliaCouncilfortheArts’studioresidenciesinNewYork(2009)andMilan(2006),andshehasbeencommissionedtocreatelarge-scaleartworksforHermesAustralia(2011)andWestpacPrivateBank(2010).StillmanisrepresentedbyUtopiaArtSydney.(www.kyliestillman.com)
JULIASTRAND
JuliaStrand(American,born1983)holdsaPhDinCognitivePsychologyandteachesatthecollegelevel.Sheconductsresearchonthecognitiveandperceptualmechanismsunderlyinghumanspeechperception.Throughherresearch,teaching,andart,shehopestohelpothersseethingsinnewandunexpectedways.(hokeystokes.blogspot.com)
ROBERTTHE
OriginallyfromCarmel,California,RobertThe(American,born1961)studiedphilosophyandmathematicsattheUniversityofWisconsin,Madison,andsignletteringattheInstituteofLetteringandDesigninChicago.Hebeganmaking
bookpiecesin1991andhasappearedinsoloandgroupshowsthroughouttheUnitedStatesandEurope.Hisworksareinbothprivateandpubliccollections,includingtheMuseumofModernArt(NewYork),theWalkerArtCenter(Minneapolis),andtheLosAngelesMuseumofContemporaryArt.ThereceivedthePollock-KrasnerAwardin2011andiscurrentlyarchivingtheworkofMaryanneAmacher.HelivesinupstateNewYork.(www.bookdust.com)
VITAWELLS
HailingfromafamilyofartistsinSouthTexas,VitaWells(American,born1959)hasbeencreatingobjectssinceshecouldwieldanX-Actoknife.She’slivedandworkedindiversesettingsthroughseveralchaptersoflife,butreading’sprivilegedplaceandareverenceforbookshavebeenconstantsinallofthem.Duringmanyyears’involvementwithtextiles,Wellsdevelopedakeensensefortexture,structure,andcolor.Inherbookwork,theseaestheticsareinconversationwithconceptualcontentthatreflectsherlifelongintellectualcuriosityandloveofscholarship.WellsdivideshertimebetweenherstudioinBerkeley,California,andtheCaminodeCompostelainFranceandSpain.(www.vitawells.net)
IMAGECREDITS
Allimagesnotlistedarecourtesyoftheartist.
PAGE6TowerofBabble,courtesyoftheartistandKinz+TillouFineArt.
PAGE8TheBookoftheLost,photobyJaronJames,courtesyoftheartist.
PAGES10-11PhotosbyBrianDettmer.
PAGE12,VPhotobyGuyL’Heureux.
PAGE12,VIPhotobyStaceyWei.
PAGE12,VIIPhotobyLiaRoozendaal/JaguireDesign.
PAGE13,VIIIPhotobyThomasAllen.
PAGE13,IXPhotobyLukeRichardsonPhotography.
PAGE14PhotosbyChrisScott.
PAGE15Courtesyoftheartist.
PAGE16,XIIIPhotobyThomasAllen.
PAGE17,XIVPhotobyStaceyWei.
PAGE17,XVPhotobyEvaChloeVazaka.
PAGE18,XVIAutorretratogritando,courtesyoftheartist.
PAGE18CommonOak,courtesyoftheartistandUtopiaArtSydney.
PAGE19Shiitake,photobyCaraBarer.
PAGE20GameText1,photobyDanielChen.
PAGE21PhotobyScottMcCuePhotography.
PAGE22LesParaventsphotobyEngland&CoGallery,London.
PAGES30-35PhotosbyThomasAllen.
PAGE36 —ArtistBooks,Linear-ActionsCuttingProject,photobyGenevieveHanson,courtesyoftheartistandLoraReynoldsGallery,Austin,Texas.
PAGE36CuttingBookSerieswithEdRuscha:Artistswhomakepieces,artistswhodobooks,photobyNorikoAmbe.
PAGE37ArtVictims:DamienHirst,photobyRobertBoland.
PAGES38-39FlatGlobe“Atlas,”photobyMasaNoguchi.
PAGE40ToPerfectLovers:FelixGonzalez-Torres,photobyTsukasaYokozawa.
PAGE41TheSand–TheAmericans:RobertFrank,photobyMareoSuemasa,courtesyoftheartistandSCAITHEBATHHOUSE,Tokyo.
PAGES42-47PhotosbyChrisScott.
PAGES48-53PhotosbyCaraBarer.
PAGES60-61,63-65PandoraOpeningBox,TheLastUnicorn,RedRidingHood,TheBaronintheTrees,photosbyJaronJames,courtesyoftheartist.
PAGES62-63TheSnowQueen,Alice:AMadTeaParty,photosbyAndrewMeredith,courtesyoftheartistandLongandRyleGallery.
PAGES66-68CookBookBalletSlippers,LadybirdBookBabyShoes,Super8Camera,PaperTypewriter,photosbyIainPerry.
PAGES67,69CurleyLocksGloves,NurseryRhymeKnifeSet,photosbyLukeUnsworth.
PAGES70-71SaturationWillResult,courtesyoftheartistandKinz+TillouFineArt.
PAGE72AmericanPeoples,courtesyoftheartistandToomeyTourellFineArt.
PAGE73AbsoluteAuthority,courtesyoftheartistandWexlerGallery.
PAGE73TowerofBabble,detail,courtesyoftheartistandKinz+TillouFineArt.
PAGE74PhotoscourtesyoftheartistandPackerSchopf.
PAGE75CourtesyoftheartistandSaltworks.
PAGES80-81,84,85NoLandInParticular,NothingtoReadHere,courtesyofColinDavisonandGlobeGallery,UnitedKingdom.
PAGE82AlltheBooksIHaveNeverFinished,photobyIreneBrown.
PAGE83WallFlowerBookSculptures,photobySarahDeanePhotography.
PAGE84AlltheBooksIHaveNeverFinished,photobyYvetteHawkins.
PAGES86,88,90TheVictorianAustralian,BookwormEnsconced,Gedichte,photosbyJamesWiddowson.
PAGES87,88ConciseAtlasoftheEarth,TheBarberofSeville,photosbyPoppyGreenham.
PAGE89GreekArt,photobyJohnGollings.
PAGE91AustralianYearBook1969,photobySimonSchluter.
PAGE95SwingingMyWayBack,photobyToniFrissell.
PAGES98-103PhotosbyLiaRoozendaal/JagwireDesign,courtesyofSeagerGrayGallery,MillValley,California.
PAGES104-109PhotosbyGuyLaramée.
PAGES111-113Cut-outscreen1,BaroqueVowel(E),IncompossibleText1,photosbyDanielChen.
PAGE113NakedBook,photobyGustavoLowry.
PAGES116-121PhotosbyEvaChloeVazaka.
PAGES122-125PhotosbyPamelaPaulsrud.
PAGES130-133PhotosbyHelenHyder,courtesyofProjectsGallery,Philadelphia,Pennsylvania.
PAGES134-135,136,137InMediaRes:Vascellum,LoremIpsumIII,Anthologia,photosbyPaulKodama.
PAGE136AbsoluteDepth,photobyBradGoda.
PAGE138PhotobyBradGoda.
PAGE139PhotobyShuzoUemoto,installationattheHawaiiArtNowExhibition,2012,courtesytheHonoluluMuseumofArt.
PAGES140-143PhotosbyEngland&CoGallery,London.
PAGES144WhentheAnimalsRebel,photobyNashBaker.
PAGES150-153PhotoscourtesyoftheartistandUtopiaArtSydney.
PAGES154,159TopographicalFunk&Wagnalls,PracticalStandardDictionary,TopographicalTheoriesofPersonality,photosbyJonStrand.
PAGES155-159Webster’sDiptych,Double-sidedGray’sAnatomy,Compton’sButterflies,ChemistryButterflies,photosbyJuliaStrand.
PAGES160-165Collectionoftheartist.
PAGES166-169PhotosbyScottMcCuePhotography.
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