Published by Impact Press at The Centre for Fine Print Research, University of the West of England, Bristol, September 2019
Essays: With her regular front page, Tanya Peixoto (UK) celebrates some highlights of bookartbookshop over the last two years – from Cat Utting’s City Cells, to Clod Magazine; In his essay Against Classification: An alternative history of Book Art, John Bently (UK) explores the affiliations between photography and the artist’s book; Deirdre E. Lawrence (USA) reflects on the influence of Walt Whitman’s prose on contemporary book artists in a new exhibition celebrating the 200th anniversary of his birth;Let’s call it Lace Stitch by Anna Juchnowicz (Poland) examines an alternative approach to bookbinding structures; In The Library Aesthetic, artists Leslie Mutchler & Jason Urban (USA) discuss their approaches to making installation-based works that explore and respond to ideas of the library, books and reading; Yuliya Selivanova (Russia) writes about the special holdings of the Saint-Petersburg Literary Museum “XX century”, the collection of the Library of Mikhail Karasik (1953–2017), and his still present influence in the artist’s book arena; Jürgen Wegner (Australia) reports on Hubert Kretschmer’s Munich-based AAP, in A visit to Archive Artist Publications and its exhibition in the Haus der Kunst, München, Germany; In The Book and its Algorithm, Dr Richard A. Carter (UK) explains the making of two experimental books founded on digitally generated images and text, and the algorithmic operations which produced their contents; The Politics of Place by Alexander Campos (USA) & Monica Oppen (Australia) discusses a selection of artists’ books investigating society’s struggles with displacement, and what it means to have – and lose – a sense of belonging, homeland and identity; In An Instrument of Collaboration: Unfolding the legacy of the Graphic Investigations Workshop (GIW), Caren Florance (Australia) reflects upon the rich history of GIW as a unique and complex entity in creative book-making in Australia. Headed by artist Petr Herel, with a host of respected artists including Dianne Fogwell, John Pratt, Gaynor Cardew and Udo Sellbach, the legacy of GIW’s working methodology is its use of the book as a collaborative ‘common ground’.
Cover design: Tom Sowden
Artists’ pages by: Megan Adie (Denmark) Angie Butler (UK), Robert Good (UK) Eva Hejdström (Sweden), Paul Laidler (UK), Daniel Lehan (UK), Sophie Loss (UK), Linda Parr (UK), Ekaterina Vasilyeva (Russia) and Eiji Watanabe (Japan).
The listings sections detail artists’ books activity, education and collecting taking place internationally and include: Artist’s Book Publishers & Presses; Bookshops for artists’ books; Artist’s Book Dealers; Galleries & Centres; Collections, Libraries & Archives; Artist’s Book Fairs and Events; Book Arts Courses and Workshops; resources for Design, Print & Bind; Print and Papermaking Studios; Journals and Magazines; New Reference Publications; Organisations, People, Projects and Societies.
In the Artists’ Books Listings section, you can also discover hundreds of examples of new books made (or in the making), by artists in: Argentina, Australia, Belgium, Brazil, Canada, Denmark, Finland, France, Germany, Hungary, Ireland, Italy, Japan, The Netherlands, Norway, Poland, Russia, Sweden, the UK and the USA.
Edited by Sarah Bodman. Published by Impact Press at The Centre for Fine Print Research, University of the West of England, Bristol, UK. Autumn 2019. ISBN 978-1-906501-18-1. 236pp, 21 x 29.7 cm, black and white offset litho, colour cover.