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MONTAGE+THE ARTISTS’ BOOK: a paper by Victoria Cooper

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Victoria and the ARTISTS’ BOOK YEARBOOK 2018-9

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 I’ve recently had a major paper on my research into the montage and artists’ books published in the ARTISTS’ BOOK YEARBOOK 2017-8 edited by Sarah Bodman from the Centre for Fine Print Research (CFPR) at the University of the West of England. The paper covers ongoing research which was undertaken as part of my Siganto Foundation Research Fellowship at the State Library of Queensland.

 

 

Here are the first 2 paragraphs from the paper

 

LIMINAL MOMENTS AT THE EDGES: READING MONTAGE NARRATIVES IN ARTISTS BOOKS        

 

Each time I am drawn into the montage image as a reader, I experience a liminal moment – I am at a threshold where I will enter into an unknown space. Although I may recognise familiar characteristics in each fragment I am disorientated by their juxtaposition in these hybrid images. My focus for the Siganto Research Fellowship in the Australian Library of Art (ALA) collection, at the State Library of Queensland (SLQ) is to review and study this liminal reading of the montage through the edges and joins of the fragments. In this research I am guided by the writing of Pierre Bourdieu, Roland Barthes and Sergei Eisenstein to orient myself in the reading and articulate my findings from the perspective of the reader. Also underpinning this research is the extensive history of combining, gluing, montaging, and collaging of image work in many mediums including film, photography and book making.

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During my fellowship, I have reviewed over 100 artists’ books and many artists’ statements held in the ALA. The scope of this research was limited to particular works of Australian artists including Peter Lyssiotis, Gracia Haby and Louise Jennison. However selected works by British artist Helen Douglas and other international artists from the ALA collection were also considered in my research to include an international perspective. As I am a montage maker and thinker, I have decided to include some artists’ books that–although by the artist’s definition are collage– I ‘read’ as montage. My focus is on the visual ‘reading’ of the combined fragments through their edges and the spaces between. There are also considerations for the combination with mixed media including sound, photography and drawing.

This investigation does not set out to define a lexicon for montage or collage for the makeri and as such, in the writing, I will refer to the image works I am researching as montage/collage.

[i] See my blog post for the Australian Library of Art, State Library of Queensland, http://blogs.slq.qld.gov.au/ala/2016/05/27/reading-montages-perceptions-dilemmas-edges-and-resolution/

 

Key books that I discuss in the paper are from the following artists:

Peter Lyssiotis, Feather and Prey, (1997), Masterthief Enterprises, Melbourne

Peter Lyssiotis, Products of Wealth, (1997), Masterthief Enterprises, Melbourne

Lorelei Clark, Brisbane: River City, (2010), Lagoongrass Press, Brisbane

Jack Oudyn, The very first book of fish, (199?), Micro Press, Ormiston, Queensland

Gracia Haby and Louise Jennison, And we stood alone in the silent night, (2008), Melbourne

Gracia Haby and Louise Jennison, Salvaged Relatives, Melbourne

Lyn Ashby, 20 minutes, , (2011), ThisTooPress, Victoria

Helen Douglas & Zoe Irvine, Illiers Combray. (2004), Weproductions, Scotland

Dianne Fogwell, Gene Pool, (2000), Edition & Artist Book Studio, Canberra School of Art, Canberra

 

You can download a copy of my paper HERE

PLEASE NOTE: This download version contains colour photographs of the books discussed – the Yearbook is published in monochrome.

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Thank you to all the artists who gave permission for their works to be photographed and presented in the publication.

Enjoy — and I would appreciate any comments you may have about the paper…

 

You can buy your own hard copy of the Yearbook from UWE HERE

UWE Publications website

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COVERING: The 2016 Libris Artists’ Book Award

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Artspace Mackay

Artspace Mackay

 

A COMMENT ON THE 2016 LIBRIS ARTISTS’ BOOK AWARDS

 

In his announcement speech for the 2016 Libris Awards at Artspace Mackay judge Sasha Grishin makes the observation that: ‘The contemporary artists book is characterised by boundless freedom’, and adds that: ‘… it has absorbed many conceptual frameworks, many art mediums and technologies and goes across the spectrum of the senses.’

 

Visitors to Artspace and the Libris Awards encounter an open space with islands of book presentation devices. Plinths of all sizes – some encased, others at floor level, there are shelves on walls, books as mobile installations hung from the ceiling and other books with ‘pages’ covering large expanses of wall. This is not an easy walk-through exhibition as each work beckons, siren-like, calling for the extended gaze of the reader.

The Artspace Libris exhibition

The Artspace Libris exhibition

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On this occasion the winners were:

  • Dalrymple Bay Coal Terminal National Artists Book Award $10,000 Acquisitive Award went to George Matoulas and Angela Cavalieri, with the text by Antoni Jach, for Europa to Oceania.*

 

George Matoulas and Angela Cavalieri, with the text by Antoni Jach, for Europa to Oceania

George Matoulas & Angela Cavalieri, with the text by Antoni Jach, Europa to Oceania

Grishin’s comments about the work were:

After much soulsearching I decided to allot the winning entry for the major prize to a collaborative and fabulous artists book by two Melbourne‐based artists, George Matoulas and Angela Cavalieri, with the text by the novelist and playwright Antoni Jach, titled Europa to Oceania. The three linocuts are by Angela, the three collographs are by George and there are another two collaborative foldout prints. The two artists, one of Greek extraction, the other from Calabria in Italy, with wit, profundity and beauty explore the migrant experience at a time when the Australian social fabric is under stress with the question of refugees and migration.

Highly commended in this award were:
Gracia Haby and Louise Jennison’s Closer to Natural
Monica Oppen’s Metropolis
Tim Moseley’s Kange pholu wanda

Peter Lyssiotis’ Blind Spot

 

  • Mackay Regional Council Regional Artists Book Award for a local artist went to May‐Britt Mosshamer for Tapping the knowledge.*
May‐Britt Mosshamer for Tapping the knowledge.*

May‐Britt Mosshamer Tapping the knowledge.*

Grishin’s comments about the work were:

As much as one fought the temptation, the $2,500 award had to go to the local artist, May‐Britt Mosshamer and her effective piece Tapping the knowledge. In art you can say very important things with a bit of humour in your back pocket. This work is all about the flood of information and the drought in knowledge.

The highly commended, or runner‐up entries in this category were:

Denise Vanderlugt’s I used to wrap rainbows
Jo Mitchell’s For Mary

 

  • Artspace Mackay Foundation Youth and Student Artists Book Award (under 26years), went to Brooke Ferguson and her The Small Garden (for M.S.).*
Brooke Ferguson The Small Garden (for M.S.).

Brooke Ferguson The Small Garden (for M.S.).

Judge Grishin’s comment on the work:

This is an award that is about taking risks, a punt and choosing the unexpected, the promising and the challenging. It is literally a once in a lifetime opportunity for an emerging artist to gain national recognition plus a handy fistful of dollars. I selected the work by the 25‐year‐old Brisbane‐based artist, Brooke Ferguson and her The Small Garden (for M.S.) The MS stands for the wonderful veteran artist, Madonna Staunton, where young Brooke Ferguson was inspired by a poem by Staunton and with gouache, pen and ink and pencil has created a fragile concertina – a beautiful sensibility from a promising young artist.

 

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In my opinion some books call for special mention. Caren Florance’s Pleasure demolition is transfixing. The suspended brown paper sheets with a hand printed letterpress phrases from poetry by Angela Gardner are animated by the flow of air and movement in the space. Forever moving, the oscillation of the pages becomes a machine for the generation of concrete poetry… phrases twirl and merge, poetic moments where new meaningful/less messages materialise.

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Jamian Stayt’s Soulless evolution

Jamian Stayt’s Soulless evolution

The individual pages of Jamian Stayt’s Soulless evolution are pinned to the wall making what may seem like a vast wallpaper pattern. However, Stayt’s work invites a closer reading of the cipher hidden within the layers of the image. He presents some big questions where contemporary notions of tradition are challenged and rapidly changing technology has intertwined agency in the evolutionary pathway for humanity.

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Julie Barratt Blair Athol recut

Julie Barratt Blair Athol recut

Julie Barratt’s Blair Athol recut refers to Solastalgia: a theory on the contemporary human condition for a deep loss of place. In one part of the installation there is a book of dark photolithographs where maps are encroached upon by black inks. For the reader this growing blackness evokes a gloomy absence. Facing the dark pages in the clamshell container are vials of coloured soils, plant fragments and found objects. Although collected from this disturbed place, these samples are vibrant and alive – perhaps they are the vestiges of childhood memories that recall a different time before the destruction of the physical place by coal mining.

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Ana Paula Estrada Memorandum

Ana Paula Estrada Memorandum

Many books feature photographs as the primary carrier of the narrative. Ana Paula Estrada’s Memorandum employs the medium to document elderly people and their connection with life through personal photographs and how their memories are re-lived through viewing these photos. The book, conceived and made through the Siganto Foundation Creative Fellowship in the Australian Library of Art at the State Library of Queensland, is a complex assemblage of contemporary portraits, photo-glimpses from family albums and a narrative conveyed through the turning of pages.

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Exhibition view

Exhibition view

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As usual the artists’ book as exhibition defies direct touch and the turning of pages for narratives to be revealed and for the book to speak of what it has allowed the artist to create. But for the 72 books in the exhibition to be read the visitor would need to stay for the duration of the exhibition, working through the night with white gloves and torchlight. The exhibition reconnects and continues the significant contribution of the Artspace Mackay’s Libris Award to inspire artists and create a space discourse on the book in all its forms. In doing so the assembled exhibition represents cutting edge survey of Australian artists’ book practice.

Some works will become part of the Artspace Mackay collection; others will be re-packaged and returned to their makers. While the exhibition is dispersed its spirit will continue in the form of the gallery’s excellent illustrated catalogue, the text of Grishin’s speech, reviews, videos and other commentaries such as this, as well as the memories of the readers who viewed the show.

In two years time – the next iteration of this important event in the Australian artists’ book calendar will take place again. Wouldn’t it be nice if the whole collection could be purchased and held in perpetuity as a record of the discipline? Until then …

 

Dr Doug Spowart

16 October 2016

 

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DOWNLOAD THE CATALOGUE: 2016-librisawards_illustratedlistofworks

http://www.artspacemackay.com.au/__data/assets/pdf_file/0007/204955/2016LibrisAwards_IllustratedListofWorks.pdf

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A VIDEO FLY-THRU OF THE EXHIBITION

 

OTHER BOOKS FROM THE EXHIBITION

 

Denise Vanderlugt with her highly commended bookwork I used to wrap rainbows

Denise Vanderlugt with her highly commended bookwork I used to wrap rainbows

Peter LYSSIOTIS Blind spot

Peter LYSSIOTIS Blind spot

Martha BOWMAN You could have sent an email or a text

Martha BOWMAN You could have sent an email or a text

Jamian Stayt’s Soulless evolution (Detail)

Jamian Stayt’s Soulless evolution (Detail)

Bernard APPASSAMY Constellation of endearment (Detail)

Bernard APPASSAMY Constellation of endearment (Detail)

Deanna HITTI Assimilated museum

Deanna HITTI Assimilated museum

Gracia HABY and Louise JENNISON Closer to natural

Gracia HABY and Louise JENNISON Closer to natural

Caren Florance’s Pleasure demolition

Caren Florance’s Pleasure demolition

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All photographs and videos ©2015 Doug Spowart.  Main text (except Judge Sasha Grishin’s words) ©2016 Doug Spowart   With thanks to Victoria Cooper for her suggestions and edits.

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SLQ – 2016 SIGANTO FOUNDATION ARTISTS’ BOOK SERIES

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Post event resfreshments on level 5 of the SLQ

Post event refreshments on level 5 of the SLQ

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CELEBRATING ARTISTS’ BOOKS @ THE STATE LIBRARY OF QLD

The Program: The Siganto Foundation Fellowship artist book series 2016 – April 17

 

From 10am-1pm – White Gloves Room, level 4. The Siganto Foundation Fellows presented a display that featured their research and creative works which included research papers, artist books, drawings, letterpresses and prints. The Fellows spoke with attendees about their work and research outcomes. Participating in the Fellows White Gloves event were Peter Anderson, Lyn Ashby, Julie Barratt, Victoria Cooper, Marion Crawford, Jan Davis, Clyde McGill and Doug Spowart.

At 1:30pm on the Knowledge Walk Stage on level 1 – Clyde McGill presented Looking for Place, a performance for his artist book.

At 2pm The lecture component of the event was opened by Chief Executive Officer and State Librarian, Sonia Cooper. This was followed by a presentation by guest, UK artist and designer, Guy Begbie who talked about his current interdisciplinary arts practice. Following on – Dr Victoria Cooper, the 2015 Siganto Foundation Fellow, talked about her research into the use of montage in the State Library of Queensland’s artists’ book collection.

From 3.30pm attendees enjoyed refreshments in the SLQ Boardroom on level 5.

 

HERE ARE SOME PHOTOS AND OTHER DETAILS OF THE EVENT:

 

Siganto Foundation Fellows in the White Gloves Room

Siganto Foundation Fellows in the White Gloves Room

 

Clyde McGill performing Looking for Place @ SLQ Sigantio Artists Book Series 2016 event

Clyde McGill performing Looking for Place @ SLQ Sigantio Artists Book Series 2016 event

 

CLYDE McGILL: Looking for Place, a performance for artist book (an extract)

Crossing the river under the Goodwill bridge, knee then neck deep in the warm water, not too salty, navigating around the mangrove roots, expecting to hear mud crabs clanking and whistling, curling my toes just in case, alloneword, who calls me fictivefriend, if only he knew, shows me another pressed flower (soggy) and a leaf. Then a pterodactyl feather he says was floating down from Mt Bartle Frere last night, I suggest it was the southern end of the Glass House Mountains. It looks like it’s from the ibisosaurus between GOMA and SLQ. We are dodging the rivercat (aow carrying our bag of sandwiches above his head), the tide is running. Finally making our way over to HMAS Diamantina to borrow her (alloneword thinks we’ll have to pay), in our bid to sail her along the Diamantina River (there is water). It’s an incredible resonance of names and place, isn’t it fictivefriend, he asks. Soon we’ll picnique (no replacements found, typeahead here) on the shores of the Inland Sea. We drip mud as we tell the man at the dock entrance about our project, it’s exciting, he raises his eyebrows, says what(?) looks away and closes the gate.

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SLQ VIDEO of the performance: http://www.slq.qld.gov.au/audio-video/webcasts/recent-webcasts/clyde-mcgills-performance

Clyde McGill performing his artists' book Looking for Place

Clyde McGill performing his artists’ book Looking for Place

Clyde McGill performing Looking for Place @ SLQ Sigantio Artists Book Series 2016 event

Clyde McGill presents a fragment of his presentation to Dr Marie Siganto.

 

 

Christene Drewe from the SLQ introduces the program for the day

Christene Drewe from the SLQ introduces the program for the day

 

Guy Begbie presenting @ Siganto Seminar Series 2016

Guy Begbie presenting @ Siganto Seminar Series 2016

 

THE GUY BEGBIE PRESENTATION

 

Guy Begbie is an interdisciplinary artist, bookbinder & university associate lecturer.

As an artist, he makes book works influenced by a core interest in parallels between bookbinding structures & architectural forms.

He works in a variety of media, that includes traditional bindery materials, drawing, painting, printmaking, sculptural casting and filmmaking.

His work uses non-linear narrative and sculptural forms to investigate further innovative structures for the book and the potential in its transition from a closed two dimension to an opened three dimensionality.

The notion of a contained space in the book is of particular interest, both conceptually and physically, with book works alluding to spatial qualities in architecture and the built environment.

Filmic and time based qualities are also examined in other book works, using painterly printmaking media to present visual distillations of memories of place and the the fleeting moment.

The relationship of the book juxtaposed with the solid non-paper based artifact is also of concern and is tested through placement and the filming of constructed books and cast objects that both share some common aspects in media and construction methodologies.

This dichotomy of the kinetic book structure and the static cast form, is re-scaled in projection and further informed by the sound of the book, captured through recording the making and placement processes, then configured to provide audio soundtrack supporting the moving visual image.

http://www.guybegbie.com/Pages/default.aspx

SLQ Video of Guy’s presentation: http://www.slq.qld.gov.au/audio-video/webcasts/recent-webcasts/guy-begbie

 

Dr Victoria Cooper presenting @ Siganto Seminar Series 2016

Dr Victoria Cooper presenting @ Siganto Seminar Series 2016

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DR VICTORIA COOPER’s PRESENTATION

A segment from Victoria’s presentation follows:

 

Montage Readings: Informed by History

 

There is a long tradition of artists and designers creatively combining images.

Photomontage or combination printing has its origins in late-nineteenth-century pictorial photography, most notably in the work of Henry Peach Robinson and Oscar Rejlander.

Then in the early twentieth century, Russian filmmakers, notably Sergei Eisenstein, pioneered the practice of montage in motion picture films to present animated visual concepts and to record the passing of time. Also in the first part of the 20th century, there was the work of the German and Russian visual artists including Hanna Höch, George Grosz, John Heartfield, El Lissitzky and Alexander Rodchenko used the “cut and paste” mediums of photocollage and photomontage to create political and social commentaries.

The surrealists such as Max Ernst, and Salvador Dalí and many other artists of this movement used the montage/collage to create visual contradictions referencing the uncanny connection between psychology of dreams and familiar experiences of the world.

Bauhaus teacher, pioneering designer and experimental artist László Moholy-Nagy became well known for his creative use of photomontage with text and image to construct innovative posters and page designs for his visual narratives. In a 1925 text, Painting Photography Film, Moholy-Nagy described this work as photoplastics.

 

My Project

Rather than see the concept of montage limited to that of a special case of film editing, he argues that the montage … is a principle to be found underlying artistic construction of all kinds

Eisenstein’s original concept of montage was that meaning in the cinema was not inherent in any filmed object but was carried by the collision of two signifying elements.

Geoffrey Nowell-Smith Eisenstein on Montage, in Towards a Theory of Montage, 2010 pp. xiii-xvi

From the research I was drawn to the montage as a way of thinking and making. In this Fellowship I am now engaged with the montage and its ‘reading”. In this project I intended to investigate the montage through the Reading the elements… their Edges, Borders and Intervals.. or their ‘collisions’ The act of cutting and splicing in the creation of the collage/montage assigns new meanings and readings to the individual fragments. Each element, fractured by tearing or careful cutting (whether physical or virtual) before the blending, overprinting, or collage construction phase, forms the basic structure, a mise-en-scène, or syntax, of the final visual composition and narrative work.

I am interested in the differences of reading that is created through of the visible edge As opposed to the Fused and the seamless edge of the elements in montage.

These edges, whether seamless or visible, always refer to the nature of its original content, as in the grafted fruit tree where the origins of the elements are still evident. The narrative then becomes embedded or montaged inside the reading of the image or the page.

 

More to follow in a subsequent post on this Blog. The SLQ will post a video of the presentation shortly

 

SLQ Video of the lecture: http://www.slq.qld.gov.au/audio-video/webcasts/recent-webcasts/victoria-cooper

 

We offer our thanks to the SLQ team: Christene Drewe, Sharon Nolan, Bec Kilner, and Janette Garrard and also to the Dr Marie Siganto and the Siganto Foundation for their support of this event.

 

ABBE: Artists books Brisbane Event 2015

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ABBE Logo

ABBE Logo

For many years Queensland had a diversity of artists book activities: the bi-ennial Artspace Mackay Artists Book Forums and Libris Awards, the once yearly Noosa Artists Book Events and the Southern Cross University Acquisitive Artists Book Awards. Also contributing to this fertile artists book environment the State Library of Queensland’s Australian Library of Art which included the SLQ’s Siganto Foundation fellowships, ‘white glove’ presentations and events.  Added to this were exhibitions and artists book fairs coordinated by Grahame Galleries and other shows at scattered venues. With the recent demise of the Mackay, Noosa and Southern Cross events their absence was felt by the artists book community.  Now a new event has emerged to add to the SLQ and Grahame Galleries support of the art – the Artists Book Brisbane Event (ABBE). Over July 16, 17 and 18 ABBE featured a triptych of activities; a conference, an exhibition of books, an artists book fair and allied exhibition events at the State Library of Queensland, Grahame Galleries, The Studio West End, the IMA and Impress Printmakers Gallery.

The conference sought to address 3 main themes relating to the artists book:

  • post literacy
  • materiality/the haptic
  • the nature of reading artists books.

Three keynote presenters lead the program:

Sarah Bodman presents her keynote lecture

Sarah Bodman presents her keynote lecture

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SARAH BODMAN (Abstract)– ARTISTS’ BOOKS AS A PHYSICAL SITE OF PRACTICE

If a post-Literate society might also encompass new ways of thinking about reading, we could think of contemporary artists’ books as a site of practice beyond that of McLuhan’s sign posting of the invention of moveable type as fundamentally responsible for how the Western world physically reads: “along the straight Lines of the printed page.”

We seem to have already moved from Linear to non-linear reading; we are used to flitting through digital screen-based texts, and losing our attention through a multitude of online multi-tasking. Physical engagement with artists’ books provides us with spaceto breathe, a slower rhythm of ingesting information and time to reflect, so what about the artists who are making them? How are artists engaging with the physical book now?

These examples focus on celebrating the book as a physical container used by artists to: re-present language, offer performative reading, view how reading is perceived, appropriate text from novels and instructional manuals into new works, or to transform information from the virtual into the physical.

BRAD FREEMAN presents his keynote lecture

Brad Freeman presents his keynote lecture

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BRAD FREEMAN (Abstract) – JOURNAL OF ARTISTS’ BOOKS

Brad Freeman’s Lecture focussed on JAB, the Journal of Artists’ Books, that supports critical inquiry into artists’ books. Since 1994 JAB has published interviews with contemporary artists whose primary medium is the artist book, reviews of artists’ books, and essays about historical issues and contemporary artists and their work. JAB has a two pronged approach to culture creation via publication arts; an educational approach with critical writing and documentation of current activity; and second, a creative approach with publication art-exploring the creative potential of print and the book by commissioning artists’ covers (letterpress and offset), artist designed pages, and artists’ books made especially for insertion into JAB.

Lyn Ashby presents his keynote lecture

Lyn Ashby presents his keynote lecture

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LYN ASHBY (Abstract) – POSTLITERACY AND ARTISTSBOOKS: Coming to our senses with a modern mythic form

This presentation is a speculation on the idea that contemporary artistsbooks may be the laboratory for a new literacy, and that in honor of the quietly evolutionary nature of this new literacy, we might call it “postliteracy”.

As background, it explores how our centuries of standard literacy and its attendant conventions of pictorial space and chronological, narrative time, have privileged a specific code in the representations of our language systems (both image and text) and their operations across the page and through the book. The prescriptions of these conventions and the domination of the line and the grid onto the look of language have come to minimise the participation (and uncertainty) of the senses in the direct process of apprehending meaning with language forms.

But the pages of artistsbooks are often filled with the explorations of other ways that language forms can activate a lively, sensory involvement with the page space, or how meaning can be formulated beyond the limitations of chronology.

Some of these experiments involve the invocation of pre literate, oral language structures that work more by the devices and grammars of music, song and myth than the usual strategies of standard literacy. in this way, the contemporary artistsbook may be the hardcopy home of a modern, mythic form.

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Doug Spowart performs his lecture 'I'm about to 'read' a book'

Doug Spowart performs his lecture ‘I’m about to ‘read’ a book’

Photo from ABBE Artists Book Conference July 16, 17 & 18 2015 at the Queensland College of Art

Victoria Cooper presents her lecture ‘The Grafted Image: The Montage’

Tim Mosely presents in the lecture room

Tim Mosely presents in the lecture room

Presenting/Participating at the conference

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  • Lyn Ashby
  • Sarah Bodman
  • Sara Bowen
  • Deidre Brollo
  • Helen Cole
  • Victoria Cooper
  • Marian Crawford
  • Daniel Della-Bosca
  • Fiona Dempster
  • Caren Florance
  • Jenny Fraser
  • Brad Freeman
  • Angela Gardner
  • Noreen Grahame
  • Bridget Hillebrand
  • Joel Lardner
  • Marian Macken
  • Tim Mosely
  • Adele Outteridge
  • Mikhail Pogarsky
  • Doug Spowart
  • Kym Tabulo
  • Wim de Vos
  • Gabriella Wilson
Invite – 'Books by Artists'

Invite – ‘books by artists’

OLYMPUS DIGITAL CAMERA
books by artists’ in the Webb Gallery, QCA

The ‘books by artists’ exhibitors

  • Isaac Brown
  • Blogger_dad
  • Penny Carey-Wells
  • Victoria Cooper
  • Caroline Craig
  • Fiona Dempster
  • Hesam Fetrati Angela Gardner
  • Annique Goldenberg
  • Alannah Gunter
  • Institute of Modern Art Cassandra Lehman-Schultz
  • Alison Mackay
  • Judy Macklin
  • Heather Matthew
  • Tess Mehonoshen
  • Christine Mellor
  • Tim Mosely
  • night ladder collective
  • Naomi O’Reilly
  • Adele Outteridge
  • Mona Ryder
  • Rose Rigley
  • Glen Skien
  • Doug Spowart
  • Wim de Vos

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THE ABBE ARTISTS BOOK FAIR

OLYMPUS DIGITAL CAMERA

Artists Book Fair

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Artists Book Fair stallholders

Sue Anderson + Gwen Harrison

Sue Anderson + Gwen Harrison

Lyn Ashby

Lyn Ashby

Sara Bowen (no image taken)

Photo from ABBE Artists Book Conference July 16, 17 & 18 2015 at the Queensland College of Art

Deidre Brollo with Christene Drewe and Helen Cole

Penny

Penny Carey-Wells

Centre for Regional Arts Practice (Cooper+Spowart) (no image taken)

Marian Crawford with Sarah Bodman

Marian Crawford with Sarah Bodman

Daniel Dell-Bosca with Victoria Cooper

Daniel Dell-Bosca with Victoria Cooper

Robyn Dempster + Fiona

Robyn Foster + Fiona Dempster

Caren Florance

Caren Florance

Robyn Foster (no image taken)

Brad Freeman  JAB

Brad Freeman JAB

Angela Gardner

Angela Gardner

Griffith Centre for Creative Arts Research (no image taken)

Impress Printmakers: Sue Poggioli + Jennifer Stuerzl

Impress Printmakers: Sue Poggioli + Jennifer Stuerzl

Institute of Modern Art

Institute of Modern Art

Sheree Kinlyside

Sheree Kinlyside

Clyde McGill

Clyde McGill

Heather Matthew

Heather Matthew

Anita Milroy book – 'Biography of a Physicist'

Anita Milroy book – ‘Biography of a Physicist’ (Image supplied by the artist)

Adele Outteridge + Wim de Vos

Adele Outteridge + Wim de Vos

QCA Gold Coast (no image taken)

silverwattle bookfoundry

silverwattle bookfoundry (Tim Mosely)

Peta Smith

Peta Smith

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ABBE participants also visited Grahame Galleries, The Studio West End and the State Library of Queensland

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The SLQ White Gloves team Christene, Helen and Jeanette

The SLQ White Gloves team Christene, Helen and Jeanette

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ABBE Logo

ABBE Logo

ABBE was an initiative of the Griffith Centre for Creative Arts Research and was coordinated by Dr Tim Mosely and Dr Lynden Stone.

All photographs  © 2015 Doug Spowart

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Creative Commons-by-nc-nd.eu

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

GEORGE PATON GALLERY: Artist’s Books (reprised) Exhibition

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Selfie

Artists’ Book Selfie

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Digging in the archive: past and present

 

Artist’s Books (reprised) [artists’ books 1978-2014]: George Paton Gallery, University of Melbourne

Dates: 26 August to 5 September

 

A recent show entitled, George Paton Gallery, Artist’s Books (reprised), promoted that it would be showing “four decades of investigation into the possibilities and limitations of the artists’ book form.” Whilst the exhibition as presented had some gaps in the chronology, it did live up to its claim of presenting a significant collection of contemporary works alongside a carefully curated group of seminal artists’ book works from shows presented at the George Paton Gallery in the 1970s and 80s.

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George Paton Gallery Website notice

George Paton Gallery Website notice

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Visitors to the gallery encountered a space resembling a reading room with trestle tables and bookshelves presenting the contemporary books for viewing, handling and reading. Some books were marked as ‘white-gloved’ handling whilst the majority was available for direct tactile experience. Enclosed in vitrines were the historical books on loan from the University of Melbourne archives. Interestingly during the 1970s and 80s these books would have only cost a few dollars to buy but now they attract significant values. Included in this prized collection of books are: Ed Ruscha’s Small Flres and Milk; 1964; Marcel Broodthaers’ A Voyage on the North Sea; 1973; Sol LeWitt’s Grids – using all combinations of straight, not- straight and broken lines; 1975; Richard Long’s The North Woods, 1977 and Dieter Roth’s, Gesammelte Werke, Band 7, 1974. These books were sourced from past exhibitions held by the George Paton Galley: Artists’ Books/Bookworks from 1978 and Artist’s Books and Not (e) Book! from 1982, the latter curated by Canadian Tim Guest.

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George Paton Gallery

George Paton Gallery

 

In all just over 100 books were available for viewing essentially coming from a ‘call out’ for artists book makers to present work for the show. There were some interesting names; Peter Lyssiotis, Theo Strasser, Sandra Bridie, mail artist David Dellafiora, zinesters Gracia Haby and Louise Jennison, and photo-newspaper publisher Jacob Raupach. Anyone with a preconceived idea of what an artists’ book is, or should be, may have been challenged by some of the works in the show – but what an experience it was to be challenged in that way. It was a rare opportunity to view and compare such a diverse and historical collection of artists’ books.

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Exhibition installation

Exhibition installation

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Antoni Jach’s Faded World and books by other artists

Lyssiotis, Theo Strasser books

Books by Peter Lyssiotis, Theo Strasser and others

 

After spending a couple of hours in the exhibition space I searched for a way of describing the show. Then I found a text that offered a perceptive critical evaluation of the artists’ book genre. Some relevant passages from this text follow…

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Artists’ books can most simply be described as those books which have been conceived, designed and produced by visual artists. As distinguished from those books about artists, such as a monograph of catalogue raisonee, or about art, artists’ books are instead complete artworks in themselves: they are artworks that are presented in the form of books.

 Since about 1960 a distinct genre of artists’ books has appeared. These are by artists who are self-consciously exploring the possibilities of printed books: the social dynamics of a reproducible vs. a unique art object; the aesthetics of the mass print media vs. fine art prints or deluxe editions.

 The contemporary genre of artists’ books is now a widespread phenomenon. Practically every significant development in western art has been reflected in the ongoing publication of artists’ books. There are books coming out of the movements of pop art, minimalism, arte povera, performance art, fluxus, happenings, and new image painting. Conceptual artists of the 1960’s and 70’s in particular, utilized the book form as a method of realizing artworks. We can regard these books now as a vein which runs through many areas of contemporary art and includes diverse movements, interests and preoccupations.

Or have the interests been so diverse? Pop art, minimalism, performance art, arts provera, were all movements distinct from (even antagonistic to) one another, yet they all belonged to a general tendency towards “non-objective” art… Briefly, this tendency has been reflected in a desire on the part of artists to explore new media, in an attempt to abandon the traditional (modernist) disciplines of painting and sculpture. It was/is in favour of the widened scope of the flux and flow of a multi-disciplinary approach. For example, an artist may be involved in sculpture as easily as film, performance, video, photography and/or books. Perhaps most significantly there has been a conscious determination to undercut the reification of artworks – society’s valuation of art – by concentrating on the non-objective. This has meant, for instance, producing works from common industrial or throw away materials (art povera, fluxus), works constructed only in theory (conceptual art, language art), imagery stolen from the banal repertoire of mass media (pop art) ….. All this seems to have been more successful as an ideal than as an actual practice. Minimal sculpture in the late 60’s was quite successful in the art marketplace. Conceptual art has been immensely influential, popular, and saleable. As much as these artworks were determined in opposition to the bourgeoise reification of art they were inevitably complicit with it. That is because capitalism is a social system which seems to embrace new ideas but in fact appropriates and establishes a commercial value for then.

 

Bling book - title and maker to be added soon

A book by Dianne Dickson

 

Artists’ books typify this interest in non-objectivity and reflect the internal contradictions of such an ideal in a particular way. In contrast to the traditional “livre d’artistes” of deluxe editions, artists’ books are usually inexpensively produced and sold. They are affordable, accessible and as plebeian as an art object can be. In fact they are almost too exemplary of the non-objective ideal.

As books they are not commercially viable simply because they defy the expectations of a mass market by presenting avant-garde information. Yet they have few patrons in the art world because their affordability to the public represents a low profit for a dealer. Also, books can not [sic] be viewed in the same way as other art objects; they must be held in one’s own hands and read. It is remarkable then that despite the contradictions and foils of art’s survival, artists’ books have become such a highly evolved genre of contemporary art, as evidenced by the works in this exhibition.

 

Suzannah Griffith's While The City Sleeps

Suzannah Griffith’s While The City Sleeps

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To illustrate means to make something clear by example, or to adorn a book with pictures. Within a publication, an illustration can be a picture, a drawing, a photograph, a design, or an ornament. Illustration is, of course, a prominent element in all mass media publishing. To consider all illustrations as a single genre is, in a way, quite boggling. It means imagining all magazines in the world and all the printed pictures.

With this imagining I try to analyze these pictures but have only an individual response to guide me. In principle my inquiries and suggestions are all subjective, my curiosity is intuitive, my critical remarks are speculative. These habits of mind and predilections constitute the trail of my argument. Because illustration operates as such an enormous social phenomenon, it is difficult to grasp its total meaning as a genre. It is too huge a concept. Yet paradoxically, all is intimately familiar.

 

Sarah McConnell's 29 2011

Sarah McConnell’s 29 2011

 

Practically everyone looks through magazines, sees the pictures, knows what they mean. But try to separate yourself from a simple recognition of the picture and examine the picture as a conceptual model and you may understand how difficult it can be. An illustration is not simply a picture of an object or thing. In that object’s absence a picture is a way of visualizing it, recalling it or conjuring it. Then all together the medium of illustration is a way of visualizing the world. As illustration is a mass medium, it is certainly a very powerful and influential instrument of ideas. As a conceptual model, a picture is showing us how to think and what to think about.

Art characteristically departs from conventions. In leading the way from these conventions and artists can end up revealing and/or inventing upon a given culture, popular or otherwise. Furthermore, the artists’ books in this exhibition occupy a middle ground between the hermetic region of high art and the mass culture of popular illustration. They also embody a comparison between the two; they have been produced as a way of participating (in theory at least) in the mainstream of popular culture at the same time as they are an extension of art, extending beyond galleries and museums, and outside of the realm of the rarified art object.

 

Jon Hewitt's feel the confidence 2011

Jon Hewitt’s feel the confidence 2011

 

 

It may be noted that the photo works included in the exhibition are not photography books in the usual sense. For example in some books, the artist has exchanged the customary fine detail and high quality printing found in most art photography books for the flat, grainy, aesthetic of newswire or snapshot photographs, with all their vernacular associations. In other books the artist may manipulate the photographic frame by cropping it tightly to draw attention to narrative details or expanding it to the edge of the page for a window effect. Some books here constitute a repertoire of personalities through a wide array of photographic self-portraits. Others are collections of images specific thematic subject matter which suggests an interpretation of the complex meanings of culture and its institutions through the examination of its artifacts.

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Yasmin Heisler's formed in air 2014

Yasmin Heisler’s formed in air 2014

 

In opposition to the conventions of art photography, which dictate an aesthetic around the “integrity” of an individual print, these photo books, to some extent, are each engaged with the qualities inherent in reproduction by offset and other printing processes. The artists represented in this exhibition are utilizing photographs as something other than a clear, well-composed picture. In their books they manipulate the “natural reality” of photographs and so inform our recognition of photographic images with their mannered inventiveness.

There are also a few books included here which are constructed sculpturally to introduce a tactile sensation to the fingertips and so expand the act of reading illustrations into the field of sensory awareness.

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Bridget Hillebrand's Book of Chalk 2014 and Book of Stone 2014

Bridget Hillebrand’s Book of Chalk 2014 and Book of Stone 2014

 

Finally, just as the works in this exhibition are included towards an exploration of the social and aesthetic attributes of illustration, they also demonstrate a way of looking at and experiencing the world. Theses artist’s books reveal and embody a way of reading deeply into they dimensions of contemporary culture. As much as they foster an incipient consciousness they ask for sensitivity on the part of the reader.

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Tim Guest, the curator's essay for the 1982 George Paton Gallery Artist's Books and Not (e) Book!

Tim Guest, the catalogue for the 1982 George Paton Gallery Artist’s Books and Not (e) Book!

 

These words come from Tim Guest, the curator for the 1982 George Paton Gallery Artist’s Books and Not (e) Book! A copy of his catalogue for the show was made available at the exhibition. Guest’s commentary is as relevant today as it was in the early 1980s, and while we have moved on, and now view the artists’ book works of that time with a degree of comfort and acceptance, the new artists’ book works continue, as Guest points out to, ‘demonstrate a way of looking at and experiencing the world’. For me it emphatically confirms that artists’ book are still ‘edgy’ and still pushing limits.

 

Doug Spowart

September 5, 2014

 

DOWNLOAD the contemporary list of artists’ books gpg artists books list of works

 

DOWNLOAD the books on loan from the University of Melbourne ArtistsBooksloanselectionGPG2014 docx

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Part of the associated activity for the show – an artists’ book making event outside the gallery led by Michele and Laine. It was a a sunny and warm late winter’s day in Melbourne.

Michele Grimston and Laine Stewart and their Free Artist's Book activity

Michele Grimston and Laine Stewart and their Free Artist’s Book activity

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COMMENTARIES: ARTISTS BOOKS … AS POPULAR AS TATOOs!

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The wide view

COMMENTARIES ARISING FROM THE SLQ SIGANTO FOUNDATION SEMINAR

The trouble with artists’ books  

State Library of Queensland – May 4, 2013

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The quote “artists’ books … as popular as tatoos” was an opening remark by gallerist Noreen Grahame

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All great seminars, forums, conferences and meetings stir discussion and commentary; The trouble with artists’ books seminar was no exception. We approached a number of artists book people to contribute to this blog post responding to the stimulus created by the event – I have included their responses after my introductory comments.

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In Volume 7 of the Bonefolder e-journal  I reported on the dual artists book events of the 2010 Artspace Mackay Focus on Artists Book V, event and the 3rd Libris Awards. In this report I commented on the speaker’s presentations and reviewed the artists book award. I then concluded that these events were integral to the development and maintenance of a community of practice for those who make artists books in this country.  Three years on the energy and enthusiasm for artists’ books remains however the Mackay Focus event has been abandoned and some awards events have slipped from their usual place in the yearly/bi-yearly calendar.

We are indeed indebted to the Siganto Foundation and the SLQ who in 2012 made possible the Keith Smith and Scott McCarney workshop and seminar, and this year the The trouble with artists’ books seminar. It seems to me that artists book community in this country has a great appetite for information, connecting with the heroes and heroines of the discipline, learning about methods and techniques as well as participating in camaraderie with their peers.  My concluding words in the Bonefolder report recognised the importance of events such as Artspace’s Focus on Artists Books and the Libris Awards as they invigorate the discipline and the art of artists books … The significant response to this seminar indicates that the pace and frequency of artists book events should not slacken – we want more!

The Bonefolder report concluding comments were:

Awareness of the origins of the discipline of artists’ books and the Australian context as well as issues of contemporary and emergent practice is a unique outcome for FOAB. Where else in Australia this year would one be able to experience, or participate in a program where issues as diverse as Avatars making books in their second life, the death of the book/author, wild books and zoo viewing of books, propositions for new perceptive literature, mail art and the products of psychometry being resolved as artists’ books? Perhaps attendees should be warned of the ride that they would encounter.

Central to need for the FOAB, as an event, is its ability to pull together artists’ book interested people and provide a forum for them to be a part of something bigger than themselves. Artists’ bookmakers are individual artists, sometimes collaborators, librarians, academics, gallerists and collectors are isolated as islands of interest in their usual place of activity. But at FOAB they meet, greet, mingle, chat, discuss, argue and get down to the flensing-out of ideas, polemics and concerns about practice and the book as a work of art. This blend of interested parties forms the nucleus, the hub, of the discipline within this country – without it, there would only be individual soliloquies in the wilderness

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Julie Barratt

Julie Barratt   –  Artist

I guess really briefly what I got from ‘the trouble with artist book ‘ talk if I was going to quote is ” it seems the trouble with artist books is that there are too many to love!!!” On a more serious note I guess for me it always comes down to how we talk about/define an artist book, as an ongoing discussion.

Almost on a daily basis when I had the gallery (I always had at lead a few artist books on display) people would ask what these books are! How to define them without quoting Johanna Drucker?  Should there be categories i.e. Sculptural, digital etc etc. How do we expect the audience to understand them if we as practitioners have difficulty talking about them? But how do we agree on a definition?

That’s what I imagined the forum to be about because ‘isn’t that the trouble with artist books’? Having said that I thoroughly enjoyed the forum and think there need to be many many more of them when in fact there seem to be less (Mackay forum? ) so that the discussion can continue….

Its always a pleasure to catch up with the artist book community, feels like a reunion every time!

Julie

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Maureen Trainor portrait

Maureen Trainor

Maureen Trainor  –  Photographer and QCA Masters student

I found these presentations to be very informative and inspiring.

The content and sequence of the presentations were dynamic.

By breaking down the delivery into the three different viewpoints the three Keynote speakers were engaging and thought provoking.

Starting with Helen Cole presenting ‘the Librarian’s view’, Noreen Grahame presenting ‘the Gallerist’s view’, Jan Davis presenting ‘the Artist’s view’ and ending with an interactive audience time for ‘questions and answers’ was right on target with information.

The Hearsay team discussing their project was fantastic. Combined with humour and wit they certainly kept the attention of a diverse audience.

I truly enjoyed the afternoon and felt I could of stayed into the night with more speakers and presentations.

Maureen

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Monica Oppen

Monica Oppen  –  Artist and collector

The Trouble with Artists’ Books (and the Libris Awards)

Coming away from the SLQ seminar where the attendance was so strong and having attended the opening and announcement of the Libris Award at Artspace Mackay the conviction that has risen strongly in my mind is that there is a real need for events such as the SLQ Siganto Seminar. The strong attendance not only indicates a real interest in the topic but a desire of artists to reconnect with others working in the field. As Helen writes in her post about the Libris Awards, and I can vouch for it, there were very, very few artists there but also no other significant persons from the institutions who have an ongoing interest and involvement in artists’ books were there. The tyranny of distance and the associated costs of travel and accommodation will only be overcome by creating an event that is worth travelling for.

The topic The Trouble with Artists Books is pertinent and complex and was way too big to handle in one afternoon; a multi-day conference could have been structure around this topic. Time restrictions meant that Jan Davis and Noreen Grahame could only touch on, hint at and introduce the work/books from which a broader discussion could have expanded. The sense that there is a need for these seminars (judging from the attendance numbers) also hopefully indicates a need for more rigorous, mature critical discourse around the genre, a breadth of conversation and argument. Does the constant discussion of definition and the non-committal responses from ‘those who should know’ arise from this lack of discourse? I don’t consider the definition ‘if the artist calls it a book, it is a book’ to be an adequate, exciting nor empowering definition unless some force is allowed to work in opposition to it, that demands a justification, demands some critical analysis. The lines will always be blurry but this could be an energizing force and contribute a dynamism to the genre. By not taking a stand are we in fact leaving definitions to the gallery? Surely the gallery as a medium is the antithesis of the (artists’) book. The gallery is exposed and extraverted; the book is enclosed and introverted. Always it comes up, the problem with exhibiting artists books— this is because books are not meant to be exhibited, they are meant to be read. What are the implications for the genre if books are only viewed in the gallery, and more seriously if the gallery maintains a ‘no touch’ policy? Ironically, making a (artist’s) book was originally about abandoning the gallery; about the subversion of the commercialism of the art object. The book was meant to be a free-floating object in wider society. Where is that rebel spirit?

A hundred more questions could be asked. I hope the SLQ seminar is not a one-off but gives an impetus to more symposiums throughout the country.

Monica Oppen 14/5/13

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Judy Barrass

Judy Barrass

Judy Barrass  –  Artist

THIS COMMENTARY COMES FROM JUDY’s BLOG – ‘Critical Mass’ http://www.criticalmassblog.net/2012/?p=2568

No one can agree on what they are, or even where the apostrophe should be placed, but a seminar on artists’ books at the State Library on Saturday drew a crowd.

It was a  rare get-together of artist book makers and officianados, with attendees travelling from other states and regional Queensland just to attend the two-and-a-half-hour seminar and catch up with old friends.

According to the speakers, librarian Helen Cole, gallerist Noreen Grahame, and artist book maker and academic Jan Davis, artist books are problematic. That’s not just because no one seems to be able to agree on a definition, but also because they are hard to store, hard to display, and are not usually included in mainstream collections or exhibitions. They attract mostly a smallish group of makers and collectors and don’t sell in large numbers. Despite this, artists’ books draw a passionate audience of makers and supporters whenever they are on show (or whenever there’s a seminar).

Queensland has been a leader in the artist book phenomenon. The Queensland State Library is a significant collector, and Grahame Galleries took an early leading role. Artspace Mackay and Noosa Regional Gallery added public gallery support to exhibitions and collecting.

Someone suggested that it’s an inbred audience made up almost entirely of artist book makers, but a show of hands in the crowd on Saturday debunked this myth since at least half the attendees were not makers. Still, as Noreen Grahame remarked, artist books are a sort of ‘underground’ movement outside the mainstream.

I can’t help wondering if this is merely a question of naming. By calling these artworks ‘books’ they are relegated to the collections of libraries rather than art galleries, or they exist in a no man’s land between library and gallery. Nonetheless I have seen many works in public art gallery collections that could (or perhaps should) be called artist books. The boundaries are thin and flexible, and this was evident at the seminar. The mantra seems to be that if the artist calls it a book then it is a book.

One of the more interesting questions on the day was about the growing number of artist books that exist only in digital format. Helen Cole said the library was considering how these books might be collected and preserved, but indicated it was extremely difficult, particularly as technology changes so rapidly and formats and software become obsolete. Noreen Grahame solved the problem by referring to digital books as ‘ephemera’, and Jan Davis thought the number of artists working in the digital realm was small.

Following the discussion, a very chatty audience enjoyed a scrumptious afternoon tea and the  launch of Hearsay, a large format collaborative artists’ book by artist Euan Macleod, printmaker Ron McBurnie, and writer Lloyd Jones. They apparently didn’t worry too much whether or not their work was or was not an artist book, but have sensibly hedged their bets by also producing the pages as a portfolio of unbound prints (in case anyone thought it wasn’t art, or more probably because the portfolio might be more saleable than an artist book ).

The seminar ‘The Trouble with Artist Books’ was sponsored by the Siganto Foundation through the Queensland Library Foundation.

The State Library artist book collection is part of the Australian Library of Art.

(Thank you Judy for allowing this re-posting in this blog)

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Wim de Vos

Wim de Vos  –  Artist

‘The Trouble with Artists Books’

The lecture sponsored by the Siganto Foundation was very well attended by a large audience of art practitioners, administrators, and lovers of Artists Books, and was introduced by the new head of the State Library, Janette Wright. The speakers were Helen Cole, Senior Librarian of Special Collections at the Library; Noreen Grahame, Gallerist and long time respected promoter of the Artist Books within Australia and Internationally; and Jan Davis, Academic, and practitioner of Artists Books at Southern Cross University, Lismore, NSW.

Technically the lecture was informative, ran smoothly and was very well presented.

It was great to see so many practitioners (well over half the audience) and the general public, as this event facilitated a forum – to share, and some time to catch up with friends and colleagues. This has over the last few years become non-existent with the loss of the Art Space Mackay Artist Book Forum. Also the Noosa Regional Gallery’s ‘demise’ of the Artists Book annual exhibition was a sad occurrence. In addition, both venues offered successful workshops with renowned National and International Practitioners in the Visual Arts to nurture the visual arts and the book.

Many aspects of the development of Artists Books were addressed. Helen Cole addressed the ‘Trouble with Artists Books’ from a Librarian’s point of view, in that, because they were ‘Artists Books’ and diverse in so many ways, the logistics of preservation, cataloguing and storage were ‘Troublesome’. Furthermore, it was stated that the ‘Galleries’ had passed the Artists Books onto Libraries to display and make use of them, and by making Libraries the custodians of the ever-growing phenomenon of the Artists Book.

The concept of Artists Books is generally not an easy topic to present. It is in fact generally not understood at all. A friend recently pointed out, ‘I didn’t even know that an artist book existed, but as I have learnt through the language of art over time, I can say, I view this process as Book Works by Artists.’ A major exhibition of books of this nature: DAS BUCH was presented at the Queensland Art Gallery in association with the Museum of Contemporary Art in Sydney and the Goethe Institut in Germany during 1992. This was, I’m sure, a huge influence on art practitioners and the public. At the time, it placed an emphasis on the ‘Book as Object’ in a context never before experienced in the Antipodes. There has been no major exhibition of this type in a public gallery in this State, since.

As I am a practising artist and maker of prints, paintings, and sculpture, and work with a wide variety of materials, the book as object comes naturally as a medium to extend my practice. It has in fact tied together all my processes of making art, including text, giving me the freedom of story telling on many levels.

I observed, as the afternoon progressed, that in the presentation not all aspects of Artists Books practice was being fully covered and explored by the presenters. This became, indeed, troublesome. There is actually content within books, books with text, images and text, objects and materials, and so on. There was very little mentioned on the subject of the Sculptural Book or the Photo Book. A visual list WAS presented with images of the types of books that were in the collection of the Library. But no further elaboration was offered to those in the audience that were not already ‘in the know’. The State Library of Queensland has one of the largest collections of Creative & Historical books in the southern hemisphere.

Let it be said that we can be proud of a comprehensive, diverse, eclectic and public collection of books – particularly in the collection of Contemporary Art practice in Queensland and beyond. It is promoted that it ‘may be visited at any time, by appointment’.

I recognise that there is not time to cover everything fully. This made duplication and repetition even more irritating. Time may have been used more productively.

The lecture continued with the history of the Artists Book and it’s growth within Australia over the last 30 odd years. This painted an impressive picture of collections and practise over that time. Artists were mentioned who were instrumental in its development, but presenters did not go far enough on this issue, and failed to mention key motivators: artists both local and international. There was a ‘flow of words’ promoting a few artists over and over again. When the presentation of ‘Favourite Artists Books’ was introduced the theme of the lecture was totally abandoned. We were presented with a self-indulgent diversion as to what the book may mean only to the ‘literate Artists Book fans’ present.

It would have been more useful to give the audience an indication of how they may wish to learn more about Artist Books through the public and private system. There was enough talent and experience behind the microphone to impart this information. It seemed much of this lecture was preaching to the converted.

Afternoon tea on the terrace was followed by the launch of a collaboration of an Artist Book created by two well-known visual artists:  Ewan McCloud and Ron McBurnie, and the writer Lloyd Jones. This was a very good presentation chaired by Suzi Muddiman: Director of the Murwillumbah Regional Art Gallery in NSW. This gave the opportunity for the layperson to experience the processes of collaboration in art making.

As there are no indications of any follow-up lecture or activities relating to Artist Books, it would be worthwhile to plan something on the promotion and educational aspects of Artists Books. I am sure it would be a great success.

A ‘large bouquet’ to Helen Cole in particular, and the State Library, for organising this generally informative and pleasant afternoon. We look forward to a more expansive event in the future.

Wim de Vos

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Peter_Lyssiotis-port

Peter Lyssiotis

Peter Lyssiotis  –  Artists book-maker and photomonteur

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Peter’s letter

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A vodcast for the event is available at  http://www.slq.qld.gov.au/audio-video/webcasts/recent-webcasts/siganto-seminar

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Cheers  Doug+Victoria

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© Of all texts resides with the authors

Photograph of the SLQ Theatre, Julie Barratt, Monica Oppen, Wim de Vos  © Doug Spowart 2013. Self-portrait of Maureen Trainor ©2013. Judy Barrass portrait supplied by Judy.

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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SLQ Siganto Seminar: The trouble with artists’ books

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AT THIS TIME THE BLOG WILL FEATURE IMAGES OF THE EVENT

We are happy to receive comments and dialogue arising from the seminar and will post selected feedback. Please leave a comment on this blog for consideration by us for posting.

The podcast is available at  http://www.slq.qld.gov.au/audio-video/webcasts/recent-webcasts/siganto-seminar

Cheers  Doug+Victoria

SQL-Trouble website

From the SLQ website – Promo for the evnt

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The State Librarian Jeanette Wright opens procedings

The State Librarian Jeanette Wright opens proceedings

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Helen Cole presents

Helen Cole presents the Librarian’s view

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Jan Davis presents

Jan Davis presents the Artist’s view

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Noreen Grahame presents

Noreen Grahame presents the Gallerist’s view

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The Question and Answer session

Helen Cole chairing the Question and Answer session

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Noreen Grahame answers

Noreen Grahame answers a question

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State Library of Queensland Event: The trouble with artists' boo

Jan Davis answers a question

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The Auditorium crowd

The Auditorium crowd

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The 'Hearsay' team members discuss the project

The Hearsay team members discuss the project

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Attendees viewing the 'Hearsay' book

Attendees viewing the Hearsay book

BLOGPOSTS ABOUT THE EVENT ARE AVAILABLE AT THE FOLLOWING:

Judy Barrass ‘Critical mass Blog’         http://www.criticalmassblog.net/2012/?p=2568

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All  photographs  © Doug Spowart 2013.

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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