If you’re at the Center for the Book in Iowa this fall, make sure to check out the Handy Books exhibition, including this upcoming symposium and opening reception. I’m really excited to be a part of this exhibition, because it uses historic examples as the basis for artists’ responses (BUT those responses have to consider movable components of the book beyond the usual function of a codex). I created a piece that moves well beyond the codex form, using three egg shapes with movable components to tell a story (you can see a video of it in action here).
I used two examples from the Bentley Museum’s collection: A dissolving picture book, and a fragment of a microfiche Lunar Bible housed in a Faberge egg. The good folks at UICB posted a few photos as teasers before the opening, and I am *so excited* to see all the great works that my piece was put in conversation with. As always, they have done an amazing job, and I can’t wait to see the rest of the exhibit once it opens!
Side view (Photo courtesy UI Center for the Book)
Look at all these rad books in a case (photo courtesy UI Center for the Book)
One last note: I’m especially happy about this exhibit because it’s one of four (!) I’ve been in so far this year (if you know me IRL you know that I historically was pretty shy about sharing my art, so that’s a big deal). I don’t see that train stopping, so expect to see more of my art in public spaces moving forward!
A few days ago, the Library as Incubator Project posted an interview they did with me about earlier this month. I had a lot of fun doing the interview, and it also got me to think through how my art informs my practice as a librarian (and vice versa). Check it out!
>Readers, this has been a wonderful week or so for serendipity in my life. I have stumbled upon a lot of great resources (some recent, some that I’ve rediscovered while transferring my Delicio.us tags to Google) that made me realize my blog posts have been a bit neglectful of the book arts side of my work (and of my book arts friends around the world!) In an attempt to remedy this, let me share with you some of what I’ve been getting excited about in book arts land recently:
>I recently had a discussion with a friend (the wonderful Amanda Langdon) about artists’ books when she was trying to describe them for a paper. Talking with her gave me the opportunity to think about how I define an artist’s book (especially since the published literature and the content of library collections gives such broad, and sometimes conflicting, definitions.)
The big thing that I think separates an artist’s book from a commercially-produced book is the interplay between form and content. Broadly defined they’re books created primarily to be ‘art’ rather than to be a book in the traditional sense. They are still functional (ie you should be able to interact with them as books) but they were not created by a publishing house with the sole purpose of showcasing an author’s content-they were created by an artist to showcase both their binding work and the interaction between content and form.