In searching for articles related to artists’ books I was able to identify four main categories. In the first category there are articles from people in the field of book arts. Book artists, instructors and curators for example Drucker (1995) , Smith (2005) and Carothers (2000).The second category are articles that examined the potentials of book arts in teaching for example McGuire (2007) and ?? . The third category are articles from librarians, scholars at schools of information and library science, such as Klima’s Study (1998). Also I add a last category which is the work made in a book form; for example: editions, one of a kind, and altered books.For this category I choose Gross and Barbra book (2009)
The first category
Articles from artists, curators and critics
Drucker: The Century of Artists' Books. (1995)
I choose this book because it is one of the first studies that wrote about the field of Artists Book and its development This book is considered one of the most important and first volumes that addresses the development of artists' books as a twentieth century art form. and contributed hugely in shaping the artists' book as a genre .
Drucker tries to define the term and stats the difficulties: “It is a zone made at the space at the intersection of a number of different disciplines, fields, and ideas -- rather than at their limits. And rather than try to account causally for the development of the artist's book in the 20th century, I hope to make a case for the ways in which it is the 20th century art form par excellence”
An artist's book is a "book created as an original work of art," which integrates how it is produced "with its thematic and aesthetic issues" (Drucker, 1995). However, Drucker goes on to po...
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...rcial stock. Texts are poems, tracts, essays, specimens, alphabetic symbols, collages, and fields of color. The project represents a conversation across the medium of contemporary letterpress.”
There are many factors that made me select this book. First its subject “The Machine”, and how artists could express it? How could the manuals and the diagrams of a machine converted into artwork? This volume is documentation for the Vandercook press, and its changing role from just a proof press to the favorite press for printers. The second reason for choosing this volume is the collaboration between different disciplines and artists working with image, text, paper, and, The thirds reason is the educational aspect of the project, because there was also collaboration between instructors and students of the Center For Book arts in New York to make some of the folios.
Books today are everywhere. We find them in many households, libraries and schools all around the globe. We find many different types of books; from stories to educational textbooks, we regard them today as sources of knowledge and amusement. But it wasn’t the case before 1455. That year, one of the greatest inventions in human history was revealed to the world; Gutenberg’s printing press. This press allowed printing in massive quantity, spreading books all around Europe and the rest of the world at a fast rate. The printing press had many positive consequences on society. At first, it standardized grammar and spelling, and then introduced the mass production of books. It finally inspired future printing technologies around the world.
Potok, Chaim. “Asher Lev, an artist is a person first.” Goodreads. N.p., n.d. Web. 3 May. 2014.
The word “original” is often used to describe paintings that have been manufactured by hand, but it is not clear whether hand-made copies of work are still considered so. When an artist copies another’s art, is his own art original now that it has been tainted by the thoughts’ of others? The poem “To A Mouse” by Robert Burns served as inspiration for John Steinbeck when writing the famed tragedy “Of Mice and Men.” Steinbeck, a Nobel prize-winning author, set many of his books during the Great Depression or the California Dustbowl, times when the future seemed bleak. In Of Mice and Men, man-child Lennie and his “father figure” George form an unsuspecting friendship, and set off into the world with their dreams of one day buying land and settling down. The characteristics of these protagonists are directly taken from the Burns’ poem, which describes similar characters. Is such a close emulation detrimental to the value of originality in the work? Steinbeck believed that “only through imitation do we develop toward originality,” a motif seen in Of Mice and Men. Inspiration is necessary for all art, but by exploiting Burns’ poem, Steinbeck bastardizes the innocence of originality.
The Guardian. Wilson, B (2016). Art and Design: Sketchbooks by Grayson Perry. Review – “Daft notions that later became art” [online]
Benjamin, Walter, and J. A. Underwood. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Print.
Humans have used art for centuries as a response to their environments. The use of icons, perspective, and cubism have all reflected the cultures and societies of those times. However, art has often been mistaken as a substitution or creation of reality, rather than a reflection. John Gardner has taken up this attitude in his novel Grendel. While Grendel is a provocative and innovative work, John Gardner's views on art, as reflected in Grendel, are based upon a misunderstanding of art and are therefore unfounded.
Pollock (1980) begins her article by drawing in her audience in; asking how is it possible that art history does not incorporate any other field beyond the artist in order to explain the meaning behind their work. She then explains that her article is mainly about how she rejects how art historians are depicting artworks and restricting themselves in explaining the work solely based on the biography of the artist who created it. (Pollock, 1980, pg.58)
It is very easy to agree with Moebius statement that ‘good’ picture books contain some form of invisible and intangible concepts that keeps the reader returning. In Voices in the Park it is very easy to see Moebius idea due to the ability of technology to create detailed and complex books. In contrast, Potter has produced a book that more subtle in showing this relying not on technology like Voices in the Park but working within severe limitations. Blending page turns, text, colour to create understandable concepts. Goodman comments that some would argue that these elements in pictures interfere with and detract from the text, and thus undermine the confidence of the reader. An extrapolation of this idea is that preconceived ideas and pictures of another spoil the reader’s entrance to literacy.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
This shows how bold and captivating the unique appearance of the book was; it contained only an illustration and name, without the boasting of achievements. Imagery played a key role in
Varnedoe, Kirk. A Fine Disregard: What Makes Modern Art Modern. New York: H.N. Abrams, 1990. 152. Print.
One of the first ideas presented in the book that I felt was one of the main ideas is the idea of copying the works of the people that you admire the most. Through the creation of who you are as an artist or as a person in general, the act of copying the people you aspire to be like the most is an important concept in this book. The book stresses the idea of creativity and the idea of how in creativity there lies no originality but stealing the ideas of others. He emphasizes the benefit of stealing ideas in order to develop your own art work and in turn creating your own voice as a person. In addition to the idea of copying, creation is a large topic in the book. For example, in the chapter "Write the Book You Want to Read" he mentions making things that you like to make and create the things that you want to see created. Whether this creation be a piece of music or art, he mentions that you should imagine what your favorite artists would make if they worked together and to create that yourself.
My goal for this paper is to give a practical critique and defense of what I have learned in my time as a Studio Art Major. During my time here I have learned that Pensacola Christian college’s definition of art “art is the organized visual expression of ideas or feelings” and the four parts of Biblosophy: cannon, communication, client, and creativity. Along with Biblosophy I have studied Dr. Frances Schaeffer 's criteria for art, seeing how the technical, and the major and minor messages in artwork. All of these principles are great but they do need to be refined.
When I was in the library, I found a book about the history of book jackets. Although most of the information in the small book was unnecessary, I did learn some of the history behind book jackets. Although the people of today look at book covers to get some idea of the contents of the book, back in the eighteen hundreds books had jackets so that the pages would not get dusty or dirty. Some books had covers made of leather but usually these were books, like the Bible, that needed protection. The bookseller put the jacket on before it was placed on the shelf. These dust jackets had no title or writing on them until the middle of the eighteen hundreds. It was not until almost nineteen hundred that authors or publishers designed book covers with illustrations or with the title. This is different from today because most authors give their book’s cover as their trade marks so they can be easily recognized. Usually the artist draws the cover to the author’s liking. The artist takes the words and changes them to an image suitable for the book.
Works of art such as books, paintings, poems, and sculptures oftentimes are said to express the feelings, personalities, interests, and desires of their creator. One method for interpreting these details from books and other literary works is known as psychoanalytic literary analysis. This analysis seeks to identify the nature of relationships between characters as well as the author’s relationship with the characters. In the analyses the critic will discuss interactions between characters and with the author and often go so far as to make assertions about the author’s conscious and unconscious reasons for telling their story in the way they did. While psychoanalytic criticism is well accepted it is not without its own critics. At times it