5. a new place

More frequent and prevalent in the field of artist books is the inclusion and placement of conceptual books that live on the borders of definition of what makes a book. Pulling at the edges of acceptance can be where viewers are won and lost. Yet some of us find ourselves amazed with conceptual structures. Our minds make acrobatic stretches to “define how I myself measure a book -how far can I go to include what I’ve just seen?”

As conceptual book elements are peeled and core centers are moved from covers and containers we have words on pages that are bound or collected together.

What place do conceptual books hold in artist books?


About sense of place in artist books

I am an artist. I find the ephemeral place in my art conjured up through practice. I sift through raw materials with my hopes and dreams, and ideas take form as if intended.
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One Response to 5. a new place

  1. Betty Bright says:

    I am someone who celebrates hand-held and crafted books that arise from a strong conceptual program: I am most strongly moved by books that do both. But perhaps you refer to books that may present as sculpture, or as room installations, or that eschew elements of craft that many of us associate with the book form when it is made by artists. These books, too, carry a voice into our heart and mind. Sculptural bookworks by Doug Beube, for example, are often a vehicle for the artist’s voice. Beube’s Amendment (2005), for example, is an altered atlas with additional pages connected via zippers. It is a flagrant and engaging book, opening wide, its zippers glittering. Beube invites the reader to unzip and re-zip the panels to rearrange pages and so reconfigure world geography while also reinventing nation states, much as we witness daily in the world news reports of geopolitical cataclysms. Conceptual books like these that respond to the book form but are driven by an artist’s thinking or political concerns can be powerful points of engagement for a viewer.

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