Image and Text:

The Book as a Sculptural Object

Meeting Tuesday / Thursday- 9-11:50,
Printmaking / Book studio
Geraldine Ondrizek, X 7201 gerri@reed.edu

Ian Hamilton-Finley

In this course we will explore the significant role artist books have played among the avant-garde of eastern and western Europe and the United States from the turn of the century to the present. The structural formats bookwork’s take and their social and political functions will be viewed and discussed. The spectrum of artist books in Reed's special collections will provide you with samples of professional artist books. This collection includes magazine works, anthologies, diaries, manifestos, visual poetry, word works, documentation, reproductions of sketch books, albums, comic books, paper art, and mail art. We will read and discuss essays relating to each studio problem. A list of reference materials is enclosed, these books are in the classroom or the library. They will provide you with a refenerce on the history of artist books, examples of contemporary text and book-based work, and technical guides.

There will be three main projects done in class:
• Low Budget — the artist book as a democratic multiple
• The Physical Word — the tangible dimensions of the typography and the book
• The Book Transformed — the book as a sculptural format

The course will cover conventional and non-conventional methods of paper folding, binding, box fabrication, and Letterpress printing. Each class will cover a different method of fabrication or print production. You will receive numerous handouts covering these technical methods.

Materials

Pro eto. Ei i Mne.
(About This. To Her and to Me.)
(A. Rodchenko) V. Mayakovsky
Moscow, 1923. Edition: 3,000.

Binders for structural diagrams and readings*
Graph Paper 8 1/2 x 11*
Trace Paper 8 1/2 x 11*
Large Accordion folder for models, drawings etc*
Tool box/Art bin for materials
Bone folder*
Self-healing cutting mat by X-acto*
Steel Ruler*
Medium Binder Clips*
Large sewing needles
Heavy thread or bookbinding thread
X-acto knifes with changeable blades*
Glue brushes (cheep .50-$1.00)
Masking tape* (art tape)
Glue sticks- Uhu*
Book Glue or “Yes” paste
(* Available at the book store.)
Optional:
T Square- optional
Linen tape
Various paper and cloth as needed
Book board (I provide each student with 2 sheets each.)

Resources

Introductory Text:

Bright, Betty No Longer Innocent, Book Art in America 1960–1980(New York:
Granary Books, 2005

Drucker, Johanna The Century of Artists’ Books, (New York: Granary Books, 1995)
Harrison/ Wood, Conceptual Art, (Cambridge University Press 2002)

Chapters/ Articles In Reading Packet

Bolt,John and Bojko Szymon, Russian Samizdat Art (Wilson Locker&Owens Publishing New York, 1986).
Drucker, Johanna The Visible Word, Experimental Typography and Modern Art, 1909-1923 ( The University of Chicago Press, 1994).
Drucker, Johanna, The Alphabetic Labyrith, ( Thames and Hudson 1995).
Lauf, Cornelia, ed., Phillpot, Clive, Artist/Author (New York: Distributed Art Publishers: American Federation of Arts, 1998).
Hubbert, The Cutting Edge of Reading: Artist Books (Granery, New York 1999).
Piper, Adrian, "Cheap Art Utopia," Out of Order, Out of Sight (Cambridge, Mass.: MIT Press, 1996)
Schaffner, Ingrid, and Winzen, Matthias, ed., Deep Storage: Collecting, Storing and Archiving in Art (Munich: New York: Prestel, 19

Reference

Cathy Cortney, "Speaking of Book Artist"
Lucy Lippard, Six Years: The Dematerialilzation of the Art Object ( The University of California Press 1997).
Lyons, Joan ed. Artists' Books: A Critical Anthology and Source Book. Rochester, N.Y.: The Visual Studies Workshop Press, 1985.
The Book, Spiritual Instrument, edited by Jerome Rothenberg & David Guss (New York, Granary Books, 1996, $21.95)Hendricks, John. Fluxus Codex. Detroit, MI: Gilbert and Lisa Silverman Fluxus Collection in association with H.N. Abrams, NY. 1988. FA-REF-4 709.04 H49f
Klima, Stefan. Artists Books: A Critical Survey of the Literature. New York: Granary Books, 1998.

Class Calendar Image as Text

August 27.

Introduction to the course, review projects, look at book collection and
sample works for the assignments. Begin a three-hole pamphlet/ Xerox transfer demo.
Assignment-Buy supplies.
Reading: Bright, Betty No Longer Innocent, Book Art in America 1960–1980 (New York: Granary Books, 2005)
Piper, Adrian, "Cheap Art Utopia," Out of Order, Out of Sight (Cambridge, Mass.: MIT Press, 1996)

29.
Visit the Library Collection
Introduction to Project 1–"Low-Budget: Books, $5 and Under."
Introduce the Accordion Codex, Make a non-adhesive binding.
Assignments–Finish Accordion Codex.
Reading:Lauf, Cornelia, ed., Phillpot, Clive, "The Spectrum of Artist Books," Artist/Author (New York: Distributed Art Publishers: American Federation of Arts, 1998).
Drucker, Johanna "The Artist Book as a Democratic Multiple" The Century of Artists’ Books, (New York: Granary Books, 1995)
Make a Sketch for Project 1.
Friday- Visit the book collection, view Democratic Multiple books- Take notes
and bring ideas to class.

September

3.
Discussion –The Democratic Multiple. Workshop- Make a matchbox and
Folded paper books, Computer layout for folded books.
Make a model for “Low Budget”.

5.
Workshop- Computer Lab. Scanning, Printing.
Meetings-proposals for “Low Budget”.
Friday workshop- Computer Lab
Assignment-Work on “Low Budget”.
Friday- Visit the book collection, view Democratic Multiple books- Take notes
and bring ideas to class.
10.
Work on the "Low Budget " project.
12.
Work on the "Low Budget " project.
17.
Work time-Last day
19.
"Low Budget," due.Assignment– Make signatures, fold pages, and puncture holes. Reading: Drucker, Johanna, "The Book as Sequence: Narrative and Non-Narrative Approaches, The Century of Artists’ Books, (New York: Granary Books, 1995)

24.
Introduction to bookbinding. Sew signatures, binding/ covering demo.
Assignment -Complete binding.
Reading- Drucker, Johanna, "The Book as Sequence: Narrative and Non-Narrative Approaches, The Century of Artists’ Books, (New York: Granary Books, 1995)

26.
Discussion, Introduction to Project 2, "The Physical Word". View book collection.
Intro Type Setting with Warren.
Reading- Drucker, Johanna The Visible Word, Experimental Typography and Modern Art, 1909-1923 (The University of Chicago Press, 1994).
Review Typographic manual.
Friday workshop- Book binding 11 am-1pm
Assignment- Work on Model, begin to gather materials/ideas.

October

1.
Intro Type Setting with Warren.
View book collection in Special Collections.
Choose a Phrase to type set.

3.
Intro Type Setting with Warren.
Type Set Phrase/ Make a model book for Project 2 "The Physical Word".
Friday workshop- Type setting
Assignment- Work on Model, begin to gather materials/ideas.

8.
Type Set Phrase with Warren.
Make a model book for Project 2 "The Physical Word".
Assignment- Work on final book.
10.
Work time with Warren.
Assignment- Work on final book.

Fall Break
22.
Work time
24.
Visiting Artist Ian Boyden.

29.
The Physical Word–Crit 2.
Introduce "The Book Transformed"
Assignment-Reading: Ian Hamilton Finley, Diane Samuels.

31.
Discussion, "The Book Transformed" view book collection.
Assignment- View collection, take notes, make drawings/proposals.
Introduce "The Book Transformed."
Assignment-Reading: “Eye on Europe”, review Artists books.

November

5.
Build board book. Directions for books with complex multilevel structures.
Watch the Diane Samuel’s Video/Finley lecture.
7.
Build a portfolio box/ Build a Lidded box.
Return to the Library for book viewing- Take notes and chose a book to tell us about.
Assignment–
Work on models for final.
12.
Review Box structures, Dialogue about final project.
14.
Individual meeting about final.
19.
Working and individual meeting for final project.
21.
Visit to the collection –Give presentations on a work.
26-28. Dec. 3
-Work Time
Final-Dec 10. 12pm

Visiting Artist

Marko Lulicc/Peter Krieder Exhibition
Douglas F. Cooley Memorial Art Gallery
Opens
September 5, at 6:30
Lecture
Marko Lulic
http://markolulic.net/
Peter Krieder
http://registry.whitecolumns.org/view_artist.php?artist=288

Barbra Stafford
William B. Ogden Professor of Art History
The University of Chicago
Steven Ostrow Distinguished Visitor in the Arts Lecture
Lecture: October 1- 7:00
"The Remaining 10%: The Role of Sensory Understanding in the Age of the Self-Organizing Brain"
Vollum Lecture Hall

Ian Boyden
Artist/Bookmaker
Cooley/Gray Visiting Artist
Lecture October 24- 7:00
Psychology Auditorium

Gary Hill
Artist, one of the founders of video installation art.
Steven Ostrow Distinguished Visitor in the Arts Lecture.
November 13-16, 2007
Lecture November 13- 7 pm Vollum

Evaluation

Working in class 6 hour a week.
Attend workshops, lectures and the exhibition.
4 hours of outside class work time a week on your projects. (Including the workshops.)
A written 2-4 pages self-critique is due at the conclusion of each project. This includes information on the technical skills you learned, the conceptual idea you worked with, the artists and readings we covered.
Storage of your work, clean up after working and proper use of materials.

Attendance—40%
Attend all classes.
You have two excused absences.
Participation—35%
Your input and interest in the class.
Your willingness to share ideas visually and verbally.
Assignments—25%
Turn in projects on time. Generation of basic ideas and exploration of solutions.
Visual organization of your forms.
Conceptual thought process put into visual forms.

If you have any problems with the class, my instruction or the paces of information given, please see me. I hope to make this a truly rewarding experience for you.
If you are questioning of my evaluation of you, I would be more than happy to discuss the issues.

Low Budget: Books $5 and Under

An exploration of the artist book as a democratic multiple

Orientalism

“Suppose art were accessible to everyone as a comic book? As cheap as available? What social and economic conditions would this state of things presuppose?”
—Adrian Piper, “Cheap Art Utopia”

“One day I would like to see artist books ensconced in supermarkets, drugstores, and airports.”
—Lucy Lippard

“The book provides a form familiar to most people. Within the common sequential, diptych format of the codex book, an artist can articulate a fixed but randomly accessible sequence of images and words. This can not only convey a complex narrative but also a compelling aesthetic experience. Artist books can be the vehicles for artists' ideas, however abstruse, arcane, or unpopular. They can convey artists’ perceptions and critiques of society from the humorous to the philosophical, just as art does.”
—Clive Phillpot, Artist/Author

Project
Design a book that is affordable and challenging to the public. The book may be of a social or political nature or expose the public to a new way of thinking. The simple construction methods we covered in class will keep the cost of production low. For this book you may make one unique book, a prototype for an edition, or a large edition so many people can have one.

Construction methods taught in class
Pamphlet, accordion book, matchbox, folded books, non-adhesive bindings, photocopy transfers, potato prints, linocut, rubber stamps.

Materials
I will provide paper, recycled newsprint, boards, and some cloth if needed. I have linoleum for prints, rubber for stamps, Citrus Sol for transfers, thin foam for text and image sheets, some inks, and tempera paint. Black and white laser prints are free; you will have to pay for your own photocopies.

LECTURE: JOHN HELD JR.

http://www.geocities.com/johnheldjr
TUESDAY SEPTEMBER 16
IN CLASS 1-4 LECTURE 7PM.Physc Auditorium

Readings

Drucker, Joanna. "The Codex and its Variations," and "The Artist Book as Democratic Multiple," The Century of Artists’ Books (New York: Granary Books, 1995).
Piper, Adrian. "Cheap Art Utopia," Out of Order, Out of Sight (Cambridge, Mass.: MIT Press, 1996).
Lauf, Cornelia, ed., Phillpot, Clive. "The Spectrum of Artist Books," Artist/Author (New York: Distributed Art Publishers: American Federation of Arts, 1998).

Artists' work shown

Adrian Piper, Sol LeWitt, Jenny Holzer, Hans Haacke, Tatianna Keller, Group Material, the Gorilla Girls, Fishle and Wiese, Barbara Kruger, Deter Roth, Andy Warhol, John Cage, Jackie Ferrara, Ed Rushka, Allan Kaprow, Jimmie Durham, Color this—LA Artist, General Idea, Linda Montano, Laurence Wiener, Edgar Heap of Birds, Robert Mangold, and Tim Rollins.

http://www.mobilivre.org/en/gallery.html

The Physical Word

Tangible Dimensions of Typography and the Book

Zoe Moskowitz

Kaitlin Baggot

Marianne Luft

Leandro Katz. Word Column IV:
Puno/Altamira; Word Column XII; Section I. 1971.
Typewriter with stand and typescript scroll

Project

Consider the “Voice” of a text. Chose a work, literature or poetry, find a type face that will reflect that language.
Consider the layout and structure to reflect the rhythm of the language and images.
Design the format of this work to reflect the content.
The book can function as a vehicle for documentation, as an archive of a collection, or a journal. It can be a poem or a narrative. Formats that you may refer to include photo narrative with text, polysemiotic narratives, documentary narratives, non-narrative visual sequences, scores, albums and inventories, illustrated books, and mail art. We will focus on text as a communicative tool.

Materials and methods

Typographic design and page layout will be stressed. We will explore the Letterpress, and the language of typefaces. We will explore page proportions and design.
Methods of image reproduction such as color printing on the computer, iron-on computer transfers, and photo polmer plates will be explored.
You will learn fabrication methods such as the traditional codex and the multiple layered accordions. I will supply papers; special decorative paper and rice paper, however, will have to be purchased or hand-made. I have a good basic stock of book cloth and some book board.

Readings

** http//www.5roses.com
John Ryder Printing for Pleasure . See reference packet on typography
Drucker, Johanna The Visible Word, Experimental Typography and Modern Art, 1909-1923 ( The University of Chicago Press, 1994).
http://www.rediscov.com/sackner.htm

Visiting Artist: Diane Jacobs

Studio Visit: Inage Briuggerman
http://www.texturaprinting.com/

Artist books

About 2 Squares, El Lissitzky
34 Drawings, Kazimir Malevich
http://colophon.com/gallery/minsky/construc.htm
5X5=25-(Cubist Show of 1920)
The Cubist Painters
What’s Happening with Mama?, Clarissa Sligh
There is an Ocean, Joshua Saul Beckman
Satanic Loves, Margarita Cano
A Game of Chess, Ellen Wallenstien
Opportunity Knocks, Lenore Malen
Beautiful Scenes, Buzz Spector
Leavings, Julie Chen,Correspondence Course, Nance Obanion and Julie Chen
On this Land, Karen Kunc
Photos Wim Wenders, Wim Wenders
My Mother's Book, Joan Lyons
Wrought Iron, Nancy Palmer
After the Freud Museum, Susan Hiller
Kaddish, Christian Boltanski
Date Paintings, On Kawara
Liver in Bloom, Leonid Tishkov

"Art Must Not Be Hung
Art Must Not Be Held
Art Is Dangerous
Art Is For Touching
There Are Few Women Artists
This Book Was Screened”

Angela Lorenzo

The Book Transformed

An exploration of the sculptural book.

“The world is depicted on a brief paper. The world is a book. Waiting like all books to be consumed and burnt.”
—Anselm Kiefer

Project

Explore the book as space, a sculptural environment, that can be opened and folded, collapsed or expanded. Consider the contemporary art forms that have been inspired from the cells of the book.
Consider text as object, paper as a wall for projection, and the cover as an enclosure.
Given the time of year, this work must be small.
Methods and materials
A focus on Boxes, SlipCovers, Portfolio Cases, Cabinets, and Containers.
I will give step by step instruction as to how to fabricate both book board and wooden boxes. Each of you will make a demo box. The form of you actual project is completely up to you. We will also look at the use of cloth, and other found materials as ways to house and present books.

Readings

Angela Lorenzo
Ingrid, and Winzen, Matthias, ed. "Digging Back into Deep Storage," Deep Storage: Collecting, Storing and Archiving in Art (Munich: New York: Prestel, 1998)

Artist works

Featured Artist: Angela Lorenzo, http://www.angelalorenzartistsbooks.com
John Ashbery, Self-Portrait in a Convex Mirror (San Francisco: Arion Press, 1984), a limited edition book with original prints by 12 artists
Allen Ginsberg, AH Allen, A Tribute (New York, NY: A/C Editions, 1998), a limited edition book of Ginsberg’s unpublished writings and works in tribute to Ginsberg by numerous artists and writers
Meg Webster, Create Your Own Garden
Jenny Holzer, Laments
Anselm Kiefer, A Book By Anselm Kiefer
Diane Samuels Artifacts, Norma, Letus and letters
Daniel Fischer, Memento
Rima Gerlovina, Cubic Poems
Barbara Tetenbaum, Cumbia

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Image and Text:

Materials

Resources

Introductory Text:

Chapters/ Articles In Reading Packet

Reference

Web Sites

Class Calendar Image as Text

August 27.

September

October

November

Visiting Artist

Evaluation

Low Budget: Books $5 and Under

LECTURE: JOHN HELD JR.

Readings

Artists' work shown

The Physical Word

Project

Materials and methods

Readings

Artist books

The Book Transformed

Project

Readings

Artist works