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Academic literature on the topic 'Artist's books'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Artist's books"

1

Demir, Duygu. "Introduction to İsmail Saray's Leonardo da Vinci." ARTMargins 3, no. 3 (October 2014): 111–25. http://dx.doi.org/10.1162/artm_r_00097.

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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a glimpse of the conditions under which artists were operating at the time, heavily influenced by the political developments in Turkey. The dematerialization of Saray's practice is traced through the artist books and his production on paper, including correspondence that led to the production of his artworks by fellow artists elsewhere, a phenomenon that awaits further investigation.

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Saray, İsmail. "Leonardo da Vinci." ARTMargins 3, no. 3 (October 2014): 126–30. http://dx.doi.org/10.1162/artm_r_00098.

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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a glimpse of the conditions under which artists were operating at the time, heavily influenced by the political developments in Turkey. The dematerialization of Saray's practice is traced through the artist books and his production on paper, including correspondence that led to the production of his artworks by fellow artists elsewhere, a phenomenon that awaits further investigation.

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Cohen, Nathan. "AN ARTIST'S BOOKS." Art Book 1, no. 5 (December 1994): 34a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00242.x.

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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.

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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.

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Clay, Steven. "A Few Words about Artist's Books." Books at Iowa 60 (April 1994): 31–35. http://dx.doi.org/10.17077/0006-7474.1245.

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Agustí Camí, Eugènia. "El libro como presente continuo." Barcelona Investigación Arte Creación 9, no. 2 (June 3, 2021): 222. http://dx.doi.org/10.17583/brac.2021.8195.

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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.

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Melnyk, Oksana, and Viktor Shtets. "Original graphics of Robert Lisovsky: Genre range and features of the author's artistic language." Text and Image: Essential Problems in Art History, no. 2 (2020): 85–93. http://dx.doi.org/10.17721/2519-4801.2020.2.05.

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The article highlights the work of the Ukrainian emigrant artist Robert Lisovsky (1893-1982), a representative of the Narbut school, a master of book, magazine and applied graphics. While the graphic works by Robert Lisovsky published in books, magazines, calendars and publishing stamps are relatively well-studied, his drawings and watercolors are remain lesser known. The analysis of these works could contribute in clarifying the features of the artist's creative method and author's language. Also, it will determine the stylistic and figurative as well as plot-content preferences of the artist. The article outlines the genre range of graphic works created by Robert Lisovsky, which included portraits, landscapes, urban motifs, floristics and still lifes. The authors consider Robert Lisovsky's graphics and make attempt to determine his plastic language are determined. They find out that Robert Lisovsky most often dealt with the landscapes, including the urban ones, as well as the motives of sacral architecture. A peculiar feature of the artistic language of Robert Lisovsky is a free realistic interpretation of nature with the use of rhythmic and generalization techniques. The sweeping expressive bar line and contrasting fillings used by Robert Lisovsky in the Lviv and Prague periods of his work are replaced by a light modeling line and fine hatching in Italian drawings. In the final London period of his work, the artist resorted to several approaches to the interpretation of nature and demonstrated the author's method of transforming a realistic fixation of nature into an artistic image. The article identifies the specifics of the artist's creative method, emphasizes the semantic and stylistic characteristics of his works.

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Protopapa, Efrosini. "A Choreographer's Score: Fase, Rosas Danst Rosas, Elena's Aria, Bartók." Dance Research Journal 47, no. 2 (July 27, 2015): 80–84. http://dx.doi.org/10.1017/s0149767715000236.

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In the past decade, a growing discourse has developed among choreographers, dance artists, and their collaborators, who are eager to articulate their processes, practices, and working methods through different types of writing and publication. Artists’ books, objects, and online platforms—from Thomas Lehmen's Schreibstück (2002) and FUNKTIONEN tool box (2004), to BADco's Whatever Dance Toolbox (2011) in collaboration with Daniel Turing, and the Forsythe Company's project Motionbank (2010–2013)—have contributed to what we may describe today as the “publishing of choreographic ideas,” as proposed by Scott deLahunta (2015). Jeroen Peeters, editor of Are We Here Yet? (2010), which focuses on the work of Meg Stuart, emphasizes the discourse intrinsic to dance making, while Mårten Spångberg invites artists to “write their own history,” with projects such as The Swedish Dance History (2009–today), to give but one example. Alongside these developments, practice-as-research, which involves dance making and writing, is becoming more established within university settings; and presentations of/on artistic research are now common in conferences, symposia, and other sites of knowledge exchange. We could argue then that the development of an artist's theory of knowledge, which scholars such as Susan Melrose (2007) have been encouraging since the early 2000s, is now well under way both within and without the academy.

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Moholy, Lucia. "El Lissitzky." October 172 (May 2020): 111–16. http://dx.doi.org/10.1162/octo_a_00395.

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Likely published in anticipation of a 1967 volume of primary documents relating to the Russian artist El Lissitzky, Lucia Moholy discusses the artist's biography, career, influences, major works, reception, and relation to the Bauhaus. Drawing on her involvement in the fields of publishing and printing, she also introduces his then little-known books and graphic art, as well as his conception of the “Proun.” Although not stating it explicitly, much of her knowledge draws on having known Lissitzky personally in the 1920s and his writings from that period. The text stands as one of the earliest discussions of Lissitzky outside of the Russian language.

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Myers, Ann K. D., and William Andrew Myers. "Opening Artists’ Books to the User: An Example with Potential Approaches." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 15, no. 1 (March 1, 2014): 56–67. http://dx.doi.org/10.5860/rbm.15.1.415.

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Artists’ books are an increasingly popular collecting area both for art libraries and for special collections. Their experimentation with the book form and emphasis on hand techniques for production dovetail nicely with early printed book collections, highlighting modern approaches to bookmaking techniques that have been used for hundreds of years. The 2010 OCLC Research Survey Taking Our Pulse identified artists’ books as “the specific area most frequently named” for new collecting in special collections.2 In this paper we will discuss a specimen artist’s book and various issues and approaches to cataloging it. Artists’ books pose particular challenges to special collections . . .

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Dissertations / Theses on the topic "Artist's books"

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Wallace, William. "Austin Osman Spare : the artist's books (1905-1927)." Thesis, University of Kent, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357264.

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Douglas, James Maxwell Art College of Fine Arts UNSW. "Pictures and page numbers - image, text and formal structure in the visual book and the artist's book." Awarded by:University of New South Wales. School of Art, 2005. http://handle.unsw.edu.au/1959.4/23945.

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Within the realm of artists' book works there are few that could not be said to display a fundamental concern with the physicality of the book. The mechanics of page turning are integrally implied in any artist's decision to utilise the book form. Indeed, artists' books emphasise the ability of book forms, and of text and language, to acquire meaning through form and structure alone. The physical and conceptual mechanics, or syntax, of the book - whose basis lies as much in the formal, functional dictates of the book's material characteristics, as in centuries of entrenched tradition in page layout and book design - affords a spatial, sculptural and temporal framework whose manipulation may be effortlessly and subconsciously 'read' by the viewer, according to their inherent understanding and appreciation of the form's conceptual function and operation. But while the structural connotations of the book suggest that special kind of decipherment known as 'reading', the broader associations of the book's mythic, iconic and historic symbolism may be equally unavoidable. The book works comprising the research that this paper accompanies therefore aim, on the one hand, to explore the formal, structural physicality and spatiality of the book as both a self-contained sculptural platform and as a particular sort of collection, or series, of visual imagery, while on the other hand, seeking to address the psychological form of the book as an iconic, symbolic object, and to simulate something of the character of the unique, precious and mythic books of the past. Thus it has been an attempt to deal with abstract notions of pattern and structure, as well as with the mental frameworks of association and connotation surrounding the visual modes adopted to represent these structures. The project presents an integrated and interrelated series of unique, hand-made book works that are about books - or perhaps a particular kind of 'bookishness' - a collection which aims to be physically very real, but at the same time completely mythical, and in whose volumes the common conceptual and aesthetic reference is the inherent, traditional austerity of the book page, and the simultaneous conceptual movement and structural dynamics of the mechanical book form.

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Edholm, Rosalie. "Portrait: A Graphic Novel and Artist's Book." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/24.

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At this exact moment, graphic novels are enjoying a heyday of popularity, profusion and attention. As the graphic novel medium matures and detaches itself from the “non-serious” reputation of comics, it is becoming clear that graphic novels are a powerful and effective art form, using the both verbal and the visual to relay their narratives. Portrait, the short graphic novel that is my senior art project, is intended to emphasize the artist’s book character of the graphic novel, and serve as an example of how a graphic novel’s artist’s book characteristics allow communication of the artist’s message effectively.

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Batey, Jacqueline. "The safe cigarette : visual strategies of reassurance in American advertisements for cigarettes, 1945-1964." Thesis, University of Brighton, 2003. https://researchportal.port.ac.uk/portal/en/theses/the-safe-cigarette(a1dd0e71-ce49-4441-aab6-297bdd958c1c).html.

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This Practice-Based Ph.D. thesis is in two sections, the written element presented as a sequence of eight Fascicles, and the practical element presented as an inter-related set of nine Artist’s Books and Multiples. This thesis presents a series of Artist’s Books and Multiples of graphic expressions of anxiety, each informed by a comparative study presented as a sequence of Fascicles of the visual strategies used to advertise cigarettes in America in mass-circulation magazines between 1945 and 1964. The thesis is presented as a boxed object containing the eight Fascicles (each containing a Gatefold Image) and the nine Artist’s Books and Multiples. The thesis identifies specific design and illustration solutions in cigarette advertising such as considerations of artwork, photography, layout, typography, characterisation, and diagrammatic representation of process. The conclusions are then used as the basis for 9 books and multiples in which I explore, within my own artwork, the dynamics of visual instruction, and the devices for reassuring the anxious consumer using irony and humour throughout. Each Fascicle has a Gatefold visual montage with juxtaposed imagery central to the theme. The thesis combines visual analysis and the making of imagery in equal measure. The vast proportion of original visual examples used in the Fascicles are reproduced for the first time in colour from a wide range of contemporary magazines. Particular emphasis is placed on the professional manuals generated by the advertising profession itself. A brief study of the cigarette market in the pre-1945 period identifies early anxieties about the product and how the tobacco industry and the advertising industry sought to address them. The thesis identifies the industries’ invention of the 'Safe Cigarette' and then explores the anxieties implicit in that concept, presenting visual means by which anxiety is depicted. Visual strategies of reassurance in the form of personifiers are compared - ranging from people in socially esteemed professions through to the use of animals (dogs) and visual fictions (Santa Claus). Two factors in particular have been identified to distract consumers from the gathering sense of unease in the safety of the product that culminated in the report of the American Surgeon General in 1964 - the appeal to the consumption of the cigarette in the outdoors and the corresponding success of menthol cigarettes, and the appeal to the reassurance that technology can impart - in the success of the Filter-Tip market. The twin polarities are reflected in the Artist’s books, 'Which Filter Works?' and 'Menthol Daze'. In the last Fascicle the techniques of persuasion after 1945 are compared with those used by the American Huckster of the early twentieth century and the thesis concludes with an assertion of the role that visual humour can play in exposing fallacious marketing.

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Grinols, Susan. "Mind states /." Online version of thesis, 1990. http://hdl.handle.net/1850/11308.

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Weilein, Lucia. "Transforming Narratives." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3079.

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Narrative, often considered synonymous with “story,” can be viewed from a structuralist perspective and analyzed independent of any particular content. Breaking narrative into categories of story and discourse, this autonomous structure makes possible a translation of content from one form to another. The various media and form types common in graphic design can serve as both recipient and translator of narratives, converting content into a framework that includes the concept of craftsmanship, aesthetic components and specifications, legibility and composition, and the physical form of the designed object. To examine how this framework functions in practice, I have developed a series of three volumes in which cinematic tropes are represented in book form based on a morphology of traits.

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Emslie, Anne. "Art and book : a commentary on artists' books." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/50684.

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The thesis spans two volumes ... Volume two is an artist's book and although it is part of the project I have set myself, it is not being submitted with the theoretical component of the MA dissertation, but as part of the practical component.' -- Abstract.
Thesis (MA)--Stellenbosch University, 2007.
ENGLISH ABSTRACT: The thesis investigates the contemporary practice of book art, examining in particular the manner in which it fits both into the tradition of the book and the tradition of art making. The thesis spans two volumes. Volume One discusses the phenomenon of the artist's book from three vantage points: the attempts to define it, the attempts to catalogue it and the attempts to interpret it. Volume Two is an artist's book and although it is part of the project I have set myself, it is not being submitted with the theoretical component of the MA dissertation, but as part of the practical component. (Briefly, one of the tasks it embarks upon is an examination of the phenomenon of thesis writing, as understood and endeavoured by myself in the production of the first volume - in this sense it is self-reflective. Another is an examination of some aspects of my attempts to make examples of artist's books, which includes an investigation of some of the recurrent themes and preoccupations of my work) Volume One is set out in three chapters. The first chapter pursues a definition of book art and the artist's book in order to draw some perimeters around the subject, and to build a picture of its nature. In the course of doing this, the ideas of some book artists and book art commentators are considered in an attempt to create a richer tapestry of understanding. In the next chapter some of the ways in which book art has been categorised are discussed. This is in order to more finely delineate the nature and scope of book art. It is also to bring some clarity to bear upon the different components and manifestations of a vast and sometimes confusing oeuvre. I then suggest a system of classification of my own which offers an adjacent model for investigating artists' books and the endeavour of book art. With the above model in place, I undertake a foray into the arena of interpretation. Here I suggest the suitability of adopting certain methodologies of interpretation that come from the field of contemporary literary studies in general, and the interpretation of poetry in particular. I draw comparisons between the book artist and the poet, and suggest that they occupy a similar territory of meaning making. In the course of laying out my arguments in the three chapters, I refer extensively to examples of artists' books in order to make particular points. Where I consider it apt, I draw upon my book art as a source of example. In this way, I am able to weave into the text some information and reflection about my own practice and concerns as a book artist.
AFRIKAANSE OPSOMMING: Daar word in die tesis ondersoek ingestel na die hedendaagse praktyk van die boekkuns en in die besonder die wyse waarop dit aansluit by die tradisie van die boek en die tradisie van die kuns. Die tesis beslaan twee volumes. Volume Een bespreek die fenomeen van die kunstenaarsboek vanuit drie invalshoeke: pogings om dit te definieer, pogings om dit te katalogisieer en pogings om dit te interpreteer. Volume Twee is 'n kunstenaarsboek en, hoewel dit deel uitmaak van die projek wat ek ondemeem het, word dit nie voorgele saam met die teoretiese komponent van die MA- dissertasie nie maar as deel van die praktiese komponent. (Een van die take wat dit ondemeem is, kortliks, 'n ondersoek van die fenomeen tesis-skryf soos ek dit met die produksie van die eerste volume self verstaan en benader het - in die sin is dit selfreflektief. 'n Ander taak is 'n ondersoek van sekere aspekte van my pogings om kunstenaarsboeke te maak, insluitende 'n ondersoek na van die deurlopende temas en preokupasies van my werk.) Volume Een bestaan uit drie hoofstukke. Die eerste hoofstuk streef na 'n definisie van die boekkuns en die kunstenaarsboek met die doel om die onderwerp nader te ornlyn en 'n beeld daarvan op te bou. In die proses word die idees van 'n aantal boekkunstenaars en boekkuns-kommentatore oorweeg in die poging om n ryker begripstapisserie te weef. In die daaropvolgende hoofstuk word van die wyses waarop die boekkuns gekategoriseer is, bespreek, om die aard en rykwydte van die boekkuns nog nader te omlyn. Dit work ook gedoen om lig te werp op die verskillende onderdele en manifestasies van 'n omvangryke en soms verwarrende oeuvre. Ek stel vervolgens my eie klassifiseringsisteem voor, wat 'n verdere model hied vir die ondersoek van kunstenaarsboeke en die boekkunsbedryf. Aan die hand van hierdie model betree ek dan die arena van interpretasie. Ek stel voor dat sekere interpretasiemetodes ontleen aan die tydgenootlike literatuurwetenskap, en spesifiek die interpreteer van poesie, oorweeg word. Ek vergelyk die boekkunstenaar met die digter en stel voor dat hulle op soortgelyke wyses met die skep van betekenis omgaan. In die loop van die uiteensetting van my argument in drie hoofstukke, verwys ek ekstensief na voorbeelde van kunstenaarsboeke om spesifieke punte te maak. Waar ek dit as gepas beskou, verwys ek, by wyse van illustrasie, na my eie boekkuns. Op hierdie manier is dit vir my moontlik om inligting en besinning oor my eie praktyk en pre-okkupasies as boekkunstenaar met die teks te verweef.

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Harel-Vivier, Mathieu. "Photographies, abstraction et réalité : l'agencement comme processus artistique." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20025/document.

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Construite à partir des questions soulevées par le travail artistique de l’auteur, cette thèse examine le rapport qu’entretiennent certains artistes, essentiellement contemporains, avec la réalité de l’image photographique, sa capacité à produire une abstraction et à s’inscrire dans un agencement. Considérée selon un double point de vue, la notion d’agencement apparait ici d’une part comme le processus de l’artiste qui travaille avec des images,et d’autre part comme une forme d’organisation qui favorise une diversité de relations entre les images, àla façon de constellations. La première partie intitulée « les conditions de l’agencement » s’intéresse au passage à l’acte photographique, à l’appropriation d’une image, comme au détachement que nécessitent parfois ces deux actions propres aux pratiques de Christian Marclay et Wolfgang Tillmans. Alternative à ces divers mouvements qui animent les élans de l’artiste vers le réel, l’abstraction photographique fait l’objet d’une étude à travers l’analyse des travaux de quelques artistes parmi lesquels Pierre Cordier, Michael Flomen et James Welling.La seconde partie s’attache à décrire comment « l’agencement d’images » est investi d’un fonctionnement caractéristique du montage cinématographique et de l’atlas warburgien. Sont ainsi tour à tour observées des oeuvres où l’agencement d’images est délimité par le cadre (John Baldessari et John Stezaker), ventilé à travers les pages d’un livre (Hans-Peter Feldmann, Luis Jacob, Gerhard Richter, etc.) et déployé dans l’espace d’exposition : sur les cimaises, au sol ou sur des tables (Pierre Leguillon, Batia Suter, Wolfgang Tillmans). L’intérêtest finalement porté sur les enjeux de transmission de l’agencement, sa volonté de non-Hiérarchie aussi, et ce notamment, dans le contexte d’expositions de collections publiques et privées (Des images comme des oiseaux, Le Mur, Les peintres de la vie moderne).À l’issue de ce texte placé en regard d’une succession de planches d’images s’ouvre une autre collection dephotographies annotées et légendées, consacrée à la pratique artistique de l’auteur
Developed based on questions from the author’s artistic practice, this thesis examines the relationship between some artists, mainly contemporary, and the reality of the photographic picture, its ability to produce abstraction and to fit within a display. Considered here in a double perspective, the concept of display is seen, on one hand, as the process of the artist working with pictures and, on the other hand, as an organizational model that foster a variety of connections, like constellations do.Entitled “display’s conditions”, the first part deals with photographic acting-Out, the appropriation of a picture as well as the detachment that sometimes these two actions involve like in Christian Marclay’s and Wolfgang Tillmans’s practices. As an alternative to these various movements which spur on the artist’s impetus towards reality, photographic abstraction is considered for further study through the analysis of artistic works like Pierre Cordier’s, Michael Flomen’s or James Welling’s.The second part describes how the “display of pictures” is invested by a functioning that is a feature of editingand Warburg’s atlas. Several works are observed in which the display of pictures is delimited by the frame(John Baldessari and John Stezaker) scattered through the pages of a book (Hans-Peter Feldmann’s, LuisJacob’s, Gerhard Richter’s, etc.) and spread out in the exhibition space: on the walls, the ground and tables(Pierre Leguillon, Batia Suter, Wolfgang Tillmans). The interest is finally moved on the issue of displaytransmission, its aim of non-Hierarchy, especially in the context of public and private collections exhibited(Des images comme des oiseaux, Le Mur, Les Peintres de la vie moderne).As the outcome of this text that appears beside a series of plates, a new collection of annotated and captionedphotographs is developed, dedicated to the artistic practice of the author

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Aly, Islam Mahmoud Mohamed. "Historical book structures and artists' books as a teaching tool." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3040.

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This study focuses on developing a book arts curriculum as a tool for teaching about creativity and problem solving. The curriculum's ultimate goal is to introduce and emphasize book arts as an expressive and powerful medium to future teachers and artists. Book arts will be used to offer potentialities for collaborative, learner-centered instruction. Students will create structures and artists' books from their experience, their learning will emerge from personal interactions with the structures and artists' books presented. The curriculum is planned into three modules, each module containing a different set of projects and activities organized to scaffold students learning in an engaging process. The modules examine book structures, artists' books, and a project that can either further explore book structures and artists books, or it can explore incorporating some other aspect of book arts in the project. Each module provides a broad range of examples, discussions, questions, and applications.

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Aly, Islam Mahmoud Mohamed. "Using Historical Bindings in Producing Contemporary Artists' Books." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4811.

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I regard the culturally rich bookbinding as formats that hold great meaning; I made models of books that existed in different cultures through the history of the book. I became interested in how each structure had unique features and how the books themselves transmitted knowledge about their form. This interest in bookbinding formats led me to explore ways to add content to The binding plays a powerful role in producing my artist's books, the look and presence of these bindings is an integral part of my work and they are linked to the content and aesthetics. The final pieces encourage the viewer to interact with the work.

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Books on the topic "Artist's books"

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Schattauer, Nora. Nora Schattauer: Prima vista : artist's books. Troisdorf: Museum Burg Wissem, 2007.

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Contemporary Art Gallery (Vancouver, B.C.), ed. Birgit. Vancouver: Contemporary Art Gallery, 2006.

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Koller, Gabriele. Künstlerbücher =: Artist's books : zwischen Werk und Statement. Wien: Universität für angewandte Kunst, 2001.

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Ken, Campbell. Broken rules and double crosses: An artist's books. New York: New York Public Library, 1994.

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Morales-Zamorano, Francisco. The heart of darkness is bright, not purple. The Bronx, N.Y.C: [Francisco Morales-Zamorano], 1999.

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Kozer, José. 22 poemas. [Distrito Federal, Mexico]: Taller Ditoria, 2007.

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Morales-Zamorano, Francisco. Ego. [New York?: Francisco Morales-Zamorano, 1991.

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Ruyant, Frédéric. Urban oasis. Paris: Place, 2004.

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Morales-Zamorano, Francisco. The grand leap: (a quietly felt dithyramb). [New York, N.Y: Francisco Morales-Zamorano], 1999.

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Morales-Zamorano, Francisco. The first tale. [New York, N.Y: Francisco Morales-Zamorano], 1999.

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Book chapters on the topic "Artist's books"

1

Drucker, Johanna. "Artists’ books and picturebooks." In The Routledge Companion to Picturebooks, 291–301. Milton Park, Abingdon, Oxon : New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315722986-29.

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Hunnisett, Basil. "The artists." In Steel-Engraved Book Illustration in England, 106–34. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003090861-7.

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Bury, Stephen. "10. Graphic Design, Typography and Artists’ Books." In Handbook of International Futurism, edited by Günter Berghaus, 162–74. Berlin, Boston: De Gruyter, 2018. http://dx.doi.org/10.1515/9783110273564-010.

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Hine, Hank. "The world of the Book: A World for the Book." In Making Artist Books Today, edited by Wulf D. von Lucius and Gunnar Kaldewey, 1–24. Berlin, Boston: De Gruyter, 1998. http://dx.doi.org/10.1515/9783110504286-002.

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Iyengar, Sujata. "Ecologies of the Shakespearean artists’ book." In The Routledge Handbook of Shakespeare and Global Appropriation, 337–47. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315168968-30.

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Pristed, Birgitte Beck. "Book Artist or Designer?" In The New Russian Book, 217–28. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50708-8_8.

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Clarke, Mark. "Late medieval artists’ recipes books (14th-15th centuries)." In Craft Treatises and Handbooks, 33–53. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.dda-eb.5.102144.

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Gili, Jean A. "European Co-productions and Artistic Collaborations." In The Italian Cinema Book, 211–18. London: British Film Institute, 2014. http://dx.doi.org/10.1007/978-1-349-92642-8_26.

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Al Asali, M. Wesam. "Craftsmanship for Reconstruction: Artisans Shaping Syrian Cities." In The Urban Book Series, 107–19. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22762-3_8.

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"Artists’ Books." In Crossover Picturebooks, 35–96. Routledge, 2013. http://dx.doi.org/10.4324/9780203154038-7.

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Conference papers on the topic "Artist's books"

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Panchenko, Svetlana. "Mental Map of Yekaterinburg in the Book 'The Drawn City' By A. Ryzhkov: Linguistic Analysis." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-42.

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The article contains a linguistic analysis of the book ‘The Drawn City’ by A. Ryzhkov; the book comprises reproductions of pictures and respective text in the context of a mental map of the city of Yekaterinburg. In approaching the mental map as spatial information in people’s minds, reflecting the image of the city, the goals of linguistic analysis are to show the vision of the metropolis and the linguistic ways of verbally expressing the thoughts and feelings of the landscape artist; to determine the value to society of the private perception of the city through artistic representation and textual expression. Stylistic analysis of the text reveals the dominant features regarding the lexical, morphological and syntactic levels, while the pragmatics of the text consider its social relevance. Peculiar traits of the author’s style of the artist and the writer, as perceived by readers, have been listed; important points of the mental map of the city have been defined accounting for the book’s content: architecture, dominant idea, eclectics. The perception of time in synchronicity and diachronicity in the narrative regarding Yekaterinburg is considered, the motif of transition from reality to imagery is shown. Examples are given of positive, negative and contradictory evaluations of architectural objects, verbally influencing readers through the creation of visual images. There are linguistic tricks listed which were used in the book by A. Ryzhkov uses language techniques that hold the attention of the recipient of the text: comparison, personification, the use of colloquial language, humour and wordplay, and dialogisation. Methods of the creation of an imagery-geographic map of urban space have been shown in the author’s iconic-symbolic form. A conclusion was made on the significance of the book of A. Ryzhkov having used a visual-verbal method for the creation of a sustainable and replicable image of the city in the human mind. The artist’s civic stance on city protection has been set forth.

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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.

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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.

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Nolan, Collette, and Bill O'Flynn. "From space to place; Non-hierarchical collaborative strategies of teaching and learning in the Crawford College of Art and Design." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.38.

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What does Learning look like? What are the embodied roots of the thinking process? We have posed these questions in the process of developing our research, workshops and curricula. How do we understand, engage with and investigate the everyday teaching and learning environment? Art practice is a complex process, and successful induction into the forms of teaching and learning practiced in the studio is critical to a student’s progress through art college. For contemporary artist/researchers working at the interface of art and pedagogy, education continues to be a central concern in their research. Contemporary artists such as Annette Krauss and her long-term project Hidden Curriculum (2008), art theorists such as Claire Bishop, Artificial Hells (2012), Richard Hickman (ed.), Research in Art & Design Education: Issues and Exemplars (2008), Graeme Sullivan, in his book Art Practice as Research (2005), all use and discuss arts-based approaches in educational research, and are important references to the contextual framework of this project. In a series of action research projects, conducted over the last five years with student volunteers in the Crawford College of Art and Design, we have explored phenomenological, collaborative approaches to teaching and learning, space and place, that encourage students to be active agents in their education and co-creators of their own learning environment. Our overall project aims to create an artistic, collaborative, non- hierarchical framework that encourages students and teachers to actively question and investigate the teaching and learning situation and relationships.

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Lei, Yu, Gang Hong, and Lu Liu. "On the Artistic Expression of Children’s Picture Books." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.052.

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Sukamti, Endang Rini, and Aden Chrisnanda. "Developing Basic Techniques of Artistic Gymnastics Book: Gymnastics on Motion." In The 3rd Yogyakarta International Seminar on Health, Physical Education, and Sport Science (YISHPESS 2019) in conjunction with The 2nd Conference on Interdisciplinary Approach in Sports (CoIS 2019). SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009303901760179.

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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935

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Boynik, Sezgin, and Artrit Bytyçi. "Mass Produced Artworks: The Concept, History, and Teaching the Making of Artist Books." In University for Business and Technology International Conference. Pristina, Kosovo: University for Business and Technology, 2018. http://dx.doi.org/10.33107/ubt-ic.2018.218.

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de Mendonça Peixoto, Irene, Felipe de Souza, and José Carlos de Pontes. "Artist´s book Poor Fish Memories in digital version." In XXII CONGRESSO INTERNACIONAL DA SOCIEDADE IBEROAMERICANA DE GRÁFICA DIGITAL. São Paulo: Editora Blucher, 2018. http://dx.doi.org/10.5151/sigradi2018-1261.

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Chen, Shanshan. "On Image Narration Features and Artistry of Wordless Picture Books—A Case Study of Arrival." In 2015 International Conference on Education Technology, Management and Humanities Science (ETMHS 2015). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/etmhs-15.2015.149.

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Haryanto, Satrio, and Tri Karyono. "Pop-up Book Illustration Art as Expressive and Artistic Communication Media." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.002.

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Reports on the topic "Artist's books"

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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Edited by Musheer O. Kamau, Sasha Baxter, and Golda Kezia Lee Bruce. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003188.

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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed into fictional stories as a simple and powerful means of conveying possible, probable futures, to help us visualize the Caribbean in 2040.

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.

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Yablonskyy, Maxym. «NEW DAYS» WEEKLY AND PETRO VOLYNIAK, PUBLISHER AND AUTHOR. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11058.

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In the article on the material of the Salzburg weekly «New Days» (1945–1947) various spheres of activity of Peter Volyniak are presented. It is noted that this edition was a business card of the publishing house of the same name and had a history of continuation: in Toronto Petro Volyniak restored the publishing house of the same name and continued the publication in the format of the universal monthly «New Days» (1950–1969). The article also presents periodicals («Latest News», «New Days», «Timpani», «Our Way») and literary, artistic and scientific collection «Steering Wheel», which were published in the Salzburg publishing house of Peter Volyniak «New Days». The purpose of the publication is to trace the path of Petro Volyniak from a writer to a literary critic, journalist and publisher. This trend is reproduced in chronological order. Peter Volyniak as a writer is informed in the article «Literary Evening of P. Volyniak» (author – M. Ch-ka). O. Satsyuk’s literary-critical article is devoted to the coverage of ideological and artistic aspects of Petro Volyniak’s collection «The Earth Calls» (Salzburg, 1947). Petro Volyniak as a literary critic is presented in an article devoted to a collection of literary tales by A. Kolomiyets (Salzburg, 1946), which was published by «New Days». Petro Volyniak as a journalist presents the essay «This is our song…». With the help of content analysis it was observed that the text is divided into two parts: the first contains the author’s reflections on the Ukrainian song, its role in the life of the Ukrainian people; in the second, main, Peter Okopny’s activity abroad is presented. The publisher Petro Volyniak in 1947 in a separate publication of the February issue of the weekly summarizes the third year of activity, providing statistics on the publication of periodicals, books, postcards, calendars, various small format materials. The analyzed material demonstrated the experience of combining creative work and commercial activity.

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