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FIELD STUDIES INTERNATIONAL 2016: Our contribution

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Signing the Field Studies 2016 contribution

Signing the Field Studies 2016 contribution

 

We have been busy the last few days completing our contribution to the 2016 Field Study International report project. Led by David Dellafiora in Geelong the Field Study project is now in it’s 22nd year. Field Study Report contributions are called emanations and can include all kinds of things including: ‘documentations of performances, actions and exhibitions, tracts, rants, instructions, manifestoes, reflections and experiments.’ They are a mashup of Fluxus, DaDa, Surrealist inspired, zine-ish paste-up, rubber stamps, torn up letter ransom notes and concrete poetry. The Field Study Report becomes a snapshot of artistic, social and/or political commentary at the time of its publication.

 

Our submission for 2016 is a commentary on our present nomadic lifestyle. Since moving from Toowoomba 2½ years ago we have been house-sitting, doing artists in residence projects, staying with friends and renting – we have lived in approximately 15 places.

For our submission we made a diptych of original cyanotype images recently while staying on the beach at Wooli. One print represents a starry night above a line of houses. The other print is a selection of of different keys –referencing all the houses we have stayed in. The two cyanotype prints were copied, scaled and arranged on the one sheet with the captions: ‘Keys to the homes where we have lived …’ and, ‘A Field Study Emanation for 2016 by Victoria Cooper + Doug Spowart’.

Each A5 print is numbered and signed and the edition is 100. Each contributor gets a copy of the assembled works and some copies are sold to support the project and the group that helps make it happen.

 

Cooper+Spowart Field Studies 2016 contribution

Cooper+Spowart Field Study 2016 contribution

 

Submissions for 2016 are now closed however, get ready for 2017. For more information about Field Study and other projects see: https://daviddellafiora.blogspot.com.au/

About Field Study:

Field Study began in 1993 as a way of reclaiming the negative spaces between art and life. Activities stemming from Field Study are emanations and group emanations are manifestations. Field Study sees each work as a manifestation of a collective spirit. Everyone is welcome to become a member of Field Study, irrespective of their arts practice, and contribute to the Field Report. Field Study also produces the assembling publications WIPE and ReSite, and, in collaboration with Karingal, KART.

 

An earlier WOTWEDID Blog post has more detail… Check it out:

https://wotwedid.com/2013/01/05/field-study-international-our-contribution/

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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

OLYMPUS DIGITAL CAMERA

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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2012 FIELD STUDY MAIL ART PROJECT: Our contribution

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On December 7, 2012 we mailed off to David Dellafiora in Geelong our contribution to the 2012 Field Study. We met David at the Artspace Mackay Artists Book Forum in 2010 where he presented a lecture on mail art and coordinated a collaborative project which dealt with the idea of the assembling book as a democratic multiple.

David_Dellafiora Photo: Doug Spowart

David Dellafiora Photo: Doug Spowart

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David Dellafiora is a quietly spoken person and not one to push his significant history and activities in the world of mail art. He was however an enthusiastic distributor of A5 fliers, call-to-action invitations to participate in numerous mail art projects that he coordinates. Field Study, Kart, Wipe and others are projects that are essentially ‘assembling books’, where artists worldwide submit multiple artworks by mail to David. At specific times throughout the year David coordinates a team that assembles, packages and mails out to all contributors a copy of the compiled project. A part of the production run is retained with copies being offered for sale to artists, galleries and collectors. The income from this activity finances the production costs and the return postage. Field Study publications are included artists book collections such as the V&A, Museum of Modern Art New York, State Library of Victoria and the Ruth & Marvin Sackner Archive of Concrete & Visual Poetry.

The Field Study contributions are called emanations and can include all kinds of things including: ‘documentations of performances, actions and exhibitions, tracts, rants, instructions, manifestoes, reflections and experiments.’ A selection of pages can be seen in the illustrations from last year’s report at the end of this post. They are a mashup of Fluxus, DaDa, Surrealist inspired, zine-ish paste-up, rubber stamps, torn up letter ransom notes and concrete poetry. In its assembled form the power of Field Report is apparent as it becomes a snapshot of artistic, social and/or political commentary on the times that are current at the time of its publication.

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Our Field Study infographic about extractive mining industries in the Seurat Basin

Our Field Study infographic about extractive mining industries in the Surat Basin

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This year we contributed a piece that related to our commentary on extractive mining industries overtaking our regional communities. This is a variant to the Artists’ Survey Book #12 that has featured in past WOTWEDID posts. The page was printed using a high quality photocopier and each page, 100 in all, were signed and numbered by both of us. It was remarkable to see our workbench covered with the repeating pattern of 100 pages taking up an area of about 3 square metres.

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Signing our contribution

Signing our contribution

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We look forward to receiving a package from Field Study International later on this year. And, for anyone interested in future Field Study projects, check out the Field Study Blog or review some of the accompanying documents that follow in this blog post.

Cheerio

Doug

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The call for 2012 contributions

The call for 2012 contributions

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2011 Field Report cover

2011 Field Report cover

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2011 Field Report pages

2011 Field Report pages

2011 Field Report

2011 Field Report

2011 Field Report pages

2011 Field Report pages

A page of participants - 2011 Field Report

A page of participants – 2011 Field Report

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Kart Mail Art Project

Kart Mail Art Project

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