scholarly journals Past’s Present: Artist’s Books by José Oliveira

2014 ◽  
Vol 2 (1) ◽  
pp. 135-156
Author(s):  
Catarina Figueiredo Cardoso
Keyword(s):  
Artist's Books

José Oliveira is a book artist who takes inspiration from the history and evolution of the Western book and of Western writing. His artist’s books take the form of codices, scrolls and leporellos and embody the beliefs, grief and hopes of their author. They ask us about our conceptions of the book and the nature of reading. They are evidences of their author’s resolute rejection of contemporary techniques applied to books. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_7

scholarly journals Tender like marrow: A gender-based reading of Boom van my lewe [Tree of my life] and Ad hominem

Literator ◽  
2012 ◽  
Vol 33 (1) ◽  
Author(s):  
Louisemarié Combrink
Keyword(s):  
Subject Position ◽  
Research Project ◽  
Ad Hominem ◽  
Feminine Gender ◽  
Artist's Books ◽  
Practice Based Research ◽  
Alternative Masculinities ◽  
Gender Divisions ◽  
Gender Based

This article presents a reading of two artist’s books by male artists who participated in the practice-based research project Transgressions and boundaries of the page. The selected artists specifically address the notion of masculine vulnerability and injury, and in the process, they utilise a number of signifying strategies conventionally associated with masculine as well as feminine gender divisions. Schutte’s Boom van my lewe [Tree of my life] and Strydom and Burger’s Ad hominem were investigated. I argue that the use of media with a conventional feminine character together with themes associated with both masculine and feminine aspects assisted towards expressing the experience of masculine vulnerability and injury in such a manner that an unusual masculine subject position was suggested. This subject position offered a more nuanced view of masculinity that departs from masculinities proposed in discourses of conventional (heteronormative) or even so-called ‘new’ or alternative masculinities (transgender, homosexual and the like).

scholarly journals Bending, Breaking, Wrapping, Binding: Material Knowledge And The Creation Of A Series Of Artist's Books For Catharine Christina Anderson

2021 ◽  
Author(s):  
Rebecca Martin
Keyword(s):  
Spina Bifida ◽  
Neuroendocrine Cancer ◽  
Binding Material ◽  
Artist's Books ◽  
The Creation

I. Introduction In March of 2016, my Grandmother called me to ask if I could help her lift my aunt Tina out of bed and into her wheelchair. Born with spina bifida, Tina was paralyzed from the waist down; she lived with my grandmother who took care of her. Increasingly, a migrating pain that had first begun in her knee was making ordinary tasks difficult. That night, my grandmother picked me up in her old green car and brought me to Tina’s bedside. I locked my arms through hers while my grandmother lifted her legs. As we pulled her into her chair, she cried out in pain. I hesitated, but at my grandmother’s urging, we continued. This had become normal. Once in her chair, Tina was pale and hardly spoke. I said goodbye to her, and my grandmother drove me back home. Later that night, when my grandmother couldn’t get Tina back into bed again, she called my parents’ house—I was there for dinner. We’re calling an ambulance, I heard my father say. My grandmother and Tina had adhered to the same daily rituals for at least twenty-six years; the whole length of my life. Now, they had reached a point where this was untenable. The paramedics picked Tina up that night. Within a few days, she was diagnosed with neuroendocrine cancer. She passed away three weeks later, shortly after her 52nd birthday. My grandmother and I both, separately, took the books off our bookshelves and put them back in order.

Touch

2020 ◽  
pp. 190-205
Author(s):  
Gillian Silverman
Keyword(s):  
Cognitive Activity ◽  
Artist's Books

This chapter examines the importance of touch to the practice of reading. While all reading begins with touch (we hold books and turn pages), accounts of literacy tend to downplay this contact with the text, conceiving of reading as a purely cognitive activity. We speak not of touching books but of finding them touching. But thinking about reading in relation to touch is important because it can upset the logic of linearity and rationalism associated with an optic approach to literacy. Through its reciprocity, touch destabilizes agency, exposing the complex dependencies of subjects and objects. This chapter examines a variety of texts that invite a haptic response, including artist’s books, book performances, and digital apps that highlight cutaneous contact. It argues that post-Enlightenment ideals of distanced cognition must be tempered by the textured trace of the physical book and its affective role in our lives.

scholarly journals Creative remediation of Pynstiller by Fanie Viljoen: From short story to graphic novel

Literator ◽  
2012 ◽  
Vol 33 (1) ◽  
Author(s):  
S.F. Greyling
Keyword(s):  
Short Story ◽  
Creative Process ◽  
Picture Book ◽  
Comic Book ◽  
Graphic Novel ◽  
First Person ◽  
Visual Narrative ◽  
Word And Image ◽  
Artist's Books ◽  
Subsequent Effect

In the Transgressions and boundaries of the page project, artists and writers were invited to create artist’s books and thereby to transcend the possibilities of the codex form of the book. This article discusses one of the projects, namely the creative remediation by Fanie Viljoen of his own short story (word), Pynstiller [‘Painkiller’], which deals with the phenomenon of selfmutilation among teenagers, into a graphic novel (word and image). The creative process and product are investigated according to the concepts of media, narratology, picture book and comic book theory. With reference to the two versions of the text, it is indicated how the narrative and theme of the short story are emphasised or extended in the graphic version, and particularly how access to the experienced world of the first-person narrator has been broadened. It appears that the visual narrative elements and the interaction between word and image together contribute towards the narrative, characterisation, portrayal of the theme and the subsequent effect on the reader-viewer. Finally, Fanie Viljoen’s remediation of Pynstiller confirms the premise that the artist’s book is an ideal medium to challenge and transcend boundaries.

scholarly journals Bending, Breaking, Wrapping, Binding: Material Knowledge And The Creation Of A Series Of Artist's Books For Catharine Christina Anderson

2021 ◽  
Author(s):  
Rebecca Martin
Keyword(s):  
Spina Bifida ◽  
Neuroendocrine Cancer ◽  
Binding Material ◽  
Artist's Books ◽  
The Creation

I. Introduction In March of 2016, my Grandmother called me to ask if I could help her lift my aunt Tina out of bed and into her wheelchair. Born with spina bifida, Tina was paralyzed from the waist down; she lived with my grandmother who took care of her. Increasingly, a migrating pain that had first begun in her knee was making ordinary tasks difficult. That night, my grandmother picked me up in her old green car and brought me to Tina’s bedside. I locked my arms through hers while my grandmother lifted her legs. As we pulled her into her chair, she cried out in pain. I hesitated, but at my grandmother’s urging, we continued. This had become normal. Once in her chair, Tina was pale and hardly spoke. I said goodbye to her, and my grandmother drove me back home. Later that night, when my grandmother couldn’t get Tina back into bed again, she called my parents’ house—I was there for dinner. We’re calling an ambulance, I heard my father say. My grandmother and Tina had adhered to the same daily rituals for at least twenty-six years; the whole length of my life. Now, they had reached a point where this was untenable. The paramedics picked Tina up that night. Within a few days, she was diagnosed with neuroendocrine cancer. She passed away three weeks later, shortly after her 52nd birthday. My grandmother and I both, separately, took the books off our bookshelves and put them back in order.

scholarly journals Apropiacionismos y resignificaciones de la obra “Various small fires” de Ed Ruscha. / Appropriationism and reinterpretations of the artwork “Various small fires” of Ed Ruscha

2017 ◽  
Author(s):  
Hortensia Mínguez García
Keyword(s):  
Mass Media ◽  
Collective Memory ◽  
Artist's Books ◽  
The World ◽  
Globalized World ◽  
Bruce Nauman ◽  
Medios De Comunicacion ◽  
Current Practices

Durante más de cincuenta años, los libros de artista de Ed Ruscha han favorecido una particular tendencia apropiacionista. Por ejemplo, su obra “Various Small Fires” (1964) ha sido “reescrita” por autores como Bruce Nauman (1969), Jonathan Monk (1969), Lucas Batten y Jonathan Sadler (2003), Thomas Galler (2009), Scott McCarney (2010), Doro Boehme y Eric Baskauskas (2010) y Marcella Hackbard (2010), generándose con ello, un movimiento de apropiacionionismos y resignificaciones que se cierra, al menos temporalmente, con “Various Small Shipwreck… and big Fires” (2016) de autoría propia.El objetivo del presente texto, es el de analizar dichas obras y sus relación con “Various Small Fires”, tomando a Ed Ruscha como fundador de discursividad, y al libro en sí, como icono para la memoria colectiva de los amantes de este género artístico y para la historia del hombre en general. Un análisis que nos ayudará a visualizar cómo algunos artistas bajo la figura del replicante han rehecho el estilo ruschiano para la construcción de nuevos discursos que, inevitablemente refractan, nuestras actuales prácticas de creación y producción editorial en un mundo cada vez más globalizado y dominado por los medios de comunicación masiva. Appropriationism and reinterpretations of the artwork “Various small fires” of Ed RuschaFor over fifty years, the artist’s books of Ed Ruscha have generated an appropriationist trend around the world. For example, his work “Various Small Fires” (1964) has been “rewritten” by authors such as: Bruce Nauman (1969), Jonathan Monk (1969), Luke Batten and Jonathan Sadler (2003), Thomas Galler (2009), Scott McCartney (2010), Doro Boehme and Eric Baskauskas (2010) and Marcella Hackbard (2010), etc. All of them have generated an appropriationist movement and resignifications which is closed, at least temporarily, with “Various Small Shipwreck ... and big Fires” ( 2016) of own authorship. The objetive of this text is to analyze these works and their relation to “Various Small Fires”, taking Ed Ruscha as founder of discourses, and the book itself, as an icon for the collective memory of lovers of this artistic genre and our history, too. Aso, this analysis will help us visualize how some artists under the figure of replicant have remade the style of Ruscha for the construction of new discourses that, inevitably, refracted our current practices of creating and publishing in an increasingly globalized world dominated by mass media.

scholarly journals El libro como presente continuo

2021 ◽  
Vol 9 (2) ◽  
pp. 222
Author(s):  
Eugènia Agustí Camí
Keyword(s):  
The Arts ◽  
Artist's Books

Review of the exhibition “The book as a continuous present. Artist's books around conceptual poetics”. Tecla Sala Art Center, L’Hospitalet de Llobregat (Barcelona). Framed in the Arts Libris Fair in Barcelona.

scholarly journals Blackrock Sequence: A creative dialogue between an artist and a poet

Book 2 0 ◽  
2020 ◽  
Vol 10 (2) ◽  
pp. 161-174 ◽  
Author(s):  
Jim Butler
Keyword(s):  
Artist's Books ◽  
Additional Funding ◽  
Eyes Open ◽  
Financial Challenges ◽  
Cover Art ◽  
The Cost ◽  
The Relationship ◽  
The Way

In 2016, my brother David1 was awarded a grant from Dún Laoghaire/Rathdown Council in Ireland, to write a sequence of poems. He invited me to collaborate with him to make a book of poems and images. I had never collaborated with my brother before, so it was important for me to establish my role and how the project would work in practical and financial terms. There was no formal agreement but just discussions over drinks in the Harbour Bar, near where my brother lives outside Dublin. David had received a grant of €11,000 to write the poems and he would keep all of this – he would see if he could get some additional funding to cover art materials and the cost of an exhibition. The book, however, would be my project – I would design and print the book and all money from sales would be mine. My practice as a printmaker and book artist meant that I have a particular ambition for the material aspects of a book, for example the way ink interacts with different papers, and this would not be compromised. I had previously printed and bound a number of my artist’s books in small editions, and these had been acquired by many public collections including the Tate.2 I had also written about the financial challenges involved, so I was going into this project with my eyes open. In terms of the book itself, David had initially suggested a chapbook but was happy to respect my judgement, creative independence and expertise. We also agreed that if we ended up in a situation in which either of us felt there was a significant mismatch between his intentions for the suite of poems, my images and the book I had designed, then I would not publish the book. In deciding what I wanted to achieve with the book, two texts were fundamental to my thinking: Ulises Carrión’s essay The New Art of Making Books and Yves Peyré’s study of artists’ books Peinture et Poésie (‘Painting and poetry’). This article explores the relationship that we established between poems and images and how the book’s structure developed to allow this relationship to be realized.

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