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Journal articles on the topic 'Artists' books'

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Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Borowitz, Maggie. "“To Make Books Is to Multiply”: Artists' Books and Feminist Expression in Mexico." ARTMargins 12, no. 3 (October 1, 2023): 7–29. http://dx.doi.org/10.1162/artm_a_00361.

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Abstract In the late 1970s and early 80s, artist's books exploded in Mexico City. The impetus for this explosion has often been located in the artistic practice of the experimental artist Felipe Ehrenberg and the bookmaking workshops he offered beginning in 1976. While Ehrenberg was undoubtedly influential, this essay reexamines the history of this period—a so-called Golden Epoch of independent publishing in Mexico––in order to recuperate the significant role that feminist-aligned artists played in advancing the medium of the artist's book. In particular, I examine early editions produced by the artists Magali Lara and Yani Pecanins. Both prolific producers and staunch advocates for the artist's book medium, Lara and Pecanins wielded the book form's unique qualities in order to interrogate and validate aspects of women's experience that were often elided from both Mexican popular culture and the contemporaneous experimental art scene. Their early artist's books were conduits for feminist expression that pushed the limits of formal experimentation and forged new circuits of communication.

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2

Alaca, Ilgım Veryeri. "Flexographic Artists’ Books." Leonardo 49, no. 3 (June 2016): 270–71. http://dx.doi.org/10.1162/leon_a_01241.

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This article introduces experimental artists’ books created in the interstices between technology and tradition. The series of books are created by utilizing scraps produced via flexographic label printing. Each book is constituted by means of the accumulation of paper on the machine, which introduces a never-ending page structure as a result of the continuous roll, creating a swirling formation. The work is an inquiry on growth, imperfection, form and time, enriched by the impact of mechanical processes that are inherent to the creation of the book. It also investigates experimental uses of printing and papercutting mechanisms.

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3

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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4

Bodman, Sarah. "World Book Night United Artists." Axon: Creative Explorations 13, no. 1 (July 24, 2023): 1–21. http://dx.doi.org/10.54375/001/cbyvozki7k.

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Sarah Bodman reflects on 13 years of Bookarts at UWE Bristol’s World Book Night (WBN) project; a text and image / artists’ books-based event which has evolved from an initial collaboration with the artist and poet Nancy Campbell into an annual, international, participatory celebration of reading and creative making. Inspired by our shared interests in literature, poetry, artists’ books and mail art, WBN introduces ourselves and other artists/writers to particular books and ways of working together.

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5

Čiricaitė, Egidija. "On Photographing Artists’ Books." Journal of Medical Humanities 41, no. 1 (December 20, 2019): 81–83. http://dx.doi.org/10.1007/s10912-019-09593-7.

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AbstractArtists’ books are challenging to photograph. They function as a unit of tightly conceptually-bound visual, textual and material elements in addition to a heightened self-awareness of the work's booksness. Binding, size, weight, and shape of the book, translucency, texture, thickness of paper, placement of images and/or text on the page or off the page interact with other graphic elements; they control, and direct the reader towards the expressive components of meaning which arise from pace, haptic experience, and visual or structural stylistic choices. Most of such information gets sacrificed in the process of documentation. Here I discuss some of such issues of photographing artists books for this journal and my solutions to replicating each artists’ book within the physical and thematic constraints of this publication: I tried not only to visualize the books’ content but also to translate some of the experience of how that content makes itself meaningful to the reader.

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6

Peixoto, Tania. "Artists' Books." Art Book 8, no. 3 (June 2001): 28. http://dx.doi.org/10.1111/j.1467-8357.2001.00253.x.

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7

Peixoto, Tania. "Artists' Books." Art Book 8, no. 4 (September 2001): 26–27. http://dx.doi.org/10.1111/j.1467-8357.2001.00264.x.

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8

Peixoto, Tania. "Artists' Books." Art Book 7, no. 3 (June 2000): 22. http://dx.doi.org/10.1111/1467-8357.00205.

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9

De Rijke, Victoria. "Artists' Books." Art Book 8, no. 1 (January 2001): 32. http://dx.doi.org/10.1111/1467-8357.00229.

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10

Ruhé, Harry. "Artists’ books." Art Libraries Journal 12, no. 1 (1987): 45–46. http://dx.doi.org/10.1017/s030747220000506x.

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Artists’ books have been exhibited several times in the Netherlands since the late 1970s, notably at the Van Reekummuseum at Apeldoorn. They can be purchased from Galerie A in Amsterdam, and collections can be found in several Dutch museums including the Stedelijk Museum, the Stedelijk Van Abbemuseum, and the Groninger Museum, although problems associated with storage and conservation tend to inhibit access.

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11

Farmer, Jennie. "Artists’ books in the National Art Library, Victoria and Albert Museum." Art Libraries Journal 32, no. 2 (2007): 27–31. http://dx.doi.org/10.1017/s0307472200019167.

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The National Art Library’s collection of artists’ books is described here by one of the librarians, who is herself trained as a book artist, having completed an MA in Book Arts at Camberwell College of Art. She has built upon this knowledge through working with the large numbers of artists’ books at the NAL and begins this article by discussing the terminology relating to the book arts, going on to talk about the history of the NAL’s collection and touching on its future. She finishes by highlighting a few very distinctive items available for consultation.

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12

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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13

Soleymani, Mona. "Artists' Books in Australian Collections: An investigation of materials, methods and meanings in the work of contemporary Australian book artists." Axon: Creative Explorations 13, no. 1 (July 24, 2023): 1–16. http://dx.doi.org/10.54375/001/faqwb0rdeh.

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This paper presents the findings of a case study designed to understand more about materials, methods and themes of Australian artists’ books and their preservation issues in collections. Artists use a huge diversity of materials and methods in the creation of artists’ books, which might make these books difficult to preserve in a library or gallery collection context. Based on interviews with five prominent Australian book artists, collectors and curators, this paper suggests that artists choose materials that reflect or express the artistic, social, and political themes of their work, as well as the long historical traditions of bookbinding, printmaking, printing, typography etc, that their work continues. However, the interviewees were also very engaged in the issues of collecting, curating, and preserving these materials. The findings of this study confirm that access to archived information about the artist’s themes, intention, and working methods would be invaluable for all aspects of collection management. Thus, there is a need to have a coherent written policies to set rules for what to include or exclude from an artists’ books policy in libraries and art collections in Australia.

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14

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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15

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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16

Bodman, Sarah. "Book arts at the Centre for Fine Print Research in Bristol." Art Libraries Journal 32, no. 2 (2007): 15–20. http://dx.doi.org/10.1017/s0307472200019143.

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This article describes some of the research projects investigating contemporary artists’ books at the Centre for Fine Print Research at the University of the West of England in Bristol. As part of its remit, the Centre explores and promotes many aspects of the book arts including contemporary creative processes and outputs. Some recent projects include the Arcadia id est touring exhibition of 118 artists’ books on the themes ornature and the landscape; Bookmarks: infiltrating the library system; and the Regenerator altered books project. The Centre also works with artists, academics, curators, institutions, galleries and bookshops to promote the book arts to a wider community. In addition it publishes reference information, guides and critical essays on artists’ books through its Impact Press imprint; these include the Artists book yearbook and The blue notebook, a journal for artists’ books.

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17

Zweig, Janet. "Artists, Books, Zines." Afterimage 26, no. 1 (July 1998): 4–5. http://dx.doi.org/10.1525/aft.1998.26.1.4.

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18

Bodman, Sarah. "Books by Artists." Art Book 7, no. 2 (March 2000): 25–26. http://dx.doi.org/10.1111/1467-8357.00191.

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19

Peixoto, Tania. "Artists' Books: Multiples." Art Book 8, no. 2 (March 2001): 29. http://dx.doi.org/10.1111/1467-8357.00242.

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20

Spector, Buzz, Stephen Bury, and Johanna Drucker. "Artists' Book Books." Art Journal 56, no. 3 (1997): 95. http://dx.doi.org/10.2307/777846.

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21

Martin, Julie. "The Persistence of the Documentary Photobook in the Age of the Web." AM Journal of Art and Media Studies, no. 28 (September 15, 2022): 77–88. http://dx.doi.org/10.25038/am.v0i28.518.

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Several artists who take into consideration the existence of the Internet in their process of documenting the world remain faithful to the photography book. They find in the codex an experience that a screen remains incapable of providing. The adoption of the book by some documentarist artists engages appropriation practices from an ancient documentary project. War Primer 2 by Broomberg & Chanarin and Less Américains by Mishka Henner reproduce pre-existing books, respectively The ABC of War by Bertolt Brecht and The Americans by Robert Frank. The renewed interest of artists and photographers in books can be explained by a logic of comparison between the two media: the emergence of the web, with its formats and specificities, makes it possible to better appreciate, by analogy and distinction, what characterizes books and the web, and what makes their respective languages. However, rather than thinking of the modes of publication as alternatives, some of the artists merge their logic by resorting to online self-publishing platforms that allow the self-production and self-distribution of books. The artist Mishka Henner stands out in particular for his systematic production of books on self-publishing sites. Article received: March 31, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022. Original scholarly paper

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22

Araújo, Hanna, and Mônica Gama. "The (ideal)ized reader and the creative processes of children’s books." Manuscrítica: Revista de Crítica Genética, no. 37 (June 26, 2019): 80–90. http://dx.doi.org/10.11606/issn.2596-2477.i37p80-90.

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Our focus is on picture books and wordless picture books, categories which incorporate concepts both from Literature and Text Genres, recognizing that pictures have an essential role in building meaning. How the children respond to a picture book is something appreciated by those artists who find readers who are willing to read the book disregarding external factors. We aim to indicate, through interviews, the artist’s conceptions concerning their idealized reader. The interviews demonstrate that the artists are not restrained by the “for children” label, and neither by the “childish” stigma, in the erroneous sense that the term may sound, that is to say, a simple or shallow book, fit to an unprepared reader or unfit to aesthetic experience.

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23

Milne, Jo. "Artists’ Books as Resistant Transmitters." Arts 8, no. 4 (October 9, 2019): 129. http://dx.doi.org/10.3390/arts8040129.

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Since the early 1970s, the origins of artists’ books have been extensively discussed and documented (Drücker, Lauf, Lippard, Phillpot, Gilbert et al.), yet the genre continues to generate new questions and paradoxes regarding its place and status within the visual arts as a primary medium. Whilst the conception of contemporary artists’ books lay in the medium’s potential for dissemination via mass production and portability, opportunities for distribution remain limited to a select number of outlets worldwide or, as an alternative, through the growing in number but time-limited artists’ book fairs, such as those established events in Barcelona, Berlin, Bristol, Leeds, London, New York and Seoul. In parallel with the development of screen-based digital technologies and social media platforms, we have experienced the exponential production of artists’ books in contemporary art practice, craft and design; a quiet revolution that emerged from both the centre and the fringes of the art world over six decades ago, developing relatively quickly as a gallery commodity through artefact/exhibition catalogue cross-overs, and more recently as a significant discipline in its own right within educational establishments. This begs the question, why, in an era of potentially print-free communication, do we continue to pursue the possibilities of the physical book format? What can the traditional structures of the codex, the leporello, the single section or that most basic and satisfying action of creasing a sheet of paper—the folio—offer the tech-savvy audience or maker? But artists’ publications offer alternative platforms for visual communication, resistant to formal forms of presentation, and they appeal to the hand and can question what it means to read in this digital age.

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24

Sowden. "Exploring Appropriation as a Creative Practice." Arts 8, no. 4 (November 15, 2019): 152. http://dx.doi.org/10.3390/arts8040152.

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During the 1960s and 1970s, Ed Ruscha produced a series of 16 small, self-published books that became a catalyst for how artists could approach the book form. This reputation has grown through the subsequent decades, and his influence on book artists remains strong to this day to the extent that his books have been, and continue to be, appropriated across the world by successive generations of artists. Writing from a practitioner perspective, I will begin by looking at how Ruscha has become so influential to generations of book artists. I will look at what influenced him, and how he may possibly have appropriated the work of others. I will then focus in on the community of book artists who reference Ruscha’s books in their practice. The research of Ruscha’s books is embodied in each of these individual outcomes, but I will show that it is through the collective act and the bringing together of all of these books, through the community, that the work/s gain currency, strengthening both the Ruscha books and those that have come after.

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25

Speight, Elaine, and Charles Quick. "“Fragile Possibilities”: The Role of the Artist’s Book in Public Art." Arts 9, no. 1 (February 27, 2020): 32. http://dx.doi.org/10.3390/arts9010032.

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Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist’s book has come to occupy a significant role within the production, dissemination and interpretation of such work. This has been accompanied by a growing interest in the artist’s book as a public artwork in its own right. These two distinct yet interrelated approaches form the subject of our essay. Drawing on examples of artists’ books held in the Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute as well as from our own curatorial practice, we argue that, far from ancillary artefacts, artists’ books play a pivotal role within the production of public art and provide an important space in which to critically engage with the complexities of place.

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26

Muñoz López, Pilar. "Las publicaciones y la investigación sobre mujeres artistas en España." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 317. http://dx.doi.org/10.25115/raudem.v3i0.633.

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Resumen: El tema de las mujeres artistas ha sido escasamente tratado en la abundante bibliografía de Historia del Arte. La mayor parte de las publicaciones que se han editado en los últimos años son fundamentalmente de carácter divulgatorio de la actividad de las artistas en el contexto internacional y en nuestro país. En el artículo se revisan los libros y artículos publicados y, finalmente, se exponen los contenidos de mi obra Artistas españolas en la dictadura de Franco. 1939-1975, que, desde una perspectiva histórica, trata de dar a conocer la actividad creativa de muchas artistas españolas en este periodo histórico. Publications and Research about Women Artists in Spain Abstract: The topic of Women Artists has been hardly presented in abundant bibliography of Art History. The majority of publications issued in latest years are popular science books about the activity of artists in an international context and in our country. In this paper I revise books and articles, and finally, I thoroughly explain thoroughly the contents of my book Artistas españolas en la dictadura de Franco. 1939-1975, which from an historic perspective, attempts to show the prominence of creative activity from many Spanish women artists in this historic period.

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27

Bernacki, Paweł. "Artists’ books, czyli czym jest owoc małżeństwa książki ze sztuką." Studia o Książce i Informacji (dawniej: Bibliotekoznawstwo) 36 (July 5, 2018): 29–44. http://dx.doi.org/10.19195/2300-7729.36.2.

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Artists’ books, or what is the fruit of the marriage of a book with artThis text is an attempt to looking at the status of artists’ books — interesting phenomenon, which blends worlds of book and art. It includes the opinions of art critics, bibliophiles, publishers, creators of literature and artists. History of the artists’ books and external conditions, which have an influence on its birth were briefly outlined. Image of this phenomenon turns out indeterminate and internally contradictory. Theories, typologies, attempts to define or even fix the right term are often mutually exclusive. This situation raises questions about their legitimacy. Maybe we should accept the fact that certain indeterminacy and impossibility to enclose in rigid frames is an inherent feature of artists’ books because otherwise they would lose their diverse and open character.

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28

Bury, Stephen. "The Artist’s Book in the Age of Digital Reproduction: Walter Benjamin and the Artist’s Book." Arts 8, no. 4 (October 21, 2019): 138. http://dx.doi.org/10.3390/arts8040138.

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Walter Benjamin, who was familiar with the pre-Second World War avant-garde, argued that mechanization threatens the aura of art objects. The digital revolution has been seen as reconfirming Benjamin’s thesis, but the digital can be seen to reaffirm the value of the actual, physical artist’s book, and moreover, artists have exploited the digital—as technologies and subject matter—to make artists’ books.

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29

Bury, Stephen. "1, 2, 3, 5: building a collection of artists’ books." Art Libraries Journal 32, no. 2 (2007): 5–9. http://dx.doi.org/10.1017/s030747220001912x.

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Because artists’ books can be expensive to buy and to keep, institutions need to have a clearly articulated rationale for collecting them. This could range from documenting the history of art, and contemporary art in particular, to a survey of how artists have used the book format to explore their ideas. This latter approach would support the use of artists’ books in practical workshops leading to the creation of yet further artists’ books.

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30

Carlin, Jane Anne. "Artists' books as catalysts for social change." Art Libraries Journal 44, no. 1 (January 2019): 2–8. http://dx.doi.org/10.1017/alj.2018.34.

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From the moment Gutenberg's Bible was set to print, books have played a role in shaping society. The enduring legacy of the book as a powerful vehicle for social transformation is just as significant today as it was over five hundred years ago. Contemporary artists’ books can serve as powerful catalysts within the classroom and in the community to foster conversations that address social justice issues and to generate dialog that can lead to greater understanding. This article will focus on how one liberal arts college library has promoted artists’ books in conversations to explore cultural competency and to encourage understanding.

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31

Morrison, Ella. "On Viewing Words." Axon: Creative Explorations 13, no. 1 (July 24, 2023): 1–16. http://dx.doi.org/10.54375/001/hcb3qccm6q.

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In this paper I will argue the value to be found in the visual analysis of text, drawing upon the artists’ books of Czech-born Australian artist Petr Herel (1943–2022) as case study. A seminal figure in the development and dissemination of the artist’s book in Australia, the complexity of Herel’s work lies in part through his use of text that conveys meaning without necessarily being conventionally ‘read’. This paper takes concepts rooted in traditional and conventionally rigid semiotic frameworks, including the relationship between text and context and the polysemy of meaning, and applies them in a flexible and contemporary approach that facilitates new visual analyses of the text present in Herel’s books. The artist’s use of unfamiliar alphabets, familiar alphabets and unknowable alphabets calls for a new iteration of analysis that encourages and celebrates visual meaning(s) from text.

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32

White, Tony. "Artists’ Books as Catalyst." Afterimage 33, no. 1 (July 2005): 12. http://dx.doi.org/10.1525/aft.2005.33.1.12.

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33

Hockensmith, Josh. "Artists’ Books and Africa." African Arts 50, no. 2 (June 2017): 90–92. http://dx.doi.org/10.1162/afar_r_00348.

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34

MCKAY, IAN. "ART & ARTISTS? BOOKS." Art Book 1, no. 1 (January 1994): 17. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00081.x.

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35

Ricci, Giana, and Marsha Taichman. "Artists’ Books in Hand." Art Documentation: Journal of the Art Libraries Society of North America 42, no. 1 (March 1, 2023): 36–57. http://dx.doi.org/10.1086/728441.

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36

Golick, Greta. "Making Booxs: iSchool Students De/Construct the Book." Art Libraries Journal 41, no. 4 (September 20, 2016): 187–97. http://dx.doi.org/10.1017/alj.2016.24.

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What can current students preparing for careers as librarians, archivists and museum curators learn from the book as object and the book as art? How can artists’ books and artisans engaged in bookmaking, conservation and curating books inform our ideas of the book as more than its text? How does bookmaking deepen the connection for students between content and form? This article describes a 6-week workshop conducted at the Faculty of Information at the University of Toronto that explores the book from its earliest forms to artists’ books and includes many descriptions of books constructed by iSchool students.

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37

Bernacki, Paweł. "Kilka uwag o związku książki artystycznej i literatury pięknej." Prace Literackie 56 (June 29, 2017): 149–61. http://dx.doi.org/10.19195/0079-4767.56.11.

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Some remarks on the link between artists’ books and belles-lettres The book art and literature seem to be closely linked. Almost from the very beginning of its existence the former was used to store, disseminate and highlight the values of the latter. This state of affairs began to change at the turn of the 20th century, when the great avant-gardes were increasingly emphasising the visual aspects of the written word and, consequently, of books. People were increasingly convinced about the autonomy and independence of books. This led to the emergence in the 1960s of amovement known as artists’ books, which considered books to be works of art in themselves, and consequently, to be more loosely connected with literature. This broad and not yet fully defined phenomenon encompasses awhole range of projects interpreting literary texts or inspired by them. By analysing works of artists like Renata Pacyna-Kruszyńska, Małgorzata Haras, Janusz and Jadwiga Tryzna Itry to demonstrate how authors of artists’ books interpret the writers’ works, using them as abasis for completely new, original and autonomous projects, and to show which direction contemporary book art may follow over the next few years.

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Montero, Gustavo Grandal, and Erica Foden-Lenahan. "Occasional Papers: archival troves, affordability and accessories." Art Libraries Journal 40, no. 1 (2015): 20–29. http://dx.doi.org/10.1017/s0307472200000079.

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The world of art publishing is often characterized by hefty exhibition catalogues and glossy artist monographs that aim to be comprehensive documentation of a theme or an artist’s output, but also cost more than pocket money to purchase. As art librarians we purchase, move, and sometimes read them every day. Occasionally a publication will catch your attention, maybe because it appears ephemeral, or perhaps because it more closely resembles books that you might accession into an artists’ books or artists’ publications collection. Occasional Papers publications have that look and yet their content points to a wider audience. Their philosophy of the cheap paperback makes them unusual in mainstream art publishing. How does a small publisher survive? Clearly by disregarding just about everything the publishing textbooks say. Occasional Papers has found its niche and sat down to tell us about it.

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Sherwood, Rosie. "New Readings: The Comic as Artists’ Book." Art Libraries Journal 40, no. 1 (2015): 16–19. http://dx.doi.org/10.1017/s0307472200000067.

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Artists’ books consider every aspect of the book in the creation of meaning. How might reading the comic book through this context extend the possibilities of the art form? Can considering the whole book change the way creators and readers approach the comic? This article considers the space between book arts and comics, asking how they might fit together and considering the possible benefits of this expanded reading for the comic book as a form.

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Atwood, Donna. "Artists’ Books in Design Curricula." International Journal of the Arts in Society: Annual Review 2, no. 6 (2008): 27–34. http://dx.doi.org/10.18848/1833-1866/cgp/v02i06/35432.

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BODMAN, SARAH. "FOCUS ON ARTISTS' BOOKS 3." Art Book 13, no. 3 (August 2006): 64–65. http://dx.doi.org/10.1111/j.1467-8357.2006.00713.x.

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Peixoto, Tania. "Artists' Books: Exercises in Context." Art Book 7, no. 4 (September 2000): 31–32. http://dx.doi.org/10.1111/1467-8357.00219.

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Farman, Nola. "Artists' books: managing the unmanageable." Library Management 29, no. 4/5 (May 30, 2008): 319–26. http://dx.doi.org/10.1108/01435120810869101.

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Vilchis Esquivel, Luz del Carmen. "The Artists' Books in México." International Journal of the Book 5, no. 2 (2008): 121–24. http://dx.doi.org/10.18848/1447-9516/cgp/v05i02/57844.

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Mader-Meersman, Julie. "Artists’ books for handheld mobile devices: Expanding the artist’s book genre." Book 2.0 7, no. 1 (April 1, 2017): 79–94. http://dx.doi.org/10.1386/btwo.7.1.79_1.

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Phillips, Tom. "Artists on Libraries 1:." Art Libraries Journal 11, no. 3 (1986): 9–10. http://dx.doi.org/10.1017/s0307472200004703.

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I love the word ‘library’ and feel sorry for the French who wasted their equivalent on a mere stationery shop and cornered themselves into using the nobly historical yet somewhat dry term ‘bibliothéque’. I feel that my own books make up a library but would scarcely constitute a bibliothéque.I am temporarily separated from the bulk of my books and thus more keenly aware than ever of their importance to me. It is not only the contents that I miss but the visible presence of them. I can picture the shelves and the configurations of buckrams and dust-jackets: in my mind’s eye particular books can be located. I see Bergson’s Creative Evolution there next to Wittgenstein’s Tractatus. Shall I ever read it again? I doubt it; yet the sight of it, austere on its appropriate shelf reminds me that in some sense what lies within its covers is also to be found within my head, although I cannot quote a word of it. Books do furnish a mind. The visual array of them is a house of memory in the form of a mnemonic of evocative spines.

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Phillpot, Clive. "Twentysix gasoline stations that shook the world: the rise and fall of cheap booklets as art." Art Libraries Journal 18, no. 1 (1993): 4–13. http://dx.doi.org/10.1017/s0307472200008178.

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The term ‘artists’ books’ has been used since about 1970 to denote inexpensive booklets produced by artists in ‘unlimited’ editions, but can legitimately embrace a variety of artefacts; the word ‘bookwork’, coined in 1975, carries the more specific meaning of a work of art in book form. Ed Ruscha’s Twentysix Gasoline Stations, published in 1963, was a pioneering bookwork; it was followed by more bookworks from the same artist through the next ten years; however, Ruscha’s innovatory productions had been preceded by a number of experiments with the book format, by Bruno Munari, Åke Hodell, and others, during the 1950s and early 1960s. Bookworks flourished in the 1970s as a means of making actual works of art available to a wide audience, but in the 1980s this ideal was gradually overtaken by a growing tendency towards making bookworks as precious, costly collectables, in limited editions, while some of the earlier, once cheap bookworks began to sell for inflated prices on the secondhand market. Nonetheless, many artists are continuing to produce relatively inexpensive bookworks, sometimes using photocopiers, or to publish artists’ magazines. The work of Telfer Stokes demonstrates that the multiple book format remains an exciting and accessible medium in the hands of a committed artist.

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Dunne, Killian. "Concurrently Simultaneously." IMPACT Printmaking Journal 4 (July 24, 2024): 9. http://dx.doi.org/10.54632/1507.impj15.

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Concurrently Simultaneously is a book that contains not only the art and academic research and explorations of two artists but also a more intimate narrative of the experience of a family momentarily divided by the implications of Brexit and the COVID-19 pandemic. On 30 August 2020, Killian Dunne arrived in Scotland from Ecuador to begin his new role as a Lecturer in Printmaking, Publishing, and Editions at Duncan of Jordanstone College of Art and Design, University of Dundee. His wife Désirée and their three-year-old son were to stay in Quito, Ecuador until Christmas while he organised accommodation for the family and while Désirée concluded her university teaching semester. Unfortunately, COVID-19 restrictions and the complications of Brexit meant that by May 2021 Désirée and their son had still not arrived in Scotland. At that point, the artists decided to create an artist book responding to this experience. Killian created his section of the book in Scotland, and Désirée created her section of the book in Ecuador. They then digitally printed the book’s editions in Ecuador and Désirée brought the books to their new life in Scotland when she and their son could travel.

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Shcherbinina, Yu V. "One step away from hell? Transformation of books into art objects." Voprosy literatury, no. 2 (May 5, 2022): 61–78. http://dx.doi.org/10.31425/0042-8795-2022-2-61-78.

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The article considers a popular and controversial modern phenomenon — the use of books as a medium for various mixed media art forms. The author gives examples of contemporary book altering techniques, such as book carving, painting and upcycling, etc., following the trend of transforming our interaction with books into a show of craftsmanship and entertainment. The critic points out that, in order to create a visually stunning and artistically expressive altered book, artists often work with beautifully published tomes, complete with quality materials, imaginative design and moderately used look, rather than with inferior mass-produced or defective books. It is not uncommon for book alterers to use antiques or rare editions: for example, British and American book artists particularly value Victorian books. It follows that, rather than popularising and creatively reimagining the book as such, this fad causes erosion of the meaning and profanes the process of book reading and contemplating.

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Lowe, Tyne. "Artists’ Books and the Problem of Digital Preservation." Preservation, Digital Technology & Culture 46, no. 4 (December 6, 2017): 132–35. http://dx.doi.org/10.1515/pdtc-2017-0019.

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Abstract:Artists’ books have become a popular genre for many institutions collecting art objects and unique books. The attempt to preserve the physical artists’ books often competes with the desire to extend user access to these highly tactile works. Partial digitization of artists’ books has allowed many institutions to cultivate an online presence for these collections, increasing access without compromising the physical integrity of the objects. However, creation of digital surrogates for artists’ books often sacrifices the authenticity and access to the intellectual content of the work. The challenge of digital preservation for artists’ books demonstrates the shortcomings of digital reformatting for works that may be intellectual and artistic.

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