Volume 9 No 2, April 2015
Articles include: Paul Soulellis on Performing publishing. Infrathin tales from the printed web; Jude Lau, on John Bently, Artists’ Books and The Printhaus: looking for community in books; Angie Butler investigates the draw of letterpress printing and practice by reporting on findings from an online survey in Running My Fingers Across The Surface: Letterpress printing and artists’ books; Logan Sisley outlines the project, Scientia Civitatis: Missing Titles, an imaginary library of knowledge about cities realised by Vagabond Reviews for the exhibition, Phoenix Rising: Art and Civic Imagination, at Dublin City Gallery The Hugh Lane. In The E-dge of the Book, Anna Cooper offers elements that help determine ‘bookness’, as a means of considering digital ‘book’ forms and keeping an open dialogue regarding these forms in relation to book arts practice.
Artists' pages by: Ros Blackmore, Noëlle Griffiths, Rachel Marsh, Richard Roberts and Elizabeth Shorrock. Cover design by Tom Sowden
Volume 9 No 1, October 2014
Articles in this issue:
- A Place Where Things Meet: Creative and Conceptual Blending by Emma Robertson (Australia)
- After midnight - The workings of the Two a.m. Press by Lisa Wigham (UK)
- Books about nothing by Amir Brito Cadôr (Brazil)
- Futura Has Always Been The Future by Antonio Claudio Carvalho (UK)
- Reading Cabinet by Amador Perez (Brazil)
- Research Residency in Artists’ Books at the Edinburgh College of Art Library by Julie Johnstone (UK)
Artists’ pages by:
- Craig Atkinson,
- Emily McVarish,
- Pineapple Falls,
- Nathan Walker.
Cover, badge and sticker design by Molly Lemon.
Volume 8 No 2, April 2014
Essays and reviews: Alison Gibbons: Tension, Style, and the Modern Psyche.
A Stylistic Analysis of Philip Zimmermann's 'High Tension'; Jeremy Dixon: Aliens, Sunset, and Radioactivity: visiting three artists' books in Philadelphia; Ciara Healy: And the night was kind. 'Ruskin's Ponds' book works by John Woodman; Pete Kennedy: Lucy Lippard's Activism and Artists' Books Activate Me; John McDowall: Some artists' books and literature; Mat Osmond: The Mingled Measure, Interpreting and Adapting S. T. Coleridge's 'The Rime of the Ancient Mariner'.
Artists' pages by: Mat Birchall (UK), Kate Bufton (UK), Amir Brito Cador (Brazil) Jesse England (USA) and Sara MacKillop (UK). Cover design: Tom Sowden
Volume 8 No 1, October 2013
Essays and reviews:
One Hundred Years and On: 100% Books by Canberra Artists. Caren Florance (Ampersand Duck) discusses the decisions and connections made when curating a showcase/ survey exhibition of artists’ books in Canberra, Australia.
Letterpress on the Underground.
From the perspective of a screenprinter and letterpress printer, Danny Flynn looks at some of the work that has been produced by these mediums; and the particular letterpress prints that cross over from book-art and print-art to that of guerrilla street art.
Some undisclosed points of remove.
Vicky Falconer reflects on her experiences working on the site-responsive artists’ books project at Chelsea College of Art & Design Library, UK, showing publications
and mixed-media artworks by Melanie Counsell,
Sara MacKillop, Anne
Tallentire, Sabine Tholen
and Joëlle Tuerlinckx
I Appropriate, Therefore I Am.
Dr Nola Farman looks
at the artist’s book and its quixotic relationship to the established
order and major genres. Its role is to détourne ideas, configurations
and postures with persistent resonance. When considered as a form of renewal,
appropriation draws art practice into a non-linear logic that resonates
in its circularity across a number of planes of activity.
S.M.S. Shit Must Stop: A compendium, A presentation,
A poem, An insertion of postcards. James
A. Holliday’s essay is a textual response
to some of the artworks viewed in S.M.S. William
Copley’s artists’ portfolio series
from the late 60s.
My Life Unfolds. Natalie
d’Arbeloff describes the making of her monoprinted
accordion book, included in the exhibition Open
Books: Sixteen artists and the Chinese folding-book
which opened at the National Library of Wales in Aberystwyth last year and
is currently on tour.
Artists’ pages by: Rodrigo Arteaga
(Chile), Sophie Artemis Pitt (UK),
Helena de la Guardia
(Spain), Claudia de la Torre
(Germany) and Laura Russell
Guy Bigland (UK) has
designed a brilliant textwork cover, badge and sticker for this issue.
Volume 7 No 2, April 2013
A history of alternative publishing reflecting the
evolution of print. An edited extract from Chapter 2 of a new book
by Alessandro Ludovico, offers an analysis of
the strategic use of print, by avant-garde artistic movements throughout
the 20th century, as well as in the context of the underground press from
the 1950s through the 1980s, and finally in light of the most recent developments
in underground publishing (such as the production of technically perfect
‘fakes’ made possible through digital technology).
Beth Williamson in conversation with Helen
Douglas, explores Douglas’s Traquair House,
a bookwork commissioned in 2012 as part of Reflective Histories: Contemporary
Art Interventions at Traquair House. Responding to the oldest inhabited
house in Scotland, and its contents, this manuscript book echoes the small
devotional books in the library at Traquair. In its dialogue with both house
and reader, this contemporary manuscript calls forth the histories of the
house and the book in a fashion that reclaims their importance for the twenty-first
Emma Powell explores the development of we love
your books - a book arts collaboration that held its first exhibition in
2005. The article charts the eight exhibitions that have been held: Meeting
in the Middle; Full Circle / Random Journey; ABC; re: closure; (e)motive;
Crop and minute. This is integrated with a discussion of the work
of twelve book artists who have exhibited with we love your books. The book-work
of Melanie Bush and Emma Powell,
co-founders of we love your books, is then explored and the article concludes
with a summary and a Call For Entries.
Jim Butler explores printmaking and the artist's
book. While the rise to prominence of printed multiples opens up new possibilities,
it presents particular problems for the printmaker, especially those working
with non-digital media. This is due in no small measure to the economics
of the artist’s book. The development of the concept of an original
limited edition print in the late 19th century established an artistic and
economic framework for artist printmakers which is still largely valid today.
The article considers how this framework might apply to artist printmakers
working in book form.
Artists’ pages by: Ellen Golla, Alexander
Mouton, Benedict Phillips, Aymee
Smith and Daniel Speight.
Cover design by Tom Sowden
Volume 7 No 1, October 2012
Holly Pester reviews the publishing collective
Information as Material’s anniversary event at the Whitechapel Gallery,
London in January 2012. The event, Sucking on Words
was a celebration of both sonic poetry and conceptual writing. Also explored
is the output of IAM over the past ten years and how their year-long residency
manifested their key objectives for art and publishing.
Barrie Tullett of the Caseroom Press, Lincoln,
UK, selects key works from the last 250 years as he looks at the book from
a design and content perspective, from the novel to the artist’s book
and back again.
Andrew Blackley on Publishing Exhibitions, written
alongside the organisation of WhiteWalls: Writings by Artists,
1978 - 2008, at Golden Gallery, Inc (NY.) The essay describes a curatorial
methodology that has been influenced by the author's artistic and curatorial
experiences in publishing.
Nicolas Frespech presents Invent the digital artist's
book! A short essay exploring some ideas for digital developments in artists’
Gustavo Grandal Montero Some thoughts on artists'
books in HE teaching and learning. Exploring the collection at Chelsea College
of Art & Design Library in London, a re-evaluation of the use of artists'
books collections, to enhance and improve the quality of learning and teaching
activities in Higher Education.
Julie Barratt talks to Monica Oppen about the
catalogue and exhibition, The Silent Scream: Political and
social comment in books by artists. The project evolved over four
years, and includes 77 books and bookworks by artists responding to history’s
darker moments: from William Blake, through the
two world wars and on to contemporary publications.
Artists’ pages by: Rodrigo Arteaga, David
Dellafiora, Jeremy Dixon, Dave
Dyment, Bas Fontein and Kate
Cover, badge and sticker designs: Anwyl Cooper-Willis.
Volume 6 No 2, April 2012
Jane Simon considers the book form’s juncture
with photography as a place for looking differently at domestic detail.
Her essay explores the effects of Anna Fox’s
use of the (very) small book form upon the viewer’s mode of looking
at the domestic.
Ampersand Duck in Canberra, Australia provides
a showcase of letterpress printing activity in her local geographic area,
in relation to the wider national and international transformation of letterpress
printing from a bibliographic by-product of commercial output to an art
and design genre that is gaining a new following and a new audience.
Adam Murray on ‘Preston
is my Paris,’ co-founded by Murray
and Robert Parkinson in June 2009. The project
originally began as a photocopied zine specifically focusing on the city
of Preston in the UK, but has since developed into a multi-faceted photographic
archive consisting of 40 self-published works that address themes relating
to everyday life and social consciousness.
Tim Mosely seeks to contribute to the emerging
critical discourse on artists’ books by locating the “haptic”
within the making and reading of books by artists. Gilles
Deleuze and Félix Guattari in their
seminal text A Thousand Plateaus bind the haptic
to “smooth space” within creative practices. Their theoretical
framework and critical terminology of the haptic warrants an application
to artist’s book practices.
A Williams proposes an argument for Artists’
Publishing as a theoretical vehicle to move toward a terminology/taxonomy
reconciling artists’ books practices with new media developments and
shifting attitudes to the ‘Book’ in the digital age.
Artists’ pages by: Alexandra Czinczel, Jon
Dunning, Cath Fairgrieve, Nicolas
Frespech and Christa Harris.
Cover design: Tom Sowden
Vol 6 No 1 October 2011
A themed issue on Books and Travel. Essays:
Katie Herzog’s cycling librarians hold their
‘unconference’ on wheels;
Steven Daiber’s series of collaborative adventures with artists
in Cuba on the making of Privacidad: Privacy
Simon Goode’s book arts pilgrimage to the
USA (May to July 2011), as he went on a self-funded fact-finding mission,
and his resulting call to action
Pauline Lamont-Fisher walked the route of a found
map through the streets of London, to create a new bookwork
Hanne Matthiesen shares her experiences in Lithuania
and South Korea with book related excursions in The Wonders
of Travelling With Book Art
Maja Wismer & Hinrich on the multi-part exhibition
Travelogue as Allegory. Artists’ books, publications
and printed matter in the various forms of travelogue, photo book, explorer’s
account, sci-fi novel, all became the core of the constellation of the exhibited
material relating to the narrative of travelling
Joan Stoltman reviews the jenny-press’ At
the Turn of the Centuries: The Influence of Early 20th Century Book Arts
on Contemporary Artists’ Books (2010; New Haven, Connecticut).
Artists’ pages by: Hazel Grainger, Jon
McNaught, Heidi Neilson and Michalis
Cover, badge and sticker designs by Hazel Grainger.
Vol 5 No 2 April 2011
Essays and reviews in this issue:
READING versus WATCHING by Radoslaw
Dr Anne Hammond on artists making books in Hawai’i.
James Merrick’s essay Words,
explores the Book Works of CJ Robinson.
Tom Sowden on his project Paper
Models, to encourage more book artists to explore the amazingly creative
tool of laser cutting.
David Trigg interviews Sarah
J Trigg on her recent project and resulting publication Unsaid
Chris Newlove Horton reviews
a random dispersal of dust (mutely understood) by Sean
Kaye & Jenny West.
Artists’ pages by: Helen Allsebrook,
Kevin Boniface, Mishka
Henner, Barbara Tetenbaum
and Agnes Wolkowicz.
Cover design by Tom Sowden.
Vol 5 No 1 October 2010
Essays and Reviews in this issue: Doug Spowart:
Every photo deserves a book: the rise of the photobook
in contemporary self-publishing. The connections of photography with the
book and the key drivers for the emergence of this new author/producer aspect
of book making. Lorelei Clark: Making New Worlds: collaboration and its
potential for transformation.
On Making Reading. What is the nature of the relationship
between book artists and the people they want to see their work? How does
this compare to other versions of the relationship between books and their
Kasia Wlaszczyk reviews White
Heat, at KALEID editions. Twenty-two artists from various professional
backgrounds such as fine art, fashion, photography, book arts, printmaking,
painting, interactive digital media and sculpture.
Mellis reviews Detroit City Map by Kati
Rubinyi, which presents a picture of modern day Detroit together
with a skillfully disordered account of a 1943 race riot.
Anastasia Denysenko gives an overview of Ukrainian artists’
books and a short introduction to the current state of book arts in Ukraine,
featuring the works of several selected Ukrainian artists shown at the Museum
of Book and Book Printing of Ukraine in March 2010.
Jacobs presents an online 8-page piece, Apology Typology,
which records a visit made to her ebook, Deciphering Human
Chromosome 16: We Report Here.
Artworks by Djeribi, Dr Book
(aka Guy Begbie),
Jo Moore, Colin Sackett
and Klaus von Mirbach.
Cover, badge and sticker design: Angela Callanan
Vol 4 No 2 April 2010
Out of Print
Essays and Reviews in this issue:
of Sara Ranchouse Publishing in Chicago, reviews
three beautiful yet disturbing artists’ books by the American artist
Cahill gives a reflective account of practice-based investigation
of issues concerning text and image, including the nature and scope of illustration,
through his visual interpretations of James Joyce’s
novel Finnegans Wake.
Carosone proposes a critical lens to apply a queer analysis, perspective,
sensibility, and voice to artists’ books and zines, and offers some
examples in ‘A Queer Critical Analysis of Artists’
presents an overview of unique books in ‘The Grand
Plasto-Baader Books’ at Kaleid Editions, London, and focuses
on the tendency of some of the artists involved to quiz their audience,
either through unusual treatments of material, or concealment of means.
Dr Emma Powell selects aspects of her recently
completed PhD research, investigating the location, selection / rejection
and collation habits of 108 creative practitioners. All used ‘rejectamenta’
- any discarded item, to create work, which Powell uses in her own books.
Karen Sandhu provides an overview of the
seminar, ‘the idea as book : the book as idea’,
held in association with MA Poetic Practice Royal Holloway and the ICA,
London. The seminar explored the artist’s book in relation to conceptual
art and concrete poetry.
our Blue Notebook referee, reports on the
‘Perspectives of the Artist’s Book’ conference,
which took place in Belo Horizonte, Brazil, in November 2009.
Artists’ pages by: EAK Enterprises -
Éilis Kirby, UK; Karen Hanmer, USA;
Natalie McGrorty, UK; Andi
McGarry, Ireland; Richard Price, UK.
Cover design: Tom Sowden.
Volume 4 No 1 October 2009
by: the artist Stephen Fowler - who has
also designed the badges and stickers for this volume.
by: Reading in Installments: Book Art Meets Installation,
by Elysa Voshell; PROJECT ‘(IN)VISIBLE’
Investigating forms of presentation of the Artist’ Book, by Frans
Personal Matters: Memories, Photography
and the Book, by Kyoko Tachibana; Tongue
and Groove - 25 Years of Liver and Lights, by
Chloë King; Silent Reading - Typography
& Sign language, by Nancy Campbell; Using
Heidegger’s ideas on the nature of time and relating them to Keith
Smith’s Book 91, investigating the book as a form of living
art/live experience, by Sarah Clark; Blurring
the Library, by Tate Shaw.
Artists’ pages by: Scott
McCarney, Lilla Duignan,
Giulia Resteghini, Dmitry Sayenko and
Vol 3 No 2:
Essays by: Emily
Artinian - photo essay: Allen Ruppersberg is everywhere.
Lorna Crabbe - explores the archives of LCC to look at women’s
craft history. Sarah Jacobs - Squirrels’
Tails and Burnished Gold. Linda Newington
- takes a closer look at the work and influences of the artist John
Sophie Loss &
Nicholas Bruce Lockhart - have posed a few questions about how artist’s
book fairs might develop in the future. Sally Alatalo
- interviewed by Tom Sowden and
Sarah Bodman. Clifton Meador has made a
special A DIY artist’s book Illuminated by the Light
of Television in this issue.
pages by: Angie Butler,
Nadia Chalabi, Andrew Huot,
Emily Larned, Lois Palframan.
Cover design by Tom Sowden
Vol 3 No 1: October 2008
Essays by: Robyn
Sassen considers the apartheid army as an unexpected
incubator for artists’ books in South Africa; Dr
Anne Hammond examines non-narrative sequence in
photographic books; Your Turn: experiments in narrative
and play is co-written by Patricia
Allmer, Jonathan Carson,
Rosie Miller and John
Sears, exploring the book as a site for game-playing
and storytelling; Kyoko Tachibana
writes about the current state of book arts in Japan, where graphic design
is prevalent, and artists’ books are often considered to be “designed”
by artists; Danny Flynn
shares his experiments with laser cutting acrylic to replace wood and metal
type for letterpress print; and Tate Shaw’s
Enfolded by Holes, considers
the implications of our relationship with the open book.
Artists’ pages by:
David Faithfull, Nick
Thurston, Sandy Christie,
E F Stevens, seekers
of lice and Carson &
Cover, sticker and badge designed by Beth White
and illustrated by Penny White.
Beth White is a freelance
designer; her cover, sticker and badge designs for The
Blue Notebook are based on rebus puzzles, some
of which are phonetic.
Vol 2 No 2 : April 2008
Essays by : Martin
Antonetti & Mike
Nicholson: Parallel Readings;
Emily Artinian: Who
cares where the apostrophe goes? non/participation in the Wikipedia definition
of artists books; Jana Harper:
ARTISTS’ BOOKS 2.0: DIY with POD; Emma Moxey:
chimaerae verae, A Review; Tennille Shuster: Personalising
Design Through Book Arts, and Tony
White: Production not Reproduction:
Photo-Offset Printed Artists' Books.
Artists’ pages by :
David Abbott, Clinton
Cahill, Jane Hyslop,
Bertie Knutzen and J
P Willis : out of print
Vol 2 No 1 : October 2007
Essays by : Melanie
Bush and Emma Powell:
Meeting in the Middle - A Book Arts Collaboration;
Alan Halsey: IN THE ABSENCE OF BLANCHOT: Nick Thurston’s
Reading the Remove of Literature; Sarah Jacobs:
Readers 2; Mike Nicholson:
STAND WELL BACK - Notes from the Locus position;
Tate Shaw: Walking Through Walls: Meditations on
Recto/Verso; Chris Taylor:
The Top 100, National Gallery of Canada.
Artists’ pages by:
Amin Musa, Joan
Ainley, Todd Abbott,
Jackie Batey and Manya
Cover and badge design
by Helen Murgatroyd
Vol 1 No 2 : April 2007
Essays by : Lynn
Sures (USA) VARIATIONS:
on the Dialectic between Mingus and Pithecanthropus Erectus;
Iain Biggs (UK) Place,
Enchantment, and ‘Visual Refrain’: A context for recent book
works by Helen Douglas; Frans
Baake (The Netherlands):
Kirjahduksia Affairs: Artists’ Books in Finland;
Kyoko Tachibana (Japan):
artists’ books news from Japan;
Joanne Lee (UK) on
the published works of Sharon Kivland; Nancy Campbell
(UK) Creating Co-incidences;
The Possibility of Poetry: from Migrant Magazine to Artists’ Books.
Artists’ pages by :
Matt Lumby, Sue Platt, Christian Brett and Alice Smith, Anwen Williams and
Nick Pearson. out of print
Vol 1 No 1 : October 2006
(out of print)
Essays by : Nola
Farman : The Case for Failure
in Artists’ Bookworks; Marshall
Justice is Beautiful: Expanding the Paradigm of the
Artist's Book; Sarah
Jacobs : Reader;
Mike Nicholson : Shelf
Life - in consideration of new pages turned, fresh narratives and unexpected
characters; Tate Shaw
: Reading as Prowling,
Furtive Roaming; Tim Mosely :
Integrating artists' books and papermaking.
Artists' pages by:
Bill Burns, Lucy
May Schofield, Kurt
Johannessen, Roy Voss
and Angie Waller.