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Re: [BKARTS] the art of communication and the communication of art



Wow to Susan Gaylord. Really.
The differentiation between art accessibility and art criticism put
things
in the  -AH-HA for me.

In 1988 when I was having a show in a gallery in Tennessee,
I looked out at the 30 or 40 white people at the opening, whose echo-ey
voices
made the cold white walls seem even more lonely and unattended.

I realized right then and there that my venue for showing art had to
extend
beyond the upper middle class crowds who always go to the galleries,
the shows, the museums. I love those art afficionados..thanks for
buying.

But, I don't like the exclusivity which galleries and museums
don't do much about..preferring to keep things that way, much like
those among the librarians who think they own the books they lend.
Oh, yes, there is always free monday, but lots of folks work in Monday,
which boils the generosity down to a gesture and not a reality of
bringing art to all.
..computing has made it somewhat easier for individuals to share art
at no cost, but the fact of being accessible to millions of veiwers,
does not
satisfy completely either. It always feels a little too much about art
out of context,
as cold as butterflies pin-stuck to a surface.

Susan Gaylord brings us to the fact that books in libraries and in
collections
can be another way to reach an audience. Our curator of special
collections
is beginning to investigate collecting artists' books...and even
attended our
Southeast Assoc for Bookarts confence and workshops last month. In his
talk to our
group, he said, it is time to begin paying attention to artists' books.
I reinforced this idea with something I had read in a waiting room:
Edward Ruscha's 26 gasoline stations was reported in Forbes Magazine as
having
cost 84.00 in the 60s and in this century, the same work can be had for
a mere
50,000.00. (dec 2004)

Do I care if my book is rated good on an approved line between two dots?
I must be getting old. I don't care. I leave that to the critics of this
generation, and
wonder how the critics of the next will revise and revisit the critiques
now being
written. I heard one professor of art say Impressionism was "Art for the
Masses."
So it will be said about everyone, I am sure. And next century, the
Impressionists
may be Queen again.

I do love the AB community. I have never had so much fun, so much
passion,
so much interesting conversation, freely given, I might add, as I do
when I get
together with bookartists.  I feel safe there. God(dess) knows how much
competition, punching and eagle-eyeing I get everywhere else. Even this
list
has a sproing or two of jabs at people who got it 'wrong'.

And all the while I have been reading
this thread, I have wondered if anyone would be dull enough to bring up
the
whole idea of a cottage industry. I take some pride in being part of the
modern day
application of cottage industry. But we all know that attitude will get
us as far as
the old: artists' books might get the taint of 'women's work', yes?
Thankfully, critics will save us from being too feel good when
participating in cottage industry; and help
elevate us to serious art.

Community and ....Accessibility vs. Criticism...thanks, Gaylord and to
all who
have some terrific ideas about what bookart is, what it might become and
who is
going to get to name it all (she who names it, owns it).

(another) Susan







>>> skgaylord@xxxxxxxxxxxxxxx 06/20/05 9:22 AM >>>
Dear Friends

Last week I attended the ABC (Artist Book Conference) Conference at
Wellesley College with a series of panel discussions with librarians,
and curators, artists, and collectors. In the last summing up panel and
audience discussion, there were two conclusions about our community-
that it is wonderful and that it is insular and isolated. As to the
wonderful part- it was truly a joyous occasion. Everyone was open and
friendly. The level of sharing information in the panels and in smaller
conversations was, I though, quite remarkable. I had the pleasure of
getting to know in person people who whose postings I have been reading
over the years.

There was also an awareness that we are an isolated community in the
mainstream of art and discussion about how to move away from this
isolated status. And of course Johanna Drucker's article came up with
the a discussion of the need for a critical language and critical
writing about book art. I woke up the next morning and suddenly thought
to myself, perhaps we are missing the point. Instead of worrying about
the art world and art establishment, we should be trying to directly
reach people. Artists' books are one of the most accessible forms of
art. There are vast numbers of people in the world who know and love
books. When the librarians, curators, and collectors at the conference
talked of how they got into book art, it started with reading. Lots of
people read. Lots of people have the potential to connect with artists'
books. We need art appreciation as well as art criticism. We need to
talk about artist books with the passion and excitement that we feel.
There is a place for critical analysis but I think it is a mistake to
think that that it is what will bring artists' books a broader
audience. And I think it is a broader audience that we need.

in good spirit
Susan


Susan Kapuscinski Gaylord
Newburyport, MA

skgaylord@xxxxxxxxxxxxxxx
http://www.makingbooks.com

             ***********************************************
Edelpappband / "Millimeter" Binding Bind-O-Rama, Entry Deadline -
October 1, 2005

             For all your subscription questions, go to the
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             ***********************************************
Edelpappband / "Millimeter" Binding Bind-O-Rama, Entry Deadline - October 1, 2005

             For all your subscription questions, go to the
                      Book_Arts-L FAQ and Archive.

          See <http://www.philobiblon.com> for full information
             ***********************************************


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