The ABYB is a biennial reference publication focusing on international activity in the field of book arts.
It serves as a resource for artists, academics, students, collectors, librarians, dealers, publishers and researchers, in fact anyone interested in artists’ books!
Published by Impact Press at The Centre for Fine Print Research, University of the West of England, Bristol, September 2019
Essays: With her regular front page, Tanya Peixoto (UK) celebrates some highlights of bookartbookshop over the last two years – from Cat Utting’s City Cells, to Clod Magazine; In his essay Against Classification: An alternative history of Book Art, John Bently (UK) explores the affiliations between photography and the artist’s book; Deirdre E. Lawrence (USA) reflects on the influence of Walt Whitman’s prose on contemporary book artists in a new exhibition celebrating the 200th anniversary of his birth;Let’s call it Lace Stitch by Anna Juchnowicz (Poland) examines an alternative approach to bookbinding structures; In The Library Aesthetic, artists Leslie Mutchler & Jason Urban (USA) discuss their approaches to making installation-based works that explore and respond to ideas of the library, books and reading; Yuliya Selivanova (Russia) writes about the special holdings of the Saint-Petersburg Literary Museum “XX century”, the collection of the Library of Mikhail Karasik (1953–2017), and his still present influence in the artist’s book arena; Jürgen Wegner (Australia) reports on Hubert Kretschmer’s Munich-based AAP, in A visit to Archive Artist Publications and its exhibition in the Haus der Kunst, München, Germany; In The Book and its Algorithm, Dr Richard A. Carter (UK) explains the making of two experimental books founded on digitally generated images and text, and the algorithmic operations which produced their contents; The Politics of Place by Alexander Campos (USA) & Monica Oppen (Australia) discusses a selection of artists’ books investigating society’s struggles with displacement, and what it means to have – and lose – a sense of belonging, homeland and identity; In An Instrument of Collaboration: Unfolding the legacy of the Graphic Investigations Workshop (GIW), Caren Florance (Australia) reflects upon the rich history of GIW as a unique and complex entity in creative book-making in Australia. Headed by artist Petr Herel, with a host of respected artists including Dianne Fogwell, John Pratt, Gaynor Cardew and Udo Sellbach, the legacy of GIW’s working methodology is its use of the book as a collaborative ‘common ground’.
Cover design: Tom Sowden
Artists’ pages by: Megan Adie (Denmark) Angie Butler (UK), Robert Good (UK) Eva Hejdström (Sweden), Paul Laidler (UK), Daniel Lehan (UK), Sophie Loss (UK), Linda Parr (UK), Ekaterina Vasilyeva (Russia) and Eiji Watanabe (Japan).
The listings sections detail artists’ books activity, education and collecting taking place internationally and include: Artist’s Book Publishers & Presses; Bookshops for artists’ books; Artist’s Book Dealers; Galleries & Centres; Collections, Libraries & Archives; Artist’s Book Fairs and Events; Book Arts Courses and Workshops; resources for Design, Print & Bind; Print and Papermaking Studios; Journals and Magazines; New Reference Publications; Organisations, People, Projects and Societies.
In the Artists’ Books Listings section, you can also discover hundreds of examples of new books made (or in the making), by artists in: Argentina, Australia, Belgium, Brazil, Canada, Denmark, Finland, France, Germany, Hungary, Ireland, Italy, Japan, The Netherlands, Norway, Poland, Russia, Sweden, the UK and the USA.
Edited by Sarah Bodman. Published by Impact Press at The Centre for Fine Print Research, University of the West of England, Bristol, UK. Autumn 2019. ISBN 978-1-906501-18-1. 236pp, 21 x 29.7 cm, black and white offset litho, colour cover.
Published by Impact Press at The Centre for Fine Print Research, University of the West of England, Bristol, September 2017
Essays: With her regular page for bookartbookshop, Tanya Peixoto celebrates Kelly Wellman; Endangered Species of Book by John Bently, ponders the disappearance of paper-based books from our daily routines; Liminal Moments At The Edges: Reading Montage Narratives in Artists’ Books by Victoria Cooper explores some examples of the montage within bookworks by Australian artists held within the State Library of Queensland, Brisbane; Peter Seddon Reviews the exhibition Press & Release 2016: Technology and the Evolution of The Artist’s Book at Phoenix Brighton, UK; Josh Hockensmith of the Joseph C. Sloane Art Library at the University of North Carolina-Chapel Hill, USA, explains The Artists’ Books Critical Index Project, gathering citations of where specific artists’ books are mentioned or pictured in literature about artists’ books; Egidija Čiricaitė considers In the Space of Time – the metaphor of book space as "time" in artists’ books from the Prescriptions collection held at the University of Kent Special Collections and Archives, UK; in unfoldingthinking – Making Book Art with Scientists, Les Bicknell reflects on his recent artist’s residency at the Centre for Doctoral Training in Nanoscience and Technology at Cambridge University, UK, and the bookworks produced to date; from Poland, in What if my artist’s book is not really an object…, Anna Juchnowicz discusses her long-term project using printmaking, artists’ books and installation to express ideas from the poetry of Sappho today; in BEEZER: Library Interventions, Nick Norton reflects on the artists, designers, writers and performers participating in the interventions programme at Leeds College of Art, UK. Since 2013 Library Interventions has been making the creative potential of the library visible to a wide audience; in Un-Flattened: Book Arts and the Artist’s Map, Rosie Sherwood, UK, asks from the perspective of a book artist – Can a map be a reflection of a place, an experience, an emotional response?
Cover design: Tom Sowden
Artists’ pages by: Stephan Erasmus, Gloria Glitzer, Kellie Hindmarch, Sarah Jacobs, Sophie Loss, Hazel Roberts, Tricia Treacy, and Claire Yspol.
The listings sections detail some of the vast amount of artists’ books activity, education and discussion taking place around the world and include: Artist’s Book Publishers & Presses; Bookshops for artists’ books; Artist’s Book Dealers; Galleries & Centres; Collections, Libraries & Archives; Artist’s Book Fairs and Events; Book Arts Courses and Workshops; resources for Design, Print & Bind; Print and Papermaking Studios; Journals and Magazines; New Reference Publications; Organisations, People, Projects and Societies.
In the Artists’ Books Listings section, you can discover 400+ examples of new artists’ books from the information sent in by artists in the following countries: Argentina, Australia, Belgium, Canada, Cuba, Denmark, France, Germany, Ireland, Italy, Norway, Poland, Russia, Serbia, South Africa, Spain, Sweden, The Netherlands, the UK and the USA.
240pp, 21 x 29.7 cm, black and white offset litho, colour cover. ISBN 978-1-906501-12-9.
Please order your copy online.
For sales of issues from 1994-5, 1996-7, 1998-9, please contact Tanya Peixoto at www.bookartbookshop.com
For issues from 2001 onwards, published by Impact Press, please see our online store for bargain bundles.