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Art 112 • Artists' Books
“EVERYTHING IN THE WORLD” • A BOOK ARTS READER
CONTENTS
I. History, Theory & Context
Gary Frost, "Choosing Book Art" Lecture at Whitman College. Walla Walla, WA, 1999.
Beatrice Warde, “The Crystal Goblet, or Printing Should Be Invisible,” from The Crystal Goblet. Cleveland: World Publishing Co., 1956 (an address for British Typographer’s Guild, St. Bride’s Institute, London, 1932).
Stéphane Mallarmé, “The Book, Spiritual Instrument,” tr. Michael Gibbs, from New Wilderness Letter, No. 11, Dec. 1982, pp. 1-5 (originally published Ca. 1898).
Ulises Carrión, “The New Art of Making Books," from Joan Lyons, ed., Artists’ Books: A Critical Anthology and Sourcebook. Layton, Utah: Gibbs M. Smith & Visual Studies Workshop, 1985, pp. 31-43.
Dick Higgins, “A Preface," from Joan Lyons, ed., Artists’ Books, pp. 11-12.
Richard Kostelanetz, “Book Art" from Joan Lyons, ed., Artists’ Books, pp. 27-30.
Richard Minsky, “Book Arts in the USA," NY: Center for the Book Arts. 1990.
Karen Kunc, “Artist’s Books and the Burning Question," Grapheion 10/2. Prague, 1999, pp. 13-19.
Jorge Luis Borges, “On the Cult of Books,” Selected Non-Fictions, edited (& translated) by Eliot Weinberger. NY: Viking, 1999 (1951), pp. 358-362.
Jorge Luis Borges, “The Library of Babel,” from Labyrinths (NY: New Directions, 1962), pp. 51-58.
Harry Duncan, “The Art of the Printed Book,” from Doors of Perception, (Austin: W. Thomas Taylor, 1987.) pp. 45-62
II. Design
Dick Higgins, “A Book," from New Wilderness Letter, No. 11, Dec. 1982, Pp. 46-47,
Johanna Drucker, “The Artist’s Book as Idea and Form,” from The Century of Artists’ Books. NY: Granary Books, 1995. pp. 1-20.
Robert Bringhurst, “Shaping the Page," The Elements of Typographic Style. Pt. Roberts: Hartley & Marks, 1994.
Jan Tschichold, “Consistent Correlation Between Book Page and Type Area," from The Form of the Book: Essays on the Morality of Good Design. Pt. Roberts, WA: Hartley & Marks, 1991, pp. 36-63.
Jost Hochuli & Robin Kinross, “Book Design as a School of Thought," and “Designing Books — parts 1-4," from Designing Books: Practice and Theory. London: Hyphen Press, 1996, pp. 11-37.
Claire Van Vliet, “Facing Pages," Craft International, Oct-Nov-Dec. 1984, p. 20
Shelley Rice, “Words and Images: Artists’ Books as Visual Literature,” ed. Joan Lyons, Artists’ Books, pp. 59-85.
III. Structures
Gary Frost, “A Million Years of Bookbinding," Bookways, 15 & 16, Summer 1995, PP. 34-36; “Adopt of the Codex Book, Parable of a New Reading Mode,” and “How Books Work,” circulated at the University of Alabama, 1999; “The Sewn Boards Binding,” Abracadabra, Vol. 7, Spring 1993, pp. 5-6.
Franz Zeier, Selections from Books, Boxes and Portfolios. NY: Design Press, 1990.
Marilynn Webberley & JoAn Forsyth, from Books, Boxes & Wraps. Kirkland, WA: Bifocal Publishing, 1995.
Shereen LaPlantz, Selections from Cover to Cover. Asheville, NC: Lark Books, 1995.
Pauline Johnson, Selections from Creative Bookbinding. Seattle: University of Washington Press, 1963.
Pam Sussman, “The Secret Slipcase: Pockets on Every Edge?’
Hedi Kyle, “Orihon’s Triumph: Origin and Adaptations of the Concertina Fold.” The Ampersand: Pacific Center for the Book Arts, Vol. 3, No. 2, Dec. 1982, pp. 1-7.
Hedi Kyle, “The Book as a Spinate?’ The Ampersand: Pacific Center for the Book Arts, (nd)
Robert C. Morgan, “Systemic Books by Artists," from Joan Lyons, ed., Artists’ Books, pp. 207-222.
IV. Observation & Experience
Johanna Drucker, “Books as a Way of Life: Rosmarie & Keith Waidrop.” Journal of Artists’ Books 9, Sp. 98, 15-20.
Buzz Spector, “Anseim Kiefer’s Bookworks," “Walter Hamady’s Gabberjabs,” “Residual Reading: Altered Books of Ann Hamilton," in The Book Maker’s Desire: Writings on the Art of the Book.” Pasadena: Umbrella Editions, 1995.
Sam Hamill & Tree Swenson, “Some Days: The Years at Copper Canyon Press," from A Poet’s Work: The Other Side of Poetry. Seattle: Broken Moon Press, 1990 (reprint by BOA, 1998).
Betsy Davids, “Artists Writing," Abracadabra, Vol. 8, Spring 1994, pp. 22-23.
Hank Hine, “The World of the Book: A World for the Book," from Making Artist Books Today, ed. Wuif von Lucius. Stuttgart: Verlag Lucius & Lucius, 1998, pp. 10-16.
Harry Reese, “The Tactility of Artists’ Books," from Making Artist Books Today, ed. Wulf von Lucius, pp. 24-30.
Carolee Campbell, “An Argument for Lying Fallow,” Abracadabra, Vol. 7, Spring 1993, pp. 2-4.
Karen Bleitz interview by Cathy Courtney, Speaking of Book Art: interviews with British and American Book Artists. Los Altos Hills, CA: Anderson-Lovelace Publishers, 1999. pp. 220-235.
David Pye, 3 selections from The Nature and Art of Workmanship. Cambridge University Press, 1968, reprinted by Cambium Press, 2002, pp. 17-29.
Clifton Meador, “The Small Pond,” JAB 21, Spring 2006, http://jab-online.net/blog
Supplement
Reading
Gary Frost, "Formats of the Book"
Harry Reese, "Evaluating Artists' Books"
Jae Rossman, "The Term 'Artists' Books'
William Burroughs, The Future of the Novel (1964)
Johanna Drucker, Thinking About Ten Years of JAB
Keith Smith, The Book as Physical Object
Thomas A. Vogler, When a Book is Not a Book
Sheila Waters, Foundations of Calligraphy
Instruction & Process
21st Century Tool Kit for Print & Book Arts
Template for Fancy Fold Book (single sheet)
Gary Miller, "Japanese Stab Binding,"
Multiple Signatures With Sewn Boards
Gary Frost, "Return of the Sewn Board Binding"
Sandra Liddell Reese, "Basic Drop-Spine Box"
Judy Christensen, "Explosion Pop-up Book"