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ABBE 2017 – The academic artists book conference

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ABBE Logo

 

The second Artist Book Brisbane Event (ABBE) promised an academic conference dealing with the artists book as a folded and risky space. The event consisted of three elements at the Queensland College of Art and a fourth satellite pop-up exhibition at the State Library of Queensland. Drawn to ABBE 2017 were artists bookmakers, thinkers, commentators, teachers, lecturers and tinkerers from across Australia. All came with a desire to contribute to, or participate in, perhaps this Australia’s penultimate artists book gathering.

 

Dr Tim Mosely ABBE coordinator and chair

The event was convened and chaired by QCA lecturer Tim Mosely and was launched by Griffith University’s Dean Academic, Arts, Education and Law Professor Ruth Bereson who spoke about the book as art and the need for that the discipline has for scholarly discourse. She commented that the Griffith Centre for Creative Arts Research ABBE program and its connection with Columbia University’s JAB (Journal of Artists Book) publication of selected papers would contribute to this discourse. Significant keynote speakers, Uta Schneider and Ulrike Stoltz from Germany and Clyde McGill from Western Australia headlined the event. Other program contributors came from practitioners, academic staff, students, and recent graduates from institutions in the USA, New Zealand and around Australia.

 

Ulrike Stoltz & Uta Schneider

 

The first keynotes were Uta Schneider and Ulrike Stoltz who presented a paper entitled betwixt & between. Presenting in tandem their voices were almost like a turning of the pages – recto and verso. They teased out and formed the conference theme of ‘folding’ into an ordered analysis of the physical and metaphorical ways that books fold. They connected the theme ‘folding’ with their own individual and collaborative works and the concepts, philosophies and discussions about artists books that informed them. Mythology, Martin Heidegger on contemprality and the ekstaticon, Carrion, Gillies Deleuze and ‘thinking means folding’ and Michel Serres and ‘the crumpled nature of time’.

The lecture then proceeded to a review of book forms with terms like:

  • Folded paper
  • Cross fold
  • Sharpness of the fold
  • Container folds
  • Staging folds
  • French fold
  • Inside folding outside
  • Concertina and multi-concertina folds
  • Wormholes and science fiction

The works they illustrated their paper with were refined and exquisitely designed. They featured wordplay and poetry, folded page spaces, transparency using ‘show-through’, typography and graphic design elements. As an introduction to the topic, the hour long presentation provided a solid and exciting insight into ways of considering the fold, its forms and the way it can connect with the reader, as receiver of the communiqué.

 

A K Milroy + Brad Freeman presenting

Other presentations on the program included:

  • Marian Macken Reading Volume: Between Folded Drawings and Collapsible Models
  • Caren Florance & Angela Gardner  Unfolding to refold: collaborative wordings
  • Paul Uhlmann Meditations on process: Three artists books, letters to the land, sea and sky
  • Caren Florance An Instrument of Collaboration: Unfolding the GIW Legacy
  • Monica Oppen Eclectic items: early books by Australian artists
  • Ana Paula Estrada “Memorandum”, from concept to publication
  • Wim de Vos Air, edge, surface image – concertina books
  • Nicola Hooper The Citronella Artists Book as an Augmented Narrative
  • Amy E. Thompson Folding and the potential of Artists’ Books
  • A K Milroy & Brad Freeman Folding and unfolding in JAB41: cultures, research, pages
  • Tess Mehonoshen DISINTEGRATE:  the destructive folding of materials
  • Marian Crawford A lively phantom: the rare and popular artists book
  • Carolyn Craig Unfolding(s)
  • Isaac Brown Relationship risk and ethics in photographic artist books
  • Monica Carroll & Adam Dickerson Unfolding the episteme of artists’ books
  • Bridget Hillebrand Handling folds: an intimate encounter
  • Julie Barratt & Virginia Barratt The exquisite fold, the immanent word
  • Maren Götzmann The Anarchist Notebooks

 

While most papers were read from the dais with carefully illustrated PowerPoint slides the second keynote speaker Clyde McGill emerged on the stage with a device that could be called a ‘bibliophone’. McGill had altered a range of book titles by folding back the pages and attaching a sound pick-up to the book cover and then connected the 7 books to an amplifier. Volunteers from the audience were given bonefolders as plectrums and, on McGill’s guidance were instructed to make the various movements of hands and object associated with hand-making a book. The haptic actions were converted to sound and the room filled with the noise of ‘making’ associated with a great deal of laughter.

 

Making book music with Clyde McGill

 

McGill continued his presentation with a detailed investigation of the idea of folding books. Where possible his own works were referenced. At other times he created new books by playful investigation… bending and folding light was a particularly humorous but gave those present an insight into how the artist’s off-tangential and obtuse thought processes process can lead to new conceptual and visual discoveries.

 

Julie and Virginia Barrett’s performance

Another departure from the read-the-paper format was a performance by Julie Barratt and her sister Virginia Barratt. Attendees, on returning to the lecture theatre after morning tea, found the space darkened except for two sharply defined spotlit circles. One pool of light was vacant, just the floor’s carpet – in the other artists’ book maker Julie Barratt was busy unfurling paper, measuring it and tearing of lengths and positioning them in a stack on the table before her. Also on the table were scissors a ball of thread and other bookmaker’s things. The unroll>measure>cut>position sequence was progressing methodically for some time making the sheets one might guess that would go to making a book. A soundtrack began with a female voice expressing thoughts ideas, word associations sometimes repeated – perhaps the thoughts of the bookmaker? There was a rustling sound – stage right. Gradually a large dome-like white shape appeared and moved towards the empty spotlight area. The shape was covered in what looked like pages – ominous maybe… the audio continued and Julie Barratt left her table and proceeded toward the shape and picked up a folded sheet and returned to the table – flattening out the sheet it was melded with other sheets. The performance continued. What was it about? What came to my mind was that the shape was like the book working with Julie so its story could be told as in Paul Carter’s ‘material thinking’. At the end of the performance it was revealed that Virginia Barratt, Julie’s sister, was the artists book ‘monster’.

 

Another aspect of the conference presentations were two papers by photographers Ana Paula Estrada and Isaac Brown both featuring bookwork’s that they had created. Estrada, as a State Library of Queensland Siganto Foundation Creative Fellow, discussed concepts of memory, photography and old age as the inspiration for her project. She detailed the process of design, making maquettes, refining and working with commercial printers and binders to complete the project. Brown spoke of the integration of his project and PhD study focussing on his relationship to his father, a Vietnam veteran. Aspects of text and dialogue were addressed as well as Brown’s own recent fatherhood. What was interesting was the informal narrative and connection with audience that both presenters had and the expanding space of the artists book being inhabited by photographers.

 

Wim de Vos presents his work

Wim de Vos made an animated presentation and several helpers as his concertina books by the metre unfolded across the width of the theatre and tunnel books expanded, evidence of the pre-eminence of his artists book practice in Queensland.

 

Midway through the academic papers a ‘plenary’ session consisting of a panel of artists’ book ‘movers and shakers’ discussed several issues relating to the discipline. The session quickly became absorbed with the perennial issues of nomenclature, the dearth of private and public purchasers of bookworks and the grooming of possible artists book collectors. The impact of the term ‘Art Book’ was mentioned and the way events associated with the term has grown in popularity worldwide and has come to encompass artists books, photobooks, zines, art books and institutional catalogues. Another topic mentioned was the importance of research and critical commentary on the discipline. A suggestion was made for the formation of a ‘double-blind peer review’ collective.

 

Noreen Grahame at the QCA Library and her ‘… & So’ artists book show

On the evening of the first day Robert Heather, Director, New England Regional Art Museum opened the exhibition “… & So” at QCA Library. The exhibition features a significant collection of seminal Australian and international artists books and multiples sourced predominately from Noreen Grahame’s Centre for the Artist Book collection and her numero uno publications alongside artists’ books from the Queensland College of Art.  A list of the selected works can be downloaded here. ALA Books for abbe 2017 … $ so Exhibition list

 

Mid afternoon on the second day the State Librarian and CEO from the State Librarian of Queensland Vicki McDonald opened the 6th artists’ books + multiples fair. Twelve tables presented a hand-to-eye experience of books by significant makers of contemporary artists’ books. These included:

 

A silhouette view of the Grahame Galleries tables

Stand 1 – grahame galleries + editions

Barbara Davidson

Stand 2 – Barbara A Davidson

Caren Florance

Stand 3 – Caren Florance – Ampersand Duck

Stand 4 – QCA

Photo from ABBE Artists Book Conference July 6-9 2017 at the Queensland College of Art

Stand 5 – 5 Press Books

Stand 6 – INDIVIDUAL ENTRIES

Anne-Marie Hunter

Stand 7 – Psyclonic Studios – Anne-Maree Hunter

Sue Poggioli

Stand 8 – Sue Poggioli

Adele Outteridge & Wim de Vos

Stand 9 – Studio West End

Ulrike Stoltz & Uta Schneider

Stand 10 – Usus – Germany

Brad Freeman

Anita Milroy

Lyn Ashby

Stand 11 – Milroy-Australia / Freeman-USA / Ashby-Australia

Sue Anderson

Stand 12 – Impediment Press

SLQ Australian Library of Art artists book exhibition

To complement the theme of the ABBE conference a special collection of concertina and folded books was curated by Christene Drewe of the Australian Library of Art at the State Library of Queensland. Open only for 2 hours on the Saturday morning of the conference this satellite event was well patronised. The Australian Library of Art is recognised as Australia’s premier public collection of artists books and the range of works presented was a testimony to the variety and depth of the collection. A list of the books displayed can be downloaded here. ALA Books for abbe 2017

In keeping with the conference theme the community of practice for artists books in this country is supported by the ‘folding’ and ‘unfolding’ of ideas, theories, concepts, access to exemplar book samples and the social connection that ABBE provides. While selected ABBE 2017 papers will be published in JAB, beyond that, the influence and impact of this gathering highlights the need for ABBE to provide this ongoing forum in Australia.

 

Dr Doug Spowart

 

All photographs and text ©2017 Doug Spowart

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STUDIO WEST END: REPRISE

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Adele Outtridge

Adele Outtridge photographed in the new Studio by Doug Spowart

Wim de vos

Wim de Vos photographed in the new Studio by Doug Spowart

 

Adele Outteridge and Wim de Vos are like ‘family’ for many artists and creatives in Queensland, and I’m sure around Australia and beyond. Their Studio West End has provided a space for artists to access printing technologies, be supported by mentoring and teaching provided by Adele and Wim, and also connect through the social meeting place that the studio was.

 

Over the years both Vicky and I have connected with them in many different ways; as co-teachers in an art college, as collaborators on art projects, attending events that each other had organised, learning and sharing skills and, at times, just sitting around – as other do – talking about art and artists…

 

Helen Cole opens the Studio West End artists book show Photo: Doug Spowart

Helen Cole opens the Studio West End artists book show Photo: Doug Spowart

 

Adele and Wim have for many years operated their business Studio West End in the suburb of West End in Brisbane in an old soft drink and later and ice-cream factory. They made these places little palaces of art, inspiration and creativity. The workshop was often converted into an exhibition space and example of which would be the project launch of EX LIBRIS: WHO OWNS THIS BOOK

However the creeping menace of gentrification and the scourge of massive high rise development meant that earlier this year they had to pack up and leave their premises in the ABSOE building.

Vicky and I attended the last day party on the 23rd of April and I made some photographs of the state of the studio and its conversion into neat stacks of crates on pallets. What follows is a small selection of the ABSOE Studio West End wake…

 

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Invitation to the Farewell Party

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The farewell Absoe Building wake…

 

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Moving out of West End

 

On October 30 Adele and Wim re-opened STUDIO WEST END at a new location –

241F Station Rd, Yeerongpilly 4105. Come to Gate 4, YCP (Yeerongpilly Corporate Park)

A large opening party was held on Friday evening with the new consecration of the new studio being performed by artist and raconteur Janet de Boer OAM. Acquaintances and friends were invited to visit the studio over the weekend and we went along for lunch the next day. We wish them all the best for the Studio’s continued operation.

What follows is a documentation of the new space and its migration into a new space for art making, teaching and mentoring artists…

 

The NEW Studio West End

The NEW Studio West End

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In the new Studio West End

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ALL photographs and text ©2016 Doug Spowart

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Written by Cooper+Spowart

November 5, 2016 at 5:23 pm

EX LIBRIS: WHO OWNS THIS BOOK? A Queensland artists’ bookplate project

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Zealous book collectors have always prominently placed inside the first few pages of a book their Ex Libris bookplate as a sign of ownership of books that they acquire. Over time these bookplates became a kind of specialised artwork created by artists and designers—not only for their own collected books but also for the libraries of serious book collectors. Bookplates then, are not just the carriers of the name of a book’s [one time] owner, but are also a thing of artistic integrity and beauty. Indeed there exist a large number of book-collecting dilettantes who are more interested in the bookplate and less in the book in which it is fixed.

The origins of the bookplate can be traced back to the 15th century and the artists who made them include Albrecht Durer and Hans Holbein. In Australia the most noteworthy bookplate designers include Norman Lindsay, Adrian Feint and G.D. Perrottet. Most significant state and national library collections include bookplate works. The Toowoomba Regional Art Gallery has a collection of bookplates as part of The Lionel Lindsay Gallery and Library Collection (Also known as the Bolton Collection) and in 2004 Patrick Corrigan AM gifted to the gallery a collection 318 bookplates, mostly by Australian artists, including John Shirlow, Lionel and Norman Lindsay, P. Neville Barnet, George Perrottet, Lloyd Rees, Pixie O Harris and Brett Whiteley.

"Bookplates Unbound" limited edition set (two views)  Photos: Doug Spowart

“Bookplates Unbound” limited edition set (two views) Photos: Doug Spowart

Into this bookplate space a new and ambitious project is set to provide a contemporary view of the bookplate by Queensland artists. The project, entitled Bookplates Unbound, was inspired by conversations between artists Gael Phillips and Wim de Vos around the role of printmakers in the creation of fine art bookplates. The details of the Bookplates Unbound are as follows (from the frontpiece):

As the project evolved we decided to invite 29 other Queensland artists to collaborate in a project to make a limited edition folio of fine art bookplates mounted on sheets of art paper, unbound, in a clam shell box. The artists were also requested to supply an Artist’s Statement to accompany the prints. Any hand printmaking technique was allowed as well as digital prints. The size was restricted to no more than 90mm by 130mm and the bookplates were to be printed on acid free paper of a weight up to 100gsm. Since we are now in the 21’t century, digital prints were also allowed and, if submitted, these were to be printed using archival inks on acid free paper.

Some of the 'Bookplates Unbound' printing plates   Photo:Doug Spowart

Some of the ‘Bookplates Unbound’ printing plates Photo:Doug Spowart

The Bookplates Unbound set of bookplates is a limited edition production with each artist receiving a copy. The remaining copies will be made available to collectors. The coordination of the project was undertaken by Gael Phillips and Wim de Vos at The Studio West End and was supported by Adele Outteridge.

'Bookplates Unbound' wall @ The Studio West End   Photo: Doug Spowart

‘Bookplates Unbound’ wall @ The Studio West End Photo: Doug Spowart

Anne Jolly, of Novel Lines Bookshop, launched the Bookplates Unbound set at a special event at The Studio West End on November 24. Accompanying the launch was an exhibition of artists books from friends of Studio West End that was opened by Helen Cole, Senior Librarian, State Library of Queensland. Wim de Vos also gave the audience a performance of two new tunnel books, one on Venice and the other referencng the Chrysler Building in New York that he has created [SEE the video in this post]. The openings concluded with a musical 6 song set by ‘Rock and Roll’ impresario Wim and fellow band members Neil Anderson and Robin Webb [SEE the video in this post].

Gael Phillips talks @ 'Bookplates Unbound' launch  Photo: Doug Spowart

Gael Phillips talks @ ‘Bookplates Unbound’ launch Photo: Doug Spowart

Wim and Gael thank Anne Jolly   Photo: Doug Spowart

Wim and Gael thank Anne Jolly Photo: Doug Spowart

Helen Cole opens the Studio West End artists book show   Photo: Doug Spowart

Helen Cole opens the Studio West End artists book show Photo: Doug Spowart

Helen Cole opens the Studio West End artists book show   Photo: Doug Spowart

Helen Cole opens the Studio West End artists book show Photo: Doug Spowart

Studio West End artists book show   Photo: Doug Spowart

Studio West End artists book show Photo: Doug Spowart

Studio West End artists book show   Photo: Doug Spowart

Studio West End artists book show Photo: Doug Spowart

The Band - Wim, Neil and Robin   Photo: Doug Spowart

The Band – Wim, Robin Webb and Neil Anderson Photo: Doug Spowart

The contributing artists to the Bookplates Unbound and their respective print media are:

Janette Bailey                     Line etching / aquatint

Graham Bligh                     Linocut

Susan E Bowers                 Sugarlift etching and embossing

Victoria Cooper                  Digital print

Geraldine Connolly           Soft ground etching

Philomena Drake               Etching / aquatint

Malcolm Enright                Digital print

Barbara Heath                    Digital print

Tabitha Ford                       Line etching

Lynne French                      Line etching and relief roll

Teresa Jordan                     Digitised linocut

Jeraldene Just                    Line etching

Sharon Lee                          Digital print

Chris Ling                            Line etching

James McDougall              Photo etching

Julanne McDougall           Photo etching

Fiona Medhurst                 Line etching and rubber stamp

Karla Meursing                  Linocut

Anita K Milroy                   Three hand pierced plates, line etching and embossing

Katharine Nix                    Lino etching

Adele Outteridge               Line etching

Gael Phillips                       Line and photo etching on three plates

Pip Reid                               Line aquatint etching

Anneke Silver                     Engraved lino print

Doug Spowart                    Digital print

Stephen Spurrier               Digital print

Madonna Staunton           Wood cut and rubber stamps

Jonathan Tse                      Screen print

Geoff Thompson                Line etching

Wim de Vos                         Line etching on four plates

Sheryl Whimp                     Open bite etching

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The Colophon for Bookplates Unbound

This Edition consists of forty copies, of which this is number 11

The bookplates were mounted on acid free cartridge paper and the cover titles embossed in “Times New Roman”. The font used for the Artists’ Statements was “Centaur”, designed by the late Bruce Rogers. The clam shell boxes were made by a craftsman bookbinder, Tony Gibaud at “Craftsmen Bookbinders”, Geebung, Queensland, who also made the blocks for the cover, spine and title page to a design by Gael Phillips and Wim de Vos. The text was printed by Drawing & Drafting Digital, Bowen Hills, Queensland.

The copyright of the bookplate images is retained by the individual artists.

ISBN: 978-0-646-59203-9

Published by Alumni Publishers

© 2012 Brisbane

SEE ALSO: http://www.theaustralian.com.au/business/wealth/telling-a-book-by-its-inside-cover/story-e6frgac6-1111113127290

LIFE’S JOURNEY: Artists’ Book Exhibition, Redland Art Gallery

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Life’s Journeys exhibition catalogue cover Redland Art Gallery

Judging a book by its cover a page

The artists’ book is usually sequestered away in library stacks and drawers in their neat little custom made archival cardboard boxes and plastic bags. In specialised library and private collections these are treasured objects; their owners become the custodian of the physical object of the book and the story is revealed in the site-specific act of reading within these spaces. But … sometimes they escape. On occasion artists’ books escape en-mass from their natural home of the library or private collection, and this is exactly the case with the exhibition Life’s Journey recently presented at the Redland Art Gallery, Cleveland.

Co-curated by Emma Bain Director of Redland Art Gallery and Anna Thurgood Acting Director of Artspace Mackay, the exhibition assembles books drawn from the significant, perhaps one could say—international quality, collections found in Queensland; Artspace Mackay (AM), grahame gallies + editions (gg+e), the State Library of Queensland (SLQ) and Studio West End (SWE). The exhibition’s themes, as highlighted in the catalogue essay by Louise Martin-Chew claim that they are intended to seek ‘out universal truths in individual journeys’, ‘the personal and individual’, …and ‘artist narratives with memoir-like threads’.

Life’s Journey exhibition @ Redland Art Gallery, Cleveland Photo: Doug Spowart

The viewer entering the gallery to see the Life’s Journeys books may not have read the catalogue, or have an understanding of the artists’ book discipline, but what they are to encounter in the white cube of the gallery space will be unusual. The Redland Gallery’s main room a literal forest of fourteen or more acrylic topped display cases. Inside each case resides the book, open to a page and resting on a stand or pillow. Some books don’t seem like books at all, they look more like 3D sculpture, or jewellery forms, or even things just fastened or bound together by threads. Other ‘books’ are in frames or on panels on the wall—one is even a projected image. It’s here where the viewer becomes acquainted with the ‘non-standard’ nature of the artists’ book—but there is more… The viewer can look at the narrative segment presented by the open page, or the expanded story presented in the wall-mounted works, or books that are of the concertina form. While being visually entertained by the titillating ‘sample’ view, the visitor may probably enjoy the encounter and will leave feeling a sense of discovering something interesting and unusual. But I would suggest that this is only part of the experience that the artists who made the books expected or wanted for those who see their books.

I know that this sounds like the continuing debate about the gallery exhibition of books where the sequential narrative that artists’ books require is neutered by single page views. But there is an issue, and for me a redeeming feature for shows like this, and that is that the display of artists’ books will encourage and excite people to hunt down these books in their usual library-sited storage spaces.

What I have written about before,* and what I will restate is, that these exhibitions are ‘tasters’ only. The exhibition strategy needs to include ways by which viewers can identify books of interest, understand how to access them, and then go-see, handle, read and fully encounter the artist’s communiqué. What is needed for the gallery viewer is a catalogue of the books and their source collections, how to access these collections, online references (maybe even flip-books of the works), perhaps even initiated within the exhibition space by QR codes or augmented reality clips. Using this concept the exhibition becomes an invitation for those who wish to take up the offer to handle and read the books in their site-specific habitat.

Now that’s off my chest, I have to say what an amazing collection of artists’ books the curators have pulled together. Seeing this cherry-picked selection in this context is far more interesting for me than looking through an online catalogue—here there is a sense of discovery. It’s a bit like going to a second-hand bookshop and just wandering through the stacks picking up whatever takes your fancy. Wandering through Life’s Journey was indeed an encounter with an eclectic bunch of artists’ books. Some of my favourites were there.

Adele Outteridge’s God Bless America   Photo courtesy of Adele Outteridge

This included Adele Outteridge’s Teabag Book (2005) from SWE – just how many cups of tea were consumed to make this book? And another of Adele’s books, God Bless America (2003?) also from SWE, makes a political statement that can be read in different ways depending on the reader’s point of view of American society or foreign policy.

Books from the Codex Event 4 of which Naru is one (for reference only)   Image courtesy of Tim Mosely

Another book Naru (2007), from the SLQ, was constructed from paper to form a 3D vessel—the book as a metaphor for a boat. The work was the result of a collaborative project entitled Codex Event 4 coordinated by Tim Mosely at Southern Cross University. Naru and the other books that were created by the team have an overtly political statement contained within their shape and the titling. These works comment on idea of the freedom that many people seek as they cross borders as refugees and how this conflicts with the Australian Government’s immigration policies.

Sheree Kinlyside’s ‘The reluctant nun” (2009) @ 2010 Libris Artist Book Awards. Photo Doug Spowart

A fine press/printmakers book is represented by Sheree Kinlyside’s The reluctant nun (2009) from AM. The book was the winner of the Regional Artists Book Award at the  2010 Libris Artist Book Awards.

A book of a different shape, five sides(!) by American book artist Philip Zimmerman High Tension (1993), from gg+e, deals with a humorous look at contemporary society. The book is intentionally over-designed, montaging graphic elements and text with image narrative to make it an immensely interesting book—you want to pick it up and read through.

In the display of another book, Judy Watson’s Under the Act  (2007) from gg+e, each page is framed and the work extends across one complete wall of the gallery. The folio single-sheet form of this book enables its reconfiguration to the wall possible. The work describes a personal narrative, a life’s journey, through the impact of oppressive white bureaucracy applied to Aboriginal peoples living in Queensland not that long ago.

Peter Lyssiotis and Noga Freiburg’s collaborative book Homeland (2003) from AM presents personal narratives of the authors, one a Greek Cypriot—the other an Israeli, about the way lines are drawn across maps to divide communities. The book invokes the story concept by using texts, family photographs and photomontages all bisected by a green line that divides the two communities.

One final book that I’ve always been inspired by is Scott McCarney’s Memory Loss (1988) from AM which deals with a medical condition that afficted his sibling. McCarney was recently in Brisbane with partner Keith Smith presenting an artists’ book workshop at the State Library of Queensland. This two-sided accordion structure book is replete with information from numerous sources including medical literature, personal photographs and correspondence. For me Scott’s book had truly escaped from the cases and was presented, sans protective acrylic lid, atop a plinth where viewing of one side was unobstructed. I think in terms of Scott’s politically subversive work that he would’ve liked that…

Life’s Journeys is a significant showing of what artists’ books can be and it puts the book firmly within the art gallery display environment. But none-the-less, with all the problems of display and the expectations that this commentator may have, the books do need to get out and about. They assert by their presence in the gallery that they exist and can be encountered by a diverse range of the art-interested public. And, perhaps is the case with any gallery exhibition, the viewer experience is something that develops and is enhanced by continued reflection after the viewing. The importance of the exhibition Life’s Journey, the accompanying exhibition Mind Mapping by local artist and bookmaker Jack Oudyn, and the associated workshops is that they will create much needed interest, scholarship and activity in the artists’ book genre. …. And hopefully inspire some viewers to become readers by pursuing the fuller of the artists’ book communiqué by engaging more fully with them when the books return to their respective collection homes.

Doug Spowart   June 9, 2012

Please note: The links that I’ve selected to provide a visual connection with the text have been sourced from Google images and may not be the exact book presented for display in this show. I have found it interesting to discover how so many artists’ books are poorly, if at all, represented in the online domain.

See Bonefolder Vol6#1 Page 44

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