terça-feira, 15 de julho de 2014

Sol LeWitt

"Artists’ books are, like any other medium, a means of conveying art ideas from the artist to the viewer/reader. Unlike most other media they are available to all at a low cost.  They do not need a special place to be seen. They are not valuable except for the ideas they contain.  They contain the material in a sequence which is determined by the artist. (The reader/viewer can read the material in any order but the artist presents it as s/he thinks it should be).  Art shows come and go but books stay around for years.  They are works themselves, not reproductions of works.  Books are the best medium for many artists working today.  The material seen on the walls of galleries in many cases cannot be easily read/seen on walls but can be more easily read at home under less intimidating conditions.  It is the desire of artists that their ideas be understood by as many people as possible.  Books make it easier to accomplish this."

- Sol LeWitt, Art-Rite Magazine #14, January 1976
(via http://artistsbooksandmultiples.blogspot.com.br)

segunda-feira, 14 de julho de 2014

Henri Matisse

 Interior with a young girl (Girl reading), 1905

Milton Glaser

Paul Paper

Untaken Photographs

Published by Booklet
40 Pages
18 x 12.5 cm
BW Offset
Edition of 100
For more than a year, instead of taking certain photographs Paul Paper wrote them down. Untaken Photographs is a book about seeing, photography and, ultimately, the (limits of) image. It is an artistic dialogue with the writings of Jacques Rancière, Roland Barthes and, especially, Vilém Flusser.
Paul Paper is an artist, curator and day-dreamer based in Vilnius, Lithuania. A founder of Sraunus - a traveling photography projection show - he works both on his own and collaboratively.


quarta-feira, 25 de junho de 2014

Ben Vautier

Ben Dieu - Art total sa revue,1962-1963
Artist's book, Nice, 1963
Collages, editions, texts, and one copy of
"Fluxus 3 Newspaper Events".
It contains various artist's loose editions and
three chapters in walnut paper folder, 31 x 21 cm.

O livro completo pode ser visto neste link: 


ilustrações para a Comédia de Dante (cenas do Inferno)

uma história da leitura

terça-feira, 10 de junho de 2014

Carissa Potter & Luca Antonucci


Carissa Potter & Luca Antonucci
Facsimile and Letterpress
8.5 by 11
Published by Colpa Press
POCKET BOOK Vol. 1  is an inventory of the contents of pockets. This sample was taken from 4-10 pm on Saturday, October 13th 2012 by asking the general public to empty their pockets on to a Xerox machine. No additional editing was done.

This publication was produced with the generous support of Yerba Buena Center for the Arts. We would also like to acknowledge the participants in this live book event. We have done our best to conceal your identity.
Carissa Potter and Luca Antonucci

Special thanks to Lindsay Watson for helping make this book and Richard Ciccarone for inviting us to be part of this exciting event.

Copyright 2012

quarta-feira, 23 de abril de 2014

Julien Nédélec

Feuilleté est un livre blanc dont les pages conservent la trace indélébile des empreintes digitales de Julien Nédélec, puisque chaque exemplaire du livre aura été feuilleté par l'artiste et ses doigts salis par de l’encre. Tiré à 700 exemplaires, chaque exemplaire de ce livre est de fait unique.

Cette nouvelle édition de Feuilleté fait suite à une première édition publiée en 2008, aujourd’hui épuisée. Conçue comme la précédente, elle présente un nombre de pages augmenté et une nouvelle reliure.

« S’il fallait résumer le travail de Julien Nédélec en quelques mots, on pourrait affirmer qu’il se situe quelque part entre Raymond Hains, l’OuLiPo et Claude Closky. Raymond Hains, tout d’abord, pour cette propension à manipuler le langage, transformer le sens en non-sens – ou tout au moins en un sens différent –, s’amuser des renversements sémantiques et continuellement brouiller les pistes. L’OuLiPo, ensuite, constitué dans les années soixante par Raymond Queneau et le mathématicien François Le Lionnais, en raison de son goût pour les séries, les ensembles, les suites complexes et plus généralement les mathématiques. Claude Closky, enfin, pour le jeu permanent, la recherche constante du décalage. » Antoine Marchand (Revue 02)

Caractéristiques techniques
9 euros
48 pages
11,5 x 18,5 cm
ISBN 978-2-915859-43-0

terça-feira, 15 de abril de 2014

Michel Francois

Plié, offset print on multi-offset, 120 grams, A1 (59.4 x 84.1 cm. /23.4 x 33.1 inches) folded to A4 (29.7 x 21 cm. /11.7 x 8.3 inches), edition 100, signed and numbered, 2014
€ 60,-

SUNDAY is an editorial project published on a bi-monthly basis. A standard format was developed specifically for this project, in which an artist is invited to conduct an intervention, re-think a work, or make an adaptation.
SUNDAY is a cross between a publication, an artist’s edition, a multiple, and an exhibition.
A foldable exhibition platform, a poster-like monograph, an artwork edition, .........
An A1-size poster folded to A4 size, a colophon, bundled in an envelope.

segunda-feira, 14 de abril de 2014

Raoul Dufy

Olavo Aguiar

trabalho realizado no Workshop de Tipografia
Tipografia Matias, Belo Horizonte/MG
fotografia de Rafael Neder

Waltercio Caldas


Técnica: acrílico moldado e gravado
Dimensões: (A x L x P) 32 x 23 x 5 cm
Data: 2012
Edição: 40

Waltercio Caldas tem desenvolvido livros de artista ao longo de sua trajetória artística e Como imprimir sombras é o mais recente deles. A obra, feita em acrílico moldado e gravado com o título, foi elaborada com exclusividade para a Carbono Galeria.

sexta-feira, 4 de abril de 2014

Robert Smith

página de revista, 1963

O uso inteligente da entrelinha para criar massas de texto com densidade diferente, revelando a silhueta da taça em frente à garrafa de vinho, ou o líquido na outra garrafa.

quarta-feira, 26 de março de 2014

Keith Smith

anúncio do Mini Cooper, revista AutoWeek, 2002.
Exemplo de peça gráfica pensada para a página, os grampos da encadernação são utilizados como obstáculos para o percurso do carro. 

(imagem do livro Text in The Book Format, de Keith Smith)

Tide Hellmeister

domingo, 23 de março de 2014

quinta-feira, 20 de março de 2014

Rogelio López Cuenca

For Copyright Reasons, 2010
Óleo sobre tela
162 x 130 cm
Rogelio López Cuenca (España,1959)

quarta-feira, 12 de março de 2014

Sigurdur Gudmundsson

SIGURDUR GUDMUNDSSON, Pavement, street, 1973
Courtesy of the artist and i8 Gallery, Reykjavik (IS)

quarta-feira, 5 de março de 2014


I want pure colors, melting clouds, accurately drawn details, a sunburst above a receding road with the light reflected in furrows and ruts, after rain. And no girls. … Who would be capable of creating a romantic, delicately drawn, non-Freudian and non-juvenile, picture for LOLITA (a dissolving remoteness, a soft American landscape, a nostalgic highway—that sort of thing)? There is one subject which I am emphatically opposed to: any kind of representation of a little girl. (Vladimir Nabokov)

Michael Bierut

 Jessica Hische

 Henry Sene Yee

The book cover is also paratextual material that has the potential to influence the reading of a text: It may distort or illuminate, editorialize, and even invent subjects and situations that do not exist in the text.

Lolita: The Story of a Cover Girl (public library) addresses through a magnificent collection of concept covers for the Nabokov classic, which editors John Bertram and Yuri Leving describe as planted “firmly in the public consciousness, but more often for its misunderstood subject than for its masterful and dazzling prose,” by eighty of the world’s most celebrated graphic designers and illustrators, including such favorites as Paula Scher, Jessica Hische, and Debbie Millman.

 Debbie Millman

Andy Warhol

Modena Musset, 1968
catálogo/livro de artista com fotografias de Andy Warhol

"Published by Moderna Musett, Sweden in 1968 as an exhibition catalogue for the show "Andy Warhol" at the Moderna Museet in Stockholm, February - March, 1968. With virtually no text except for some of Warhol's famous quotes, the book contains numerous full page black and white illustrations of iconic Warhol images as well as hundreds of black and white photographs by Rudy Burkhardt, Eric Pollitzer, John Schiff, and Stephen Shore that provide incredible insight into the remarkable creativity of Andy Warhol. Writing about the book in their photobook reference work “The Photobook: A History, Volume 2”, Parr and Badger stated, "It is a fine example of the catalogue-as-artist's-book, a form that ostensibly began with the Dadaists and Surrealists, and is produced with some of the roughest reproductions ever seen, which are entirely appropriate, and supplemented by a long section of Factory snapshots by Billy Name. The genre was revitalized by the Pop movement, and Warhol in particular, which demonstrates his position as a latter-day Dadaist. The Moderna Museet publication especially had a great influence upon Japanese photography in the late 1960s and 1970s, particularly the photobooks of the Provoke era.”