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Book Art Theory

Capitalizing on the interdisciplinary nature of the field, this blog calls attention to criticism and theory about the book as a medium and/or subject in works of art and, more generally, about book art. It seeks to encourage dialogue, solicit comments, and create a generative space for new ideas from critics and theorists of various fields regarding the aesthetic, semiotic, haptic, cognitive, historical, and other features that distinguish these works and their function in ethical, political, and social matters.

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  • 15 Dec 2018 12:00 AM | Susan Viguers (Administrator)

    Nine more thoughts on sewing books, prompted by sewing nine more books:

    1. Each punched hole is an opportunity for engagement.

    2. Because of this openness to possibility, each hole is vulnerable. 

    3. But each module of the book must allow itself to be vulnerable in order to bind together. The alternative is that each component retains its integrity and its safety, but is rendered incapable of permanently bonding with other components.

    4. 6 holes per signature and cover, 2 covers, 6 folded signatures, 48 holes. 6 folded signatures yield 24 pages each,144 pages. Numerology. No wait, that’s math.

    5. I realize that really what I am doing is sewing centers together. 

    6. Sometimes tugging snugs up the thread just so, correcting a slack hand. Sometimes tugging tears the paper, or breaks the thread, or pulls the back cover up over the last signature. 

    7. A radical educator friend, Jamie Munkatchy, taught me this binding, 15 years ago, at an informal skillshare at Booklyn. We were all sitting around the table, in the evening, early summer.  She had just learned the binding herself, probably from Christopher Wilde, not very long before she taught me. Christopher had no doubt already taught it to at least 200 people, likely more. And someone — Walter Hamady, probably — had taught Christopher maybe a dozen years before that evening. And someone else at some point had taught Walter — who would this have been? do you know? —  and so on, and on and on, and onwards back. Linking. And onwards, linking, forwards: so far, I’ve taught this binding to perhaps 50, possibly 100 people. And if some of them have taught someone… the whole lineage starts looking like this chart of cat reproduction.

    8. The last thing I do in sewing is hide where I began.

    9. All collated copies sewn, now it is time for the guillotine. Each book is stiff with folded paper before it is trimmed. Once its edges have been chopped off, the book becomes soft and yielding, opening easily anywhere.


    Emily Larned has been publishing as an artistic practice since 1993.  She is co-founder of Impractical Labor in Service of the Speculative Arts (ILSSA), and Associate Professor and Chair of Graphic Design at SASD, University of Bridgeport, in Connecticut.


  • 01 Dec 2018 12:00 AM | Susan Viguers (Administrator)

    In an earlier post, I wrote about the experience of binding a difficult edition. In my struggle, I was in a state of acute attention, but also worry and fuss. 

    Now the bookbinding task is quite different: 200 copies of a link stitch, 6 signature, 144 page, softcover binding. This is the second printing I have made of this book, which documents 40 years of Bloodroot, a feminist vegetarian restaurant and bookstore in Bridgeport, CT. Years before this, I’ve sewn six or seven hundred zines with this multi-signature binding. With some copy soon I will be binding this style for the thousandth time. Happily, there’s no worry or fuss. But there’s also much less attention.

    The task for today is paying attention. 

    In a recent post, India Johnson wrote: “intensive craft training can provide us with the ability to articulate the workings of embodied cognition. It allows us to assert, from the authority of our own experiences, that how things are made matters—that meaning does not exist separately from the means of production. This is especially relevant for book artists with a foot in [the] contemporary art world, who may need to contextualize their craft practice for an audience in that sphere.”

    As an artist, designer, printer, binder, and publisher “with a foot in [the] contemporary art world,” handwork is very important to me, a defining characteristic of my work. It is, in some way, always part of the subject: part of the content. But in this particular instance, handwork is also written into the very book I’m making. 

    In her essay “On Persistence and Feminism,” Selma Miriam, the founder of Bloodroot, writes:

    “For sustenance, for the sacred in today’s world, modern women may be able to find resources in traditional women’s work. These forms of labor use very simple technologies which require patience and a lifetime of study. In our industrialized world there are still a few places for a gatherer of wild herbs to go, and there are still basketmakers. Some women learn to be potters, some tend gardens and there has been a return to spinning and weaving. And women have always been knitters.” 

    And she also writes:

    “We want to lead our lives so that what we make of what we find on earth is magic. The way to find it is in the ritual of patiently doing, over and over, what is required of the work. Frequently a knitter is asked, “How long does it take to do that?” though that question never arises in regard to jogging, movie-going, or mall shopping.” 

    So here I am: patiently doing, over and over, what is required.

    I’m writing during an afternoon of sewing twelve copies: words tangled up in the making.

    1. 

    I stitch in and out of the present. What’s for dinner. Next summer’s plans. As with meditation, I redirect focus: back to my hands, back to this book. Unlike David Pye’s “crafstmanship of risk,” the heightened attention which I feel whenever there’s glue, a non-adhesive sewn binding has an ease and a spaciousness to it. It’s portable; I bind in lots of places that aren’t the studio. In the passenger seat on a long drive, crosslegged in my living room; on a train; at my desk at work during office hours. Now at the dining room table with the laptop open, a cup of tea, the cat sleeping on the tea towel, the late afternoon sun angling in, the day after a holiday. Often when I’m sewing I keep a notebook at hand to jot down what is loosened in my mind by my hands. Sometimes I listen to audiobooks or podcasts or the radio; other times music. This afternoon I’m sitting with the work, typing into the laptop when a thought strikes me.

    2.

    In this binding, what comes before is foundational for what comes next. The sixth signature is the first to be sewn, and it is supported by a single long stitch through the back softcover. Each signature is hooked into the signature before it, moving from the back of the book forward to the front cover. One long thread, eight times the height of the book, unites it.

    The rhythm is inside, outside, inside, outside.

    But Inside is always creeping along the gutter. And Outside is a quick dip down, then back up and in.

    A finished book has many openings, but in this phase of its development I only visit the center of each signature. 

    Due to the uncut folded sheets, most openings remain inaccessible until they are chopped free by the guillotine.

    3.

    I think of:

    The hand at the heart of craft

    Craft as spiritual practice 

    Craft as socially engaged art 

    Craft as performance 

    And these ideas resonate within as I work.

    4.

    I am reminded of the enormous linked sewn bindings of Margot Ecke, where the book becomes an impossibly serpentine object. I imagine all 400 of the books from these two printings sewn together. I search for an image of Ecke’s book, fruitlessly, online. 

    I come back to my own sewing.

    5.

    A stitching together, a binding, a fastening, a linking: 

    “Old English bindan ‘to tie up with bonds’ (literally and figuratively), also ‘to make captive; to cover with dressings and bandages’ (class III strong verb; past tense band, past participle bunden), from Proto-Germanic bindanan (source also of Old Saxon bindan, Old Norse and Old Frisian binda, Old High German binten ‘to bind,’ German binden, Gothic bindan), from PIE root bhendh- ‘to bind.’ Of books, from c. 1400. Intransitive sense of ‘stick together, cohere’ is from 1670s.”

    -Etymonline

    This search also turns up that the root of the word “religion” is also to bind: from the Latin religare.

    6.

    Small problems:

    A knot, which is more often than not the thread doubling up onto itself, and tightening.

    The tail tangling up in the sewing thread, the past wanting to be carried into the future.

    An errant hole. 

    A broken strand.

    7.

    The hands have their haptic knowing, separate from sight. If a signature is too light (a missing folio), or the thread too tight (a snag), the hands realize this is so before the eyes.

    8.

    Haptic from the Greek haptikós: touching; but also to grasp, to perceive.

    9.

    Making visible progress: 

    one signature stacking on top of another; one sewn book stacked upon another.

    10.

    This binding is as much a part of making the book as any other part, but its context, so entangled with life, becomes invisible in the finished object.

    Somehow designing the book while also cooking soup was a more focused task. Perhaps because the eyes are trained always on the screen and the mind on the work. While there may be a secondary simultaneous background activity, the act of writing or designing requires a full intellectual attention that sewing does not.

    The binding is so much a part of other things (the cat is hungry, pacing now under my nose, tail lashing) in a way that the computer work (lit screen, focus) and the Riso printing (the Riso does most of the work, but I hover over it, watching expectantly, waiting for the inevitable) never is. Is it because I am not challenged enough to be wholly absorbed by sewing, so my attention wanders? While sewing, I rarely transcend into that state of flow (so aptly described by Csikszentmihalyi) that I experience in writing or designing or printing.

    I think of the words of Thomas A. Clark (Moschatel Press) as quoted by Simon Cutts: “Self-publishing can constitute not a vanity, but a freedom. . . the means can become creative. Everything can be exact but also light, since production is a way of life, an activity rather than an occasion.”

    I sense that people who handle copies of this book notice the care and attention embedded within, including the time accrued in the binding.

    But that doesn’t mean that they see the cat, the dining room table: production as a way of life. 

    That part, the lived experience of the making, becomes invisible in most anything we make. 

    Yet to us, the makers, it is essential.

    11.

    I think of Virgina Woolf, typesetting and binding as a respite from the fatiguing intellectual labor of writing. I think of the entire practice of bookmaking / publishing as an agricultural process: active periods of sustained attention, hard labor, focus, and vigor; the celebration of the harvest (that first completed copy that nearly vibrates with exhilaration). And then: the slower, relaxed, and rather fallow-feeling periods: distributing type, sewing the three-hundred-eighty-sixth copy in the edition, shipping orders: processes necessary to sustain the work, but with rare opportunities for flow. These are activities in a state less alive: that “cotton wool” feeling of non-being Woolf describes. I try to remind myself that all of these parts are integral to the process: you can’t eliminate them and have the rest. I relax into large edition binding, enjoy it. 

    12.

    The timed lights flick on; the tea transubstantiates to wine; the unsewn stack diminishes, the sewn stack grows.

    But there’s been too much googling, too much being reminded of what is not here in front of me.

    I have loads more to sew, and to notice. 

    I’ll try again, with Part III coming soon.


    Works Cited

    Csikszentmihalyi, Mihaly.  Flow: The Psychology of Optimal Experience.

    Cutts, Simon. Some Forms of Availability, 66.

    Miriam, Selma. “On Persistence and Feminism,” Our daily lives have to be a satisfaction in themselves,107-108.

    Pye, David. The Nature and Art of Workmanship, also discussed here.

    Woolf, Virginia. Moments of Being. First found here in a New York Times review of the book.


    Emily Larned has been publishing as an artistic practice since 1993.  She is co-founder of Impractical Labor in Service of the Speculative Arts (ILSSA), and Associate Professor and Chair of Graphic Design at SASD, University of Bridgeport, in Connecticut.


  • 15 Nov 2018 12:00 AM | Susan Viguers (Administrator)

    Note: This post is in direct response to the theme of Marianne Dages’ last entry on this blog, “We’re All Water.”

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    There’s a rhythm to the blinking cursor, a nagging persistence, goading me to continue.

    Waves crash ashore, the tides ebb and flow with parallel reliability.


    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    I often turn to writers’ reflections about the writing process for language and insight into my own artistic processes. While many visual artists are able to articulate their motivations and engagements, I embrace the challenge to run a sort-of real time Find and Replace through these literary-focused pieces. Mentally shifting text  to images or words to  pictures allows the language to hold its greater definition(s): composition, draft(ing), edit(or), (pulling a) proof, (the mark-making of) mark-up, public(ation).

    This exercise is a component of my research on the fluidity between digital and analog modes of production and publishing, as a means to read, see, view, distribute, and handle this nebulous thing called book art. I approach that metaphor of fluidity rather straightforwardly in recent projects originating from digital video captures of paper in/around/through water and in exploring the concept of tidalectics and the work of its originator, poet Kamau Brathwaite. Likening the hierarchical history of landmasses to colonialism, tidalectics considers the interconnectedness of humanity through the viewpoint of oceanic understanding.


    To view the world through this Caribbean writer’s lens provides an incredible perspective shift away from a white/Eurocentric convention. A perspective shift is what engaging book art does for me - challenging a preconception in form, structure, or content about what a book is (or can be!) and how a publication does (or can!) function.

    Tidalectics co-opts the vocabularies of hydrology and oceanology; Brathwaite embraces the ocean tides as a means to provide rhythm for his poetic delivery. In an anecdote during a poetry reading, Brathwaite explains how his literary education in Barbados limited his ability to express himself. He likens the British military marching he witnessed at a parade to the narrow and unrelatable constraint of iambic pentameter. Whereas later in the same parade, he watched his aunts make their way down the route, far enough away from the military band to hear the drums beat, spinning in circles to their own rhythms. These “circles,” swirling as oceanic waters in tide pools, allow Brathwaite to create his own writing structures and systems outside of the Western canon. As opposed to the ability for a reader to follow the standard structure of poems written in iambic pentameter, Brathwaite’s must deliver the poems himself. The orations swell, undulating in volume, pacing, and melodic range.



    Screen captures made by the author from a YouTube channel, which was digitally transferred from a VHS recording evidenced by artifacts of tracking, creating visual waves across Brathwaite’s gesturing arms



    Excerpt from Dream Haiti series by Kamau Brathwaite as reproduced in the anthology, Tidalectics


    Visually, Brathwaite’s poems utilize an inventive approach to standard early word processing software which he dubbed “Sycorax video style.” Sycorax for the name he gave to his Macintosh computer, and video style as a reference to the way in which his writing input would appear, flowing as a scroll on the video computer screen display. Referring to the Brathwaite 1994 collection Dreamstories, Nicholas Laughlin explains the poems “[deploy] a variety of typefaces and styles, unconventional syntax and punctuation, and sometimes idiosyncratic spellings. ‘Sycorax video style’ cannot properly be quoted; it must be visually reproduced.”

    Of course, this notion that a work “must be visually reproduced” is familiar to visual artists, especially book artists, who struggle to accurately represent works via photographic and written documentation. Similarly, the aural experience that Brathwaite provides in his readings is an additional sensory element in which he controls how an audience experiences his work. I use Brathwaite as a case study of an artist, a poet, who demands certain parameters for his work to be understood and framed. How can the book be best represented for promotion? For publication? What if it was designed only to be a viewed on a screen? What if it is a tactile, printed, bound object alongside a digital component? What does it mean to view a physical book work on a screen? I think of the ways that I have accessed Kamau Brathwaite’s works to gain this appreciation: reproduction in print, written description, digital video, online images. These are the very ways book artists benefit from opportunities of a multimodal, fluid approach to digital publishing: sharing, distributing, and studying of book works.

    References

    Hessler, Stefanie. Tidalectics: Imagining an Oceanic Worldview Through Art and Science. London, England: TBA21-Academy. Cambridge, Massachusetts: The MIT Press, 2018.

    Kirschenbaum, Matthew G. Track Change: A Literary History of Word Processing. Cambridge, Mass: The Belknap Press of Harvard University Press, 2016.

    Laughlin, Nicholas. “Notes on Videolectics.” The Caribbean Review of Books, May 2007. http://caribbeanreviewofbooks.com/crb-archive/12-may-2007/notes-on-videolectics/.

    Cultura América Latina y el Caribe. “Kamau Brathwaite.” Online video clip. YouTube. YouTube, 30 July 2015. Web. 7 November 2018. 


    Leah Mackin is a visual artist and educator, often working collaboratively on performative publishing projects. She is the current Victor Hammer Fellow at the Wells Book Arts Center and founder of the INTERNET ART BOOK FAIR.



  • 01 Nov 2018 12:00 AM | Susan Viguers (Administrator)


    I had a dream I was fishing for words. Feet in the water, I stood on the shore, cast a line, and pulled up words from the incoming waves. The words took the form of long, unbroken recitations sounded out into the wind. If I kept speaking, the word flow continued. If I stopped, the line went slack. This idea of words in, or as, water lingered with me, as a metaphor for the obscurity of language’s sources. 

    Artists’ books upend our expectations of narrative and structure. In my opinion, the most interesting artists’ books subvert their own traditions as well. Word Rain by Madeline Gins is one such work; a treatise on the germination and perception of text in the guise of contemporary fiction. Reading Word Rain is like reading a book that has become sentient and is looking at itself. With mathematical grace, Gins blurs the boundary between writer, reader, written, and read. Rain, vapors, and mists are referenced throughout the text to emphasize the fluidity of the book’s modalities and our relationship to its changing states.

    The book ends with two sentences, declaring these two concepts to be one and the same. 

    The body is composed of 98% water.

    This page contains every word in the book. 


    1. “It’s raining in the ocean.”

    Reading is a loss of borders, a loss of self. When the reader is reading, they are gazing into a mirroring pond, encircled by an enveloping mist. Two eyes move across the pond’s face, or words on a page, and gather the reflected light. The reader shifts their gaze, right to left, left to right, across the fluctuating words. Thoughts bubble to the surface as they do. The reader is captivated and continues to stare, unaware a soft rain has begun to fall, the mist is strengthening, and the reader’s body has become diffuse. The reader becomes a mirror in an empty room.

    This summer I read The Sea Around Us, a book published in 1951 in which Rachel Carson described a then new technology called sonar. Sonar works by emitting sound waves that reflect back when an object is encountered. In its early days, scientists were confounded by readings that seemed to indicate the presence of a “phantom bottom” that rose and fell. The false ocean bottom was in fact millions of swimming fish as yet undiscovered to the human eye. This “living cloud” had created the illusion of solidity where echoing the sonars call (Carson, 40-41). I picture the phantom fish as words yet to be formed, their scales glittering beneath the still reflecting pond.

    2.During the cleaving something becomes apparent and something remains blank.”

    As I write, I am reading. I stare into a computer screen; a reflective glass masking fathomless information below. Occasionally, I catch my reflection in its mutable skin but am otherwise detached and removed. I lose track of where I am and how the words got there, yet experience a heightened alertness as I reach for the next word and the next thought. It’s a paradoxical sensation of depth and reflection, tactility and disintegration. Gins employed the verb to cleave to describe the simultaneous feeling of joining and separating, referring to as it the “‘material’ of thought itself” (Helen Keller, 285).

    Setting type, I am particularly aware that letters begin and end as slivers of metal held in the hand. That they are gathered from their cases and strewn back in, again and again. It’s in the unseen moment of contact between ink, metal, and paper that these ligatures and lines transcend their physicality to become the vapor of thought. When I write, I use the same letters as you - ABCDEFGHIJKLMNOPQRSTUVWXYZ - yet our work is different, due to the moment of cleaving that binds letters into word bodies and releases them as incorporeal thoughts. I think of the cloud drawing moisture from the ocean, growing heavy, and falling as rain. I think of the rain becoming the ocean, becoming moisture and the cloud that draws it up again. I think of my body, made of 98% water, standing in the water and of our words and their cycles and their endless returns. 


    3: An Equation for Madeline Gins

    (artist’s book) -? = book

    book - words = blank book 

    (blank book) - (thread, glue, fabric, leather) = paper

    paper - water = cellulose

    cellulose - carbon = H₂0


    H-O-H 

     

    The sound of an exhale on a cold day. 


    Writing

    in the steam

    of breath 

    on glass


    marks = letters = words = thoughts

    thoughts = words = letters = marks


    NOTES

    The title of this essay is quoted from Yoko Ono’s poem “Water Talk,” written in 1967 and the song “We’re All Water” by John & Yoko/Plastic Ono Band, 1972.

    The cloud and “Dry Tongue” images are scanned and altered from Sverre Petterson, Introduction to Meteorology (New York: McGraw Hill, 1941).

    “It’s raining in the ocean” is quoted from the first page of Word Rain.

    “During the cleaving....” is quoted from page 13 of Helen Keller or Arakawa.


    BIBLIOGRAPHY
    Carson, Rachel L. The Sea Around Us. New York: Oxford University Press, 1951.
    Gins, Madeline. Helen Keller or Arakawa. New York: Burning Books, 1994.

    ____________ Word Rain. New York: Grossman Publishers, 1969.


    Marianne Dages is an artist who writes and publishes books under the name Huldra Press. She lives and works in Philadelphia, PA and has been thinking a lot about water. 



  • 15 Oct 2018 12:00 AM | Susan Viguers (Administrator)

    Johanna Drucker’s The Century of Artists’ Books is one of the best surveys we have of the history of our field. Can a history of artists’ books be considered a rough history of book art? As a form, artists’ books seem to be what unites this ‘book art’ association—when I see an exhibition at a CBAA conference, I mostly expect to encounter artists’ books.

    But as Drucker writes in Century, a history of artists’ books is not to be confused with a history of the book. While “outstanding examples of book production” (21)  populate preceding centuries, artist bookwork is born in the twentieth. Before that, she does locate a few “genuine precedents for the conceptual practice of artists’ books” (21), including William Blake and William Morris.

    Both men are logical ancestors for today’s book art. But in the longer arc of art history, the legacies of these two 19th-century artists diverge. Blake is a seminal figure in the Romantic movement. Romantic ideas about avant-gardism and personal creative genius set a precedent for the emergence of modern art in the 1850s and ’60s. Morris, an avowed anti-modernist, set a century and a half of reactionary craft aesthetics in motion. In the twentieth century, craft and modern art would come to define themselves against each other  (Adamson, Thinking, 2)—art as being ‘more than’ just craft, and craft as being ‘more skilled’ than art. This aided craft in nurturing its critiques of modern culture, and art in maintaining an avant-garde edge.

    To analyze the artists’ books that come from that 20th-century vanguard, we have plenty of theory. A legacy like Morris’s is more problematic for contemporary book art—but it is not going away. Consider that this organization congregates not just around artists’ books, but around specific craft processes—hand printing, bookbinding and papermaking.

    In such trades, Morris did not invent skilled workmanship. But by tying it to ideas of heritage, authenticity, and memory—and situating it in opposition to industrial production—thinkers like Morris and John Ruskin invented craft. Glenn Adamson points out that “before the industrial revolution, and outside its sphere of influence, it was not possible to speak of craft as a separate field of endeavor” (Adamson, Invention, xiii).

    In his writing on the arts and crafts movement, Adamson does not discuss Morris’s press. This is probably because, as Drucker reminds us, “books were the least and latest aspect of Morris’s production” (27). Though he designed books only during the last six years of his life, Morris almost single-handedly invented fine press. Compared to the influence of Morris’s work on design history as a whole, the Kelmscott Press approach to book design, and production, exerted an outsized impact on hand bookmaking.

    Morris and Ruskin championed craft production as meaningful and autonomous labor because they adhered to the thought of Karl Marx. His thought is also alive and well in Drucker’s definition of artists’ book as those which “integrate the formal means of realization and production with thematic or aesthetic issues” (2). Drucker notes that one might criticize Morris’s romanticization of medieval labor—he writes as though the industrial revolution invented exploitative labor—“but that hardly seems useful” (27).

    Adamson, however, finds it to be quite illuminating. It is essential to remember that Ruskin and Morris did not really “revive” skilled manual production, which was alive and well in the industry of their time, as it is today (Invention, 212). They also ignored the fact that no amount of enjoyable, autonomous labor completely severs the craftsperson from larger economic systems—as any book artist who has ever needed healthcare or bought an industrially-made material for a project can confirm. (Has anyone used any book board lately?) What Ruskin and Morris did was to write a new script for craft, attaching anti-capitalist virtues to it, as well as a narrative of loss and revival.

    Curiously, we continue to tell this story of loss more than a century later. Although some crafts, such as hand printing and binding, have even gained a foothold in higher education, we still talk of “preserving” them. Adamson marvels, “It is truly amazing that every generation can tell itself ... that it is witnessing the disappearance of craft forever, and therefore has a unique responsibility to save it” (Invention, 183).

    But there are good reasons this story has had such enduring appeal for the last century and a half. It serves an important cultural purpose—that of processing the trauma of the industrial revolution, and the trauma of modernity itself. Adamson quotes historian Elizabeth Wilson’s remark that, “while an economic analysis may ultimately explain our society more objectively than any other, the use of the term ‘modernity’ makes possible the exploration of our subjective experience of it” (Invention, xxii). He also reminds us that “trauma” does not refer an initial wound, but the effect it causes as it ruptures through the body (Invention, 185). That rupture continues today as digitization fundamentally alters culture. Marx’s phrase, “all that is solid melts into air” (Invention, xxii), feels as apt in the face of the information revolution as it did during the industrial one. It is no coincidence that we are witnessing a revival of crafts in popular culture, such as the DIY movement and Etsy, in this digital dawn. We are trying to cope.

    As we enter a digital age, deep engagement with a craft will not provide one with an accurate picture of labor in the 21st century. As it blinded Morris to the profusion of skilled labor that surrounded him, propelling innovation and production in his time, it may blind us. But intensive craft training can provide us with the ability to articulate the workings of embodied cognition. It allows us to assert, from the authority of our own experiences, that how things are made matters—that meaning does not exist separately from the means of production. This is especially relevant for book artists with a foot in contemporary art world, who may need to contextualize their craft practice for an audience in that sphere. Today, fine artists have license to fabricate little of their own work, and even obscure the true means of its production.

    When it comes to book art theory, production is not my sole preoccupation. I come to artists’ books with concerns about the relationship of text and image. I come to them with concerns about multiples, sequencing, and social practice. As I stated at the beginning of this post, I’m drawn to CBAA because its membership rallies around artists’ books as a form. But CBAA is not only a ‘book art’ association—it is concerned with the production of artists’ books in colleges. In practice, this often takes the form of course offerings in crafts like printing, binding, and papermaking. We should own the fact that college book art education is craft-based. When we teach not only thinking through making, but critical thinking about making, we embody that term—in its best sense.

    Works Cited

    Adamson, Glenn and Julia Bryan-Wilson. Art in the Making: Artists and their Materials from the Studio to Crowdsourcing. London: Thames & Hudson, 2016.

    Adamson, Glenn. The Invention of Craft. London: Bloomsbury Academic, 2013.

    ______________. Thinking Through Craft. Oxford: Berg, 2007.

    Drucker, Johanna. The Century of Artists’ Books. New York: Granary Books, 1995.

    India Johnson is an MFA candidate at the University of Iowa Center for the Book.


  • 01 Oct 2018 12:00 AM | Susan Viguers (Administrator)

    Artists Who Make Books, edited by Andrew Roth, Philip E. Aarons, and Claire Lehmann, is a landmark survey of artists’ books by non-book artists. It takes only sixteen pages to run headlong into the problem that such artists may not actually know how to make books.

    In the book’s first interview, Tauba Auerbach is asked if she uses fabricators to make her books. She defends herself: “at certain stages, yes, but I tried to do everything I could in my studio (16).” Auerbach elaborates that although her studio manager “and all-around amazing assistant” (16) did a lot of the work in-house, eventually a fabricator had to be hired: “I had a very specific way I wanted the book to be bound . . . and I didn’t have the skills or equipment to do that” (16).

    So Auerbach hired Daniel Kelm as a fabricator. She describes him as “this extremely talented master bookbinder” (16). Though Auerbach refers to working with Kelm as “a great collaboration” (16), she doesn’t characterize the books made in her studio as a collaboration with her studio assistants. Auerbach is more transparent about hiring fabricators than some artists, but describing your assistant as “amazing” (16) is different than sharing authorship with her. The Auerbach interview concludes by characterizing bookmaking as a discipline that “exists beyond commercial activity . . . it really has to be a labor of love” (26).

    Perhaps because I began making books in an industrial bindery at age sixteen, I know that before making books is a labor of love, it is a labor. Auerbach’s comments foreground bookmaking as an artistic pursuit, and mute it as skilled labor. Yet the latter enables the former. No amount of “extensive conversations about paper grain, adhesives, and so forth” (16) with a master bookbinder actually replaces his tacit knowledge. An artist who outsources the fabrication of her bookwork—even with transparency and curiosity—assumes a clear division between thinking and making, concept and form. But as Michael Robbins writes, “the relationship of form and content is more like that of space and time than that of vessel and water” (4-5).

    I am not suggesting that employing fabricators denigrates the authenticity or validity of a bookwork off-the-bat. Rather, I argue that it factors into the work’s meaning. “One can outsource with greater or less intelligence,” as Glenn Adamson and Julia Bryan-Wilson point out in Art in the Making (21).

    Just as an artist like Auerbach knows the limits of her skills and equipment, many book artists do as well. A printer might employ a master binder like Kelm to bind her artist’s books. So what’s the difference between the books Kelm binds for a postdisciplinary artist, and those he binds for our imaginary printer? The printer has the chance to credit Kelm in her colophon.

    It’s probably impossible to include every detail of production in a colophon—but some give it their best stab, exhaustively listing everyone that took part in a project. More concise colophons recap only the most relevant details of making—perhaps those the primary creator feels will factor saliently into making meaning of the book.

    The convention of the colophon in our field exposes an assumption that the meaning of an artwork is informed not only by the finished product, but by the specifics of artistic labor. There is substantial difference between art-directing a bookwork, and actually making it. Not only is this because “making is a form of thinking,” inextricably linking “the specificities of creation and the conceptual premise” (Adamson and Bryan-Wilson, 19). It is also because “whenever artists depend on the hands of others to make their work, those hands become part of the meaning of the work, like it or not, as surely as the specific resistances of wood or stone or clay limit the possibility of the carving” (Adamson, 43). Several conventions in the field of book art—extensive instruction in technical bookmaking processes, the ubiquity of handwork, the colophon—suggest that these claims by craft theorist Glenn Adamson are broadly sanctioned by book artists.

    In essence, the difference between book artists and artists who make books is craft.

    A loaded term, to be sure. Conversations about craft all too easily devolve into stale arguments of definition—where do we draw a line between what is art and what is craft? But given a flowering of recently published craft theory, we have better tools than we’ve ever had to apply “critical theory when it comes to questions of manual skill” (Adamson, xviii). A basic familiarity with current scholarship in this area is essential for a community of 21st century makers tied to methods of skilled hand production—not artists who make books, but book artists.


    Works Cited

    Adamson, Glenn. The Invention of Craft. London: Bloomsbury Academic, 2013.

    Adamson, Glenn and Julia Bryan-Wilson. Art in the Making: Artists and their Materials from the Studio to Crowdsourcing. London: Thames & Hudson, 2016.

    Robbins, Michael. Equipment for Living: On Poetry and Pop Music. New York: Simon & Schuster, 2017.

    Roth, Andrew, Philip E. Aarons, and Claire Lehmann, eds. Artists Who Make Books.London: Phaidon, 2017.


    India Johnson is an MFA candidate at the University of Iowa Center for the Book.


  • 15 Sep 2018 12:00 AM | Susan Viguers (Administrator)

    I first encountered Phil Zimmerman’s maxim, “Production NOT Reproduction” in the article “I [heart] DIY CMYK (an homage),” by Pattie Belle Hastings in JAB #25, the offset printing issue, published in the spring of 2009. (Note: I [heart] that whole issue.) Those words made perfect sense to me as an artist working in print media, and they remain a guiding principle—but these days I am wondering if I’ve interpreted the production/reproduction dichotomy too narrowly. Once again, the field of comics can be a useful guide.

    In some sense the comics world has already adopted artists’ books. The 2017 edition of the anthology Best American Comics, edited by Ben Katchor (Houghton Mifflin Harcourt, 2017), includes a piece called Willem de Kooning: Geniuses are nothing if not complicated in their methods, by Deb Sokolow. The book is “a work of fiction about artist Willem de Kooning, inspired by various anecdotes relayed in the 2004 biography de Kooning: An American Master” and is “self-published” in a “unique edition of three, one artist’s proof.” The images are tongue-in-cheek diagrams to help elucidate certain parts of the text. There are no panels. The drawings and text are done with a variety of drawing materials (graphite, paint, collage, etc.) Looking at Sokolow’s website, her work in books seems to be a fundamental part of her larger drawing-based practice. 

    Looking at contemporary comics—with their high-quality images, paper, and bindings, with their reasonable prices, with their publishers and distribution networks—maybe the longed-for, dreamt of, lamented, and mourned infrastructure for the “democratic multiple” already exists? Maybe we don’t need to convince the museums and gallery world that artists’ books are valid—maybe we need to convince the literary/comic/publishing world that they are.

    But let’s face it—we definitely should not, and aren’t going to, wait around for mainstream publishers. There are some other strategies that book artists can deploy, borrowed from those working in comics and other DIY fields.

    The serial form, which is traditional for comics, offers really intriguing possibilities for artists’ books. It’s perfectly logical to think of a single book as a complete, unified whole, and that is how most artists’ books are constructed. But what if that need for completion or unity is removed, and the work is allowed to expand, simultaneous with the time of its production, with no pre-determined end? As book artists we are familiar with the concept of construction through sequence: letters to words to sentences to text to pages to book. What if we don’t stop at book? [Note: I had to stop myself from writing a whole post-within-a-post on the serial form—it opens up so many possibilities.]

    Seriality leads to other strategies—one of those being subscriptions, which is a tried and true economic model for artist/publishers. Of course now subscriptions are more easily managed through web platforms like Patreon or Drip, or even by creating a monthly automatic payment button with Paypal.

    Many comic artists fund publications of their work through crowdsourcing (Indiegogo, Kickstarter). Some book artists have as well, as well as some book arts people making traditional art books, like the Letterform Archive’s W.A. Dwiggins and Jennifer Morla books, or the Bruce Licher book by P22/Richard Kegler. Many of these crowdsourcing campaigns are actually just pre-sales through an accessible and established platform, so all of that publicity work translates directly into readers.

    Publication through small presses or literary journals is an option as well. I recently bought the 2018 “Spring Collection” from the small press 2d Cloud, and got four books and four zines/chapbooks for $65. One of the books, Nocturne, by Tara Booth, is a hardcover, full-color reproduction of a book made from hand-painted pages. It is 64 pages, 5.8” x 8”, with a cover price of $14.95. Some of the books published by 2d Cloud would fit right in among a selection of artists’ books. Also:  Best American Comics has an open submission policy.

    Production or reproduction? Original or facsimile? Institutions or readers? Why this “or?” What about a studio practice that embraces an “and?” As in: limited edition, handmade books and facsimiles of those books funded through Kickstarter and drawings and a robust writing practice that moves between the graphic and traditional text—or some other possible combination. I don’t want to suggest that building a studio practice and making a living is as easy as signing up for Patreon. Growing an audience of readers is a long, incremental process. There are ways to make the work that we want to make, and to get that work into people’s homes and hands.


    Aaron Cohick is the Printer of The Press at Colorado College and the proprietor of the NewLights Press. He lives and works in Colorado Springs, CO.



  • 01 Sep 2018 12:00 AM | Susan Viguers (Administrator)

    These posts are an imaginative exercise, coming out of things I’m thinking about in my own work, and in conversations with other artists. (In particular with Bill Hanscom—I owe him a “thank you” for one of the prompts to write these posts.) I want to envision a studio practice, for a book artist, where aesthetic concerns, specific interests in content and concept, ethical/political concerns, and economic concerns can find perhaps not a perfect balance, but at least a stable ground for continued negotiation.

    In 2005, while I was in graduate school, I made a 180 page image/text altered book called Art Into Life. It was very much in the spirit of the ur altered book, A Humumenteach page hand drawn/painted/collaged, plus some digital printing done with a desktop laser printer. As I reflect on the books that I’ve made, there are two that feel like the most significant: that altered book and the ongoing, iterative The New Manifesto of the NewLights Press. One of those exists as editions of 250 over three iterations, and one of those exists as a single copy that has probably been read through by 35 people. Both books exist perpetually as digital facsimiles, and are theoretically available to be read at any time. Digital facsimiles seem like a good compromise between the logistics of keeping a book in (letterpress) print and/or the problems of attempting a straight facsimile of a unique book, but the “out of sight” availability of the digitally archived object remains very different from the availability of having the book in the home. The process of making that altered book, of composing page-by-page (like writing a book?) was extremely satisfying and the results felt quite different from the usual tightly planned and executed book productions that I’ve otherwise done. How can an artist get to that open-ended process without being stuck having to sell unique books to single collectors or institutions, also usually for less money than a single, large painting? Is a digital facsimile, 3-5 readers, and a day job enough?

    It could be useful to think about the relationship(s) between comics and artists’ books. They are essentially the same material: text and image, in relation, in sequence. Yet they seem to exist in (mostly) separate worlds. I think that book artists can learn a great deal from comics—formal/structural things like how to deal with story and structure, timing, rhythm, etc., and also nuts and bolts things like how the work gets made, and how it makes its way out into the world.

    The recent graphic novel, My Favorite Thing is Monsters, by Emil Ferris, is an incredible read, and I highly recommend it. It is also an interesting book to consider in terms of the relationship between artists’ books and comics. One of the conceits of the narrative is that the book itself is the journal/sketchbook of the main character, and as such it reproduces the look of a notebook. There are blue ruled lines on the pages, and the images and text are composed freely—there is little literal use of the panels that usually undergird the language of comics, though the idea of the panel is still very much embedded in the story-telling. It’s an intensely beautiful book—the reader can spend a great deal of time just looking and looking at the incredible drawings. The quality of the reproduction of those drawings is top-notch. It’s a long, dense book too, 386 pages. And it only costs $40.

    Is a $40 copy of My Favorite Thing is Monsters a facsimile of an artist’s book? Or an original artist’s book? Or just a book? Where is the production and where is the reproduction? Does it even matter?

    I am an artist that makes books by hand, I’ve been doing it for 18 years, and yet I’ve read a lot more comics than I have artists’ books. That could just be my reading habits, but it also probably has to do with the availability of comics. They are out there, published on the web, able to be ordered from the web, on the shelves of libraries, and often even in bookstores. (To be clear I’m not talking about standard “superhero comics” from the big publishers of such things. I’m talking about the weird, experimental, personal, literary, poetic, and/or journalistic comics of which there are many incredible examples.) Comics are labor-intensive to produce, and money-and-labor-intensive to reproduce and distribute—yet they are available, and they do make it into people’s homes, and they are read.


    Aaron Cohick is the Printer of The Press at Colorado College and the proprietor of the NewLights Press. He lives and works in Colorado Springs, CO.


  • 15 Aug 2018 12:00 AM | Susan Viguers (Administrator)

    If we accept the idea that artists’ books are most available to be read when they are in someone’s home, several questions come up immediately: whose home? How did the books get there? And once the books are there, are the people that live in that home comfortable storing, reading, and handling them? These are questions of economics and distribution, of privilege and class, of power, of culture and discursive structures.

    Some of this line of reasoning sounds familiar: are we talking about the artist’s book as “democratic multiple?” Yes, but also no—our inherited idea of the “democratic multiple” might be limiting our possibilities.

    The historical idea of the “democratic multiple” is an artist’s book/publication that is made in a large or unlimited edition, usually with commercial processes and materials and sold at a reasonable price. This approach is often associated with the 1960s and 70s, with the “dematerialized” art practices of Conceptual Art, politically engaged art practices, and/or the desire by artists to circumvent the gallery system and get their work directly to the audience. The democratic multiple is often considered a myth or failure. There are many artists that never got that memo and continue to produce these objects—they might be called zines, comics, poetry, visual books, photo-books, etc. Failures of the historical democratic multiple are usually discussed in terms of three facets: affordability, availability, and accessibility.

    Affordability seems straightforward—if you want a large audience to be able to purchase and read the books at home, then they have to be priced in a way so that individuals can buy them (which also often implies fairly large editions). Affordability goes two ways—as Johanna Drucker points out in The Century of Artists’ Books—the books need to be affordable for the buyer and the artist. Affordability for the artist includes materials, of course, but also time and physical demands. For artists that are committed to making books by hand (such as myself) affordability is a thorny problem.

    The term availability comes from the poet/printer/publisher Simon Cutts: “The act of publishing is one of making available […].” Availability is the ease (or difficulty) of finding and buying the book, of shipping and moving, and then of storage and reading. Availability is different from accessibility (defined below) in that is has to do with the physical life and presence of the object.

    In terms of distribution, the Internet is a huge asset that was not available to the producers of artists’ books in the 1960s and 70s. For an individual artist distribution is so much easier now, at least up to a point. Getting the word out and conducting transactions is easier, but packing and shipping orders is still a considerable amount of labor and expense.

    Accessibility is different from availability in that it relates to content. Of our three terms it has the least to do with the physical object—it is more a quality of the artistic or readerly object. Accessibility is cited as one of the major failures of the historical democratic multiple. In her essay “Conspicuous Consumption: New Artists’ Books,” the critic Lucy Lippard reflects on that failure: “[…] despite sincere avowals of populist intent, there was little understanding of the fact that the accessibility of the cheap, portable form did not carry over to that of the contents—a basic problem in all of the avant-garde’s tentative moves towards democratization in the sixties and early seventies. The New York art world was so locked into formal concerns (even those of us who spent a lot of time resisting them) that we failed to realize that, however neat the package, when the book was opened by a potential buyer from the ‘broader audience’ and she or he was baffled, it went back on the rack.”

    It’s a cliché that the “broader audience” is not interested in art that differs from the received expectations of a form, that deals directly with important social/political issues, and/or has an emotional/aesthetic/spiritual depth. It’s important to note that in the quote above Lippard places the fault with the “art world,” which tended at that time to eschew any emotional content. Are things opening up, both for the “art world” and for the culture at large? I’m thinking here of the graphic novels of Alison Bechdel, of the music of Kendrick Lamar, of Sonic Youth, of Twin Peaks (old and new), of the recent film Sorry to Bother You—this list could go on and on. The “broader audience” is fully capable of grasping complicated formal structures and/or nuanced aesthetic experiences. The reader needs—deserves—some sort of relatable entry point, if they are to dwell in/dwell with the work.

    Works Cited

    Simon Cutts, Some Forms of Availability (New York and Derbyshire: Granary Books and Research Group for Artists Publications, 2007), 65.

    Johanna Drucker, The Century of Artists’ Books (New York: Granary Books, 1994), 72.

    Lucy Lippard, “Conspicuous Consumption: New Artists’ Books,” Artists’ Books: A Critical Anthology and Sourcebook, ed. Joan Lyons (Rochester: Visual Studies Workshop Press, 1985), 50.


    Aaron Cohick is the Printer of The Press at Colorado College and the proprietor of the NewLights Press. He lives and works in Colorado Springs, CO.


  • 01 Aug 2018 12:00 AM | Susan Viguers (Administrator)

    When I was in graduate school, one of my colleagues, the artist and designer Melissa McGurgan, had a brilliant idea to teach critical analysis skills to her students: they would each take a piece by one of their classmates home, hang it up, and live with it for a week or two, writing and reflecting on the experience of viewing a piece through time, in their homes. How does an artwork change if you see it everyday, at multiple times? If you look at it every morning while you eat your cereal, or in the periphery as you do the dishes or glimpse it as you rush out the door to meet a friend?

    “Living with” an art object spreads the experience of a static thing over a discontinuous time, it weaves the object through the life of an individual. The idea of the artwork in the home and life of a person feels very important, and so I want to write a series of posts thinking through various aspects of and questions about this idea of artwork, specifically what we might call readerly artwork, in the home.

    Books and prints are really good at living with people—they are small, light, and can often be very affordable. Living with a book is a bit different than living with a 2D piece that hangs on the wall—viewing tends to be a little less rushed, a little less accidental. The person has to open the book at least. But I know from my experience of reading graphic novels and art books (here I mean books about an artist’s work) that a kind of quick, partially distracted, random reading of books can and does take place. A partially distracted reading is probably easier to fall into with books that rely heavily on visual content, but it can certainly happen with text-based books as well.

    In the famous and still relevant essay “The Work of Art in the Age of Mechanical Reproduction,” Walter Benjamin writes about the “ancient lament that the masses seek distraction whereas art demands concentration from the spectator.” This is toward the end of the essay, section XV, where he is talking about film as an art made for/as “mechanical reproduction”—so in this case something very similar to books or prints. Benjamin writes: “Distraction and concentration form polar opposites which may be stated as follows: A man who concentrates before a work of art is absorbed by it. […] In contrast, the distracted mass absorbs the work of art. This is most obvious with regard to buildings. Architecture has always represented the prototype of a work of art the reception of which is consummated by a collectivity in a state of distraction.”

    Working from Benjamin’s idea that “distraction and concentration form polar opposites” and from his concept of absorption—perhaps attention is not so much an either/or state (as in you are paying attention or you are not) but a continuum of absorption. At times the reader is absorbed by the art object, at other times they absorb it, and that relationship is changing at different rates throughout the experience. That absorption does not necessarily depend on the reader being in front of the object, actively reading, to take place. The reading (which is also attention) is discontinuous: it starts, stops, picks up again, repeats, skips, is processed from memory, etc., and all along the amount or type or quality of the absorption changes in relation to the reading conditions, to the necessities of the reader and their world. The amount of discontinuity in the reading is also related to the length of the object itself, and/or the reading conditions. Even a short artist’s book that can be read in one sitting (hopefully) continues to be read after the book is put down.

    If reading is always discontinuous (and perhaps benefits from discontinuity?) then having the artwork in the home becomes ideal. Reading in galleries/museums is generally not great—too many other pieces to see, too many people, not enough time, etc. Reading in libraries is much better, but a long-term, discontinuous reading doesn’t really happen unless a reader happens to have convenient and consistent access to a library collection. The artwork is at its most available state when it is in the home, meaning that it is much more likely to be read in/as/through multiple states of attention, to be woven in/as/through the rhythms of a life.

    Work Cited:

    Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” Illuminations, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken Books, 1968), 239.

    Aaron Cohick is the Printer of The Press at Colorado College and the proprietor of the NewLights Press. He lives and works in Colorado Springs, CO.


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