The Centre for Print Research is hosting IMPACT 12 Printmaking Conference online and in person here in Bristol, UK, from 21st – 25th September 2022.
Éilis Kirby lives and works in Bristol where she operates as EAK Enterprises, incorporating EAK Press and other departments. Using found objects, images and texts, she makes artists’ books, collages, sculpture and installation that explore formal concerns, humour, pathos, absurdity, our relationship to the world around us, and that challenge mainstream values and hierarchies. She has a keenness for the discarded and overlooked, thinking through doing, and is an avid proponent of making-do, experimenting and improvising. For her, art is part of an ongoing, life-long research project into what it is to live in the world that we find ourselves in.
Éilis is in artist-in-residence at Bower Ashton Library from June to September, with an exhibition of her artworks at the library from 1st July – 31st August. As part of the IMPACT 12 residency, Éilis will produce a giveaway for conference attendees / library visitors and will also later display the artworks made during her residency in one of the library vitrines from September.
Image: A detail from EAK’s Artist-in-Residence video for the #summerofprintandbooks, watch it online here.
Read With Me by Sarah Bodman is the final part of the experimental book project ‘Read to Me’ (2018-2022). This artist’s book is the result of: a performative drawing event, readings by a psychometric reader, collages made during lockdown and words assembled from the dissected readings by Sarah.
It was made in tribute to Susan Hiller’s Sisters of Menon (Coracle Press for Gimpel Fils, 1983), and references the size and cover of the original book. Produced via a remote residency at the London Centre for Book Arts, UK, 2022. Edition of 60, 48 pages, 250 x 180 mm, interior four-colour risograph printed by Esther McManus on Redeem 130gsm recycled paper, relief printed (photopolymer plate) silver ink endpapers and cover, letterpress printed title plate.
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!
The 2022-2023 issue has essays and articles by: Imi Maufe; David Solo; S. Pringly Binder; Maria White; Jeff Thomas, Jennie Hinchcliff & Chad Johnson; Moritz Küng & John McDowall; Robert Bolick; Tanya Peixoto; Susan Hartigan; Stephen Clarke; Amir Brito Cadôr; Dino Alfier; Rob van Leijsen; Zine Without a Crown.
It also contains lots of useful information on: Artist’s Book Publishers & Presses; Bookshops for artists’ books; Artist’s Book Dealers; Artist’s Book Galleries & Centres; Collections, Libraries & Archives; Artist’s Book Fairs and Events; Book Arts Courses and Workshops; Design, Print & Bind; Print Studios; Journals and Magazines; New Reference Publications; Organisations, People, Projects and Societies.
There are also listings of 420+ new artists’ books that have been made recently, or will be made in 2022-2023, sent in by artists around the world.
Edited by Sarah Bodman. Published by Impact Press at The Centre for Print Research, University of the West of England, Bristol, UK. ISBN 978-1-906501-22-8. 292pp, 21 x 29.7 cm, black and white throughout, 503 illustrations. Available now. Order your copy here.
In this issue:
In My ‘Heroic Frenzies’, Ulrike Stoltz reflects on the typography in an artist’s book, inspired by and dedicated to Giordano Bruno: Caro Giordano. Resonanzen & Gestrüpp/risonanze e fratte. The book was made in 2021 – awarded funding for the project by the Künstlerbuchpreis/Artist’s book prize Wolfenbüttel 2020.
In ‘People and books. Am I reimagining something?’ Anna Juchnowicz presents two different but related recent book projects. Both books explore intimist literature as inspiration. Intimist literature includes all types of personal writing, correspondence, diaries, notebooks, etc. and is the subject matter of the artist’s recent research.
Celebrating the 250th Anniversary of Steingruber’s Architectural Alphabet, Robert Bolick asks: What is it about artist books and architecture that they intersect so often? Architectural interiors and exteriors, ideas, themes, styles, landmark dwellings and edifices have found their metaphorical expression and embodiment in book art with such regularity that they make up a genre within the genre.
On the eve of a retrospective exhibition (April – June 2022) at The Martin Parr Foundation in Bristol, UK, founder Craig Atkinson writes about the history of Café Royal Books. Café Royal Books – est. 2005 – publish utilitarian, affordable and accessible zines, highlighting and preserving post war documentary photography that has links to Britain and Ireland.
Artist contributors: Catherine Beaugrand – intro page, Eva Hejdström – end page. Cover design (pictured here): Lizzie Smith
Subscribe to Vol 16 for £10 including worldwide postage here.
Postcards for Perec is now installed at Special Collections and Archives, Cardiff University, Wales, until September 2022.
Georges Perec’s postcards were first published in a French magazine Le FOU parle, in 1978. Far from their description ‘en Couleurs Véritables’ (in Real Colour), they are only postcard messages, with no holiday pictures at all, and entirely in black & white. The messages were translated into English by John Sturrock, and published in 1997 by Penguin Classics, in Species of Spaces and Other Pieces.
The unnumbered messages describe hedonistic vacations of happy holidaymakers, careless about sunburn and with never a hint of the discomforts of travel, nor the bills. There are so many messages that even if you took three holidays a year it would take a lifetime to experience them all.
The project, organised by Linda Parr has responded to Georges Perec’s 243 imaginary postcard messages by making the missing images, then sending real postcards. There was an enthusiastic worldwide response, catching the imagination of students & professors, artists & writers, Perec scholars, translators, mathematicians and architects. Cropped images of the postcards and exhibitions can be found on Instagram: @postcards_for_perec.
Image: Detail of postcard by Jeremy Dixon, UK.
We’re releasing a series of short videos for the IMPACT 12 #summerofprintandbooks hosted by CFPR this summer until September 2022. Some explore IMPACT related themes, some set a challenge or participatory call for you to join in and share your work online.
For the August call out, artist David Dellafiora of Field Study International introduces KART, an assembling publication produced in Geelong, Australia. He describes examples of the publication’s contents, the making of the individual cover for each issue, and invites participation from artists and makers around the world. Do watch the video and join in.
Some other challenges and calls include: Print Mistakes make Fluxus Works – Catherine Cartwright shows how to incorporate old prints and misprints to create mini collage-print booklets. Theresa Easton sets a zine challenge from her book Ronnie’s Shoes, and Niamh Fahy shows how to create beautiful anthotypes using flowers and sunlight. Watch all of the #summerofprintandbooks series of online talks and challenges in the run up to the IMPACT 12 conference in September on our YouTube playlist.
Image: Detail from KART number 118, with a cover design in tribute to Maria from the film Metropolis.
Text by by Tom Sowden: For the Scandinavian Artists’ Books Partnership Project, librarians from the Nordic/Scandinavian countries, and those in the UK, were challenged to make an artist’s book that was influenced by the books produced by Ed Ruscha.
During 1960s and 1970s, Ed Ruscha produced 16 small, self-published books that became a catalyst for how artists could approach the book form. He was not the only artist of the time to consider the potential of books, but his reputation has been cemented as a revolutionary in this new approach to artists’ books. This reputation has grown, and his influence on book artists remains strong to this day to the extent that his books are appropriated across the world by successive generations of artists. The numbers of these appropriated books are well into the hundreds, if not thousands now.
When appropriating Ruscha’s work, the librarians were asked to consider how to use his work as the influence. They were asked to research the books made by Ruscha and were also provided with a video showing how artists had previously appropriated his book works. Ruscha’s originals are well documented and discussed online but, if possible, the librarians were encouraged to see them first hand. When appropriating Ruscha they could consider the look, or the numbered naming system of a (photographic) collection, or the systems, or the subject matter, or even a direct copy. The choice was up to them.
The project was to involve library staff in considering the making and components of an artist’s book, how it might be created, handled, perceived before it joins the library collection for cataloguing. However, by producing a book that directly references Ruscha, the librarians have also become part of a community of artists and a community of knowledge. Looking at art as a collective activity rather than as an individual pursuit.
The entries that have been submitted are fantastic takes on Ruscha’s books. Each one shows how the librarian/artist has engaged with the originals to understand, appropriate, and reinterpret in a contemporary (and artist’s book and library) context. Welcome additions to the community.
The books in the exhibition are:
A FEW LIBRARY BOOKS, Doreen Barnaville, 2022
AN (OTHER) LOOK AT THE SPECIAL COLLECTION, Marianne Paasche, Pedro Vasquez & Ola Søndenå, 2022
CHWECH AR HUGAIN SAFLOEDD BWS (TWENTYSIX BUS STOPS), Jen Pearce, 2022
NINE CYAN SQUARES, Julie Johnstone, Essence Press, 2022
NIO LIVS, Astrid Olsson, 2022
SIX PHYLLISES AND ONE BILL, Nick Triggs, 2022
SOME BUILDINGS CONTAIN LIBRARIES, Karen Pierce, 2022
TWENTYSIX TIMES MY CAT GOT IN THE WAY, Morwenna Peters, 2022
TWENTYSIX PLACES NAMED AFTER NUMBERS, Shaun Oaten, 2022
VARIOUS SMALL ARTISTS’ BOOKS AND WINE, Maria White, 2022
VARIOUS SMALL IDEAS AND TREES, David Kjellin, 2022
You can read a little more info about our project and see images of all the books produced here.
Image: Detail from VARIOUS SMALL IDEAS AND TREES by David Kjellin.
This touring exhibition is part of the ongoing al-Mutanabbi Street Starts Here Coalition projects. The online Inventory gallery was launched to coincide with the fifth anniversary of the bombing of al-Mutanabbi Street on 5th March 2012, for which project partners around the world held commemorative readings and events. The gallery pages show images and information for each of the 260 books completed for the project.
Exhibitions held since the launch of the tour include:
The Westminster Reference Library, Westminster, UK; The Powell Library Rotunda, UCLA, Los Angeles, California, USA; Salt & Cedar Letterpress Studio, Detroit, Michigan, USA; The Cambridge Arts Council, Cambridge, Massachusetts, USA; The Santa Fe University of Art and Design, Santa Fe, New Mexico, USA; The John Rylands Library, Manchester, UK; The San Francisco Center for the Book, San Francisco, California, USA; Gallery Route One, Point Reyes, California USA; the Center for Book Arts, New York in association with Alwan for the Arts, Columbia University Libraries Butler Library, International Print Center New, Poets House, New York, USA; Literary & Philosophical Society Library, Newcastle upon Tyne, UK; Collins Memorial Library, University of Puget Sound, Tacoma, Washington, USA; Curry College, Milton, Massachusetts, USA; American University in Cairo, Egypt; Arab – British Centre, London, UK; The Mosaic Rooms, London, UK; Kate Chappell ’83 Center for Book Arts at the University Of Southern Maine, USA; The Hague Public Library, The Netherlands; Queen Elizabeth II Library, Memorial University, St. John’s, Newfoundland, Canada; Jaffe Center for Books Arts, Florida Atlantic University, USA; Central Library of Rochester and Monroe County, Rochester, New York, USA; Goddard College, Vermont, USA; Arab American National Museum, Dearborn/Detroit, Michigan, USA; Idaho Center for the Book in partnership with The Arts and Humanities Institute at Boise State University, USA; George Mason University, Fairfax, Virginia, USA; Herron School of Art and Design, The Herron Art Library of IUPUI University library, USA; Keats House and the Iraqi Cultural Centre, London; the Arab American National Museum, Dearborn, USA; Idaho Center for the Book in partnership with The Arts and Humanities Institute at Boise State University; Al-Mutanabbi Street Starts Here DC 2016 a partnership between George Mason University’s School of Art and George Mason University Libraries, Split This Rock, Smith Center for Healing and the Arts, McLean Project for the Arts, Corcoran School of the Arts and Design at The George Washington University, Busboys and Poets, Georgetown University, Cultural DC, Smithsonian Libraries, Brentwood Arts Exchange, Smithsonian American Art Museum, National Portrait Gallery, Northern Virginia Community College, George Mason University Student Media and Fourth Estate Newspaper; Rosenberg Library at the City College of San Francisco, USA; Konstlitografiska museet, Helliden, Sweden.
Selections from the related Shadow and Light project are currently on show online at UC Santa Barbara Library, California, USA. View them online here.
The image shown here is a detail from Response by Susan Mortimer, UK, 2011. You can read more about the Al-Mutanabbi Street Starts Here project on the LAAF Festival website.