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Re: [BKARTS] Impressions from Action/Interaction?



Dear Andrew (and Book-Arts-L),
I wanted to respond to your question about making book art work and its relationship with contemporary art. Katie Baldwin (of Tango Book Arts) and I were discussing this very issue, and its relationship to the four componets of book art that they presented in their panel: language, structure, time, and interactivity. They presented a number of artists (off the top of my head I remember Xu Bing, Louise Bourgeouis, William Kentridge, and the Megawords collective, but I think I'm forgetting two or three others) who use these ideas to inform their body of work.

I was saying that I feel that as a young artist, I am watching an almost paradigm shift in comtemporary art. I feel that what is shifting is a focus on the experience of an artwork, rather that a focus on object. I can see it's relationship to art history, it seems a very natural progression, and I'm not saying it's happened overnight. 

Book art fits in here because it is an art form that needs to be experienced, but also is handy enough to travel easy, and can be folded up neatly and places on a shelf. Perhaps the discussions about books needs to follow this shift. When we talk about a book, we often talk about the object - it's printing, binding, materials, etc. Maybe now we need to talk about the experience the book provides.

On another note - the Chicago conference was excellent, and the exhibition was amazing. I want to send out some cheers to the Chicagoans who put it together. I'm very glad I attended.

Michelle Wilson
Philadelphia

Andrew Eason <aeason@xxxxxxxxx> wrote: Dear Book_Arts-L,

I'm keen to find out what people made of the Action/Interaction conference
in Chicago recently. What worked? What didn't? What was new?

I liked the notions that kept popping up about extending (or renewing?) the
discourse of book arts practice to engage more with what's going on around
us. I'm sure we're all doing that all the time. I engage like heck, myself.
But how can we talk about it so that people in other fields can see the
value of what we're doing in more widely-understood critical terms? How can
we make book art work that it is vital to know about in order to understand
contemporary art? Is that an impossible dream? (Sorry for the Man of La
Mancha-ness of that last sentence).

(disclosure- I led a discussion session at this conference entitled 'Beyond
Artifacts: Book Arts as Practice'.)

All the best,
Andrew Eason
www.andreweason.com

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               The Bonefolder, Vol. 3, No. 2, Spring 2007
          Now Online @ 
                                    
     Visit "The Book of Origins: A survey of American Fine Binding"
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             ***********************************************
               The Bonefolder, Vol. 3, No. 2, Spring 2007
          Now Online @ <http://www.philobiblon.com/bonefolder>
                                    
     Visit "The Book of Origins: A survey of American Fine Binding"
                Online exhibit and catalog order form at
       <http://library.syr.edu/digital/exhibits/b/bookoforigins/>
                                    
             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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