terça-feira, 29 de março de 2011

Elogio da Mão

Elogio da Mão (In Praise of Hands)
Andante, 2011
30 exemplares numerados e assinados
impressão laser em papel couché fosco




Algumas páginas do livro, do total de 16 páginas.

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

Clifton Meador

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

Richard C

Still Life Landscape, 1987

Trabalho que fez parte da mostra Poesia Intersignos, organizada por Philadelpho Menezes

segunda-feira, 21 de março de 2011

Fazer Livros

Imagens da exposição "Fazer Livros", na Galeria Livrobjeto: http://www.flickr.com/photos/amirbrito/

Kerry James Marshall


BLACK POWER PRINTS, 1998
relief print
25.5 x 40 (5)
Edition of 5


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

Zona de Invenção Poesia &


Abertura hoje, com performance de Ricardo Aleixo.

segunda-feira, 14 de março de 2011

domingo, 13 de março de 2011

Jochen Gerner

Pixies Onomatopoeia

Cartaz com as onomatopéias (e seus respectivos balões) das músicas do Pixies.



sexta-feira, 11 de março de 2011

Michael Maranda


Un coup de dés jamais n’abolira le hasard: Livre

By The Press | Published: 17 February 2008 handbound softcover book, 32 pages, 25×32.5×2cm, 2008.
Published by Art Metropole

About the book:

In 1914, Mallarmé’s poem, Un coup de dés jamais n’abolira le hasard: Poème, was finally published by the Nouvelle Revue Français. Printed as a limited edition in Belgium, the poem ‘works’ only as a typographical object. As Mallarmé states in his introduction, “[l]es «blancs» en effet, assument l’importance, frappent d’abord. …” In 1969, Marcel Broodthaers took Mallarmé’s assertion at face value, and re-published a version of the poem as Un coup de dés jamais n’abolira le hasard: Image where solid black bands take the place of the text of the poem. Reminiscent of heavily censored texts, with a totally new preface, Broodthaer’s work has been influential mostly in its rarity (few versions are publicly accessible). Broodthaer’s version was also printed in Belgium.


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.


http://parasiticventurespress.com

quinta-feira, 10 de março de 2011

Tom Gauld

Onomatopéias, de A a Z
+ em http://www.tomgauld.com/

David Scher

Answer Organ, 2011
David Scher
mixed media on paper
36 x 51 cm

E. f. E., 2011
David Scher
mixed media on paper
45 x 59,5 cm

Ulises Carrión

Looking for poetry
Tras la poesía






Ruben Martins

anúncio feito em parceria com Décio Pignatari

Sedavier
Bozzano



Banco Crédito da Bahia


Grupo de Criação Publicitária, 1966

Comparem com o poema de Hansjorg Mayer

Warja Lavater

 A Bela Adormecida (La Belle au Bois dormant)
Adrian Maeght, editor













Outro livro dela pode ser visto aqui (Cendrillon: une imagerie d'après le conte de Charles Perrault / Warja Lavater).