quinta-feira, 31 de março de 2011
terça-feira, 29 de março de 2011
30 exemplares numerados e assinados
impressão laser em papel couché fosco
As mãos que aparecem neste livro são de um escriba egípcio, de um manual de xilogravura da Alemanha, um manual de caligrafia de Mercator de 1540, um cartaz de April Greiman, desenhos de Saul Steinberg, Seymour Chwast e Ben Shan, um cartaz do artista húngaro Paul Gabor, uma ilustração de como segurar um pincel japonês, um detalhe de M.C. Escher, um detalhe de uma pintura de El Greco, o verbete "Arte da Escrita" da Enciclopédia de Diderot, uma ilustração de Guto Lacaz, um desenho e uma pintura de Philip Guston, uma pintura de Larry Rivers, a Madona do Magnificat de Sandro Botticelli, um cartaz de maio de 1968, uma gravura de Sharaku e um detalhe da capa do catálogo de Sigmar Polke.
segunda-feira, 28 de março de 2011
I make books: I make books that are intended to be seen as original works of art, not as collections of reproductions of art. This may seem like a pointless distinction, but when the author of a work has control of the final form of a work, then the piece of art is not a banal, commercial object, but something different, a real experience.
I have been making books-as-art since I was an undergraduate in art school. I find the book form endlessly fascinating: its strengths in telling stories and disseminating knowledge seem so rich with possibility. My recent work combines photography, writing, printing, and design to explore history, narrative, and place.
I am fascinated by the way a reader interacts with a book. A book (or at least the book I am interested in making) is portable, creates its own context, has a intimate relationship with its reader, and exists in multiple. The reader becomes immersed in the book, an act of willful self-hypnosis that is unique in art.The reader experiences this immersion in the book over time, allowing for complex, layered meanings to accrue. I am very interested in the development of an idea over time, from the accumulation of small details, hints, tiny nuances, broad gestures, and overwhelming contrasts. Every part of a book presents interesting possibilities for expression, discovery, and meaning.
I think that the audience for this kind of work is much larger than it has been: so far, artists' books have been a kind of special case in art and publishing. On-demand publishing has the possiblity to make this work much more accessible.
If you are interested in this kind of art, there are many resources on the web that will help you find other artists who make work like this. I recommend you start by reading this guide to books about artists' books.
There is even a journal dedicated to Artists' Books: the Journal of Artists' Books, usually refered to by its nickname: JAB. There is also another fine journal dedicated to the book arts (a term for all the crafts used to make artists' books as well as traditional books), The Bonefolder.Alguns livros estão disponíveis gratuitamente como PDF em http://stores.lulu.com/cliftonmeador
sexta-feira, 25 de março de 2011
quarta-feira, 23 de março de 2011
segunda-feira, 21 de março de 2011
In the "Black Power" prints, Kerry James Marshall features popular 1960s slogans that trace the civil rights movement printed in the red, black and green colors symbolic of black nationalism. These relief prints were printed as if from oversized rubber stamps, suggesting the power of rhetoric and words for mobilizing people during the Civil Rights Movement with incendiary rally cries that would soon become clichés. The slogans vary from "We Shall Overcome," the name of a hymn associated with the non—violent strategies of Martin Luther King Jr., to "Black Power," the title of the late Stokely Carmichael's black nationalistic manifesto. It is doubtful that these phrases could regain the potency they once had, especially now that they have been co—opted by popular culture and now turned into blue—chip works of art, widely desired by collectors and museums. (via http://www.gregkucera.com/individual_demographics.htm)
quinta-feira, 17 de março de 2011
segunda-feira, 14 de março de 2011
domingo, 13 de março de 2011
sexta-feira, 11 de março de 2011
Un coup de dés jamais n’abolira le hasard: LivreBy The Press | Published: 17 February 2008 handbound softcover book, 32 pages, 25×32.5×2cm, 2008.
Published by Art Metropole
About the book:
In Un coup de dés jamais n’abolira le hasard: Livre, I re-enact the gesture of Broodthaers, taking it one step further in a meditation on «les blancs». Instead of the black band of censorship, however, the place of the text is replaced with the absence of ink. Surrounding these literal «blancs» is a cream coloured ink wash, imitating the paper stock of the original edition. To highlight the transformation of the reception of the poem by Broodthaers edition, the preface of this edition is Mallarmé’s original one, translated from French to Dutch and then to English using the online translator, Babble Fish. The English version is printed in black ink, the French is printed in the absence of ink, and the Dutch version remains only in the traces of the transformation.
This edition is published by Art Metropole. It was not printed in Belgium.
Download a preview of the book here.