artists books – C
Load Expose (1990)
The title here refers to the beginning and end stages in the making of photographs, and silkscreened images that comprise this book all centre around the language employed in that process. Embedded within their nervous calligraphy, and often only apparent after sustained viewing, are terms such as “trouble shooting”, “dodging”, “masking”, and “pose”. By virtue of Chalker-Tennant’s suggestive graphic vocabulary, these seemingly neutral words come to take on meanings outside of their restrictive use as photographic terminology and are themselves loaded. 20 pp., 21.5 x 26, paperback. Edition 100. Women’s Studio Workshop, Rosedale, N.Y.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane
Henri Chopin
Catalogue to accompany exhibition. Limited edition of 1000 copies of which 15 are signed and numbered and contain a digital typewriter poem ’masque No – 08 03 1990′, signed in pencil. Queensland College of Art Gallery, Griffith University, Brisbane.
Skerries (2001)
Skerries is a definition of the word ‘skerries’, mimicking the action of rocks periodically submerged under tides.Unlimited edition. 15.0 x 9.0 cm, ink-jet print. Moschatel Press, UK.
The Hut in the Woods (2001)
An imitation of some early Celtic poems where religious retreat is not so much an asceticism as an attention to the natural world. Unlimited edition. 14.9 x 10.5 cm, ink-jet print. Moschatel Press, UK.
Distance & Proximity (2000)
Collection of Clark’s prose poetry with photographs by Olwen Shone.m17 x 12.5 cm. pocketbooks, Edinburgh
Sixteen Pastels (1989)
25 full page colour plates with poems by Rene Ricard. Edition of 1000. 25.0 x 36.5cm, 52pp, Signed. Anthony d’Offay Gallery, London.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane.
The Departure of the Argonaut (1986)
Alberto Savinio was born Andrea de Chirico in Athens in 1891. His best known work ‘The Departure of the Argonaut’ written in 1918 is the
lengthiest and most autobiographical and final section of ’Hermaphrodito’, a composite work. This book reproduces in reduced format , the limited edition of 200 books 32 proofs and 50 portfolios for which Clemente prepared 48 lithographs. A lithograph was prepared especially for the fold out cover for this edition. Clemente employed a variety of lithographic techniques and treated each of the five chapters and epilogue differently. Petersburg Press, New York and London.
Castleman, Riva 1994, A Century of Artists Books, The Museum of Modern Art New York,
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane
Spector, Buzz 1995, The Book Maker’s Desire, Umbrella Editions, Pasadena.
The Pondichery Pastels (1986)
Stamped copper covers with green cloth spine and quarters. 85 colour illustrations tipped onto hand made paper. Designed internally by Ettore Sottass. Housed in card box. Edition of 1000. Collection holds No 945. Signed. Anthony d’Offay Gallery, London
Little Cockroach Press 1-20
Pamphlet series of 20 published between April 1996 and July 2000 by Little Cockroach Press.
The series dedicated to the memory of Jorge Zontal of General Idea was distributed free of charge. Authors: Stan Douglas, Matthias Herrmann, Stephen Clayton Ellwood, Roderick Buchanan, Emma Kay, Alfredo Jaar, Stephen Willats, James Carl, Katie Bush, Zoe Leonard, David Shrigley, Lucy Pullen & Sandy Plotnikoff, John Waters, Andrew Hunter, Harvey Manning, Linda M. Montano, Maurizio Nannucci, AA Bronson & Matthias Herrmann, Janet Lobberecht, Sonic Youth.20.3 x 12.5 cm. Little Cockroach Press, Art Metropole, Toronto.
Colemania
Book of sayings:
Mr. and Mrs. Irony and all the little Ironies.
I had no idea I was going to write this.
One day America will turn into one big gun.
Printed on different coloured papers, 15.0 x 21.0 cm. Edition of 100 ten of which are signed and contain an original drawing. Collection hold unsigned copy. Hardware Gallery. London.
our pet on TV (1981)
Small flip book of drawings printed offset of their pet on TV. 6.5 x 10.5 cm. HS Press, Philadelphia.
Constructivismo Conseptual Realtivista Americano
A delightful concertina format book with photocopied collages on both sides of the concertina. 12.3 x 16.5 cm. No 6/50. Published by Galeria Estampa, Madrid.
A.O.U.L.I.T.S. #I (1977)
The book opens with two quotes: the first is from Rupert Murdoch’s speech to United Press International on Tuesday April 26 1977; the second quote, titled The Art of Political Lying, is from an article by Jonathan Swift which appeared in “The Examiner” #14 November 9, 1970.
Parts I-III lists the Worlds Worst Railway Accidents-from “Information Please Almanac” Atlas and Yearbook 1977. Part IV deals with the survivors.
Part I : Scene of the accident with text and three colour photocopied photographs.
Part II : The Rescuers. Text with three colour photocopied photographs.
Part II : The Rescuers, continued. Text plus one photocopied photograph.
Part III : The Victims. Text and black page with black sandpaper adhered.
Part IV : The Survivors. Text accompanied by colour photocopied photograph from The Australian Womens Weekly “Special Report” –February 1977.
The last section reproduces a two page Auxiliary Police Volunteer Enrollment from the Police Department-City of New York.
27 pp. 28.0 x 22.0 cm, black covers, spiral bound. Photocopied text and colour photocopied images from magazine photographs. Edition unknown. Published by the artist, New York City.
A.O.U.L.I.T.S. was exhibited in the important 1978 artists’ book exhibition, Artists Books Bookworks, organized by Ewing and George Paton Galleries, The Experimental Art Foundation and Institute of Modern Art.
Sheridan, N 1978, Artists Books Bookworks, the Ewing and George Paton Galleries, Melbourne, The Experimental Art Foundation, Adelaide and the Institute of Modern Art, Brisbane. pp. 100-102
(mezhùr) (1994)
One of three books produced at the Centre for Editions (Visual Arts Division, Purchase College, New York) while the artist was on exchange as a student. It is the largest edition produced to date by the artist and examines the way adults measure growth in width as opposed to children measuring growth in height. Offset lithography. Concertina format, 8 pp. 12.5 x 21.5cm. Edition of 50. Published by the artist at the Centre for Editions, Purchase College, N.Y.
Pieces of Realities for Some Days : (Italienische Reise) (1984)
16th booklet, Edition Hundertmark. 21x15cm, 16pp unpaginated. 18 drawings printed b/w offset with preface: “This is a series of simple tracings of objects picked up, each in a different place in Italy, during the summer of 1983.†Printed offset with a red stamped cover. Edition of 500. Edition Hundertmark, Cologne.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane
Concrete Poetry (1996)
Poetry is designed in the form of a triangle. The pages are 15 x 15 cm open. Folded into eight sections the pages measure 7.5 x 15 cm closed. Crockford utilises the triangular folds for the placement of her handset typography. The red text of the poem sometimes appears on the perimeter of a page, sometimes it runs vertically, sometimes horizontally and sometimes diagonally. In order to read Concrete Poetry the reader is forced to experiment with the reading process, not only must the reader turn the page to follow the text but also the book must be turned. Text for title page and colophon printed in black. 10 pp. 7.5 x 15 cm. Black cloth covers with black ribbon ties. Published by the artist at Edition and Artist Book Studio, Canberra School of Art. Collection holds No 5/20.
lines of thin pale blue and red a book about a line by Mallarmé and a line by André Chénier
translation of a line by Mallarmé (in blue ink)?a line of thin pale blue?(section is bound with blue cotton thread)
translation of a line by Ch´nier ( in red ink)?a line of thin pale red?(section is bound with red cotton thread)?15 x 10.5 cm. Published by Centre d’art contemporain APAC, Nevers, France (1990)
Piano Stool Footnotes (1982)
A book of concrete poetry. 15.4x13cm, 224pp. Edition 1,000, fifty of which are signed and numbered. Published by The Jargon Society, Winston-Salem, North Carolina.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane
Mirrors (1983)
The idea for this book came from the experience of watching a fellow traveller on a train read a text, which you can ‘read’ mirrored in the window. In the book single words sometimes face their own mirror images creating new words; even the colophon, a copy number and (handwritten) signature are in mirror writing. The inside covers are mirror foil enabling you to read the title in reflection. Edition of 300. Collection holds no 295/300. Published by Coracle Press, London.
the rubber stamp mini-printer series 1 (1993)
A collection of instructions, explanations, statements in form of five lines of thirty/characters and spaces per line/produced by 16 rubber stamp/mini-printers made by Artistic Greetings for Coracal i.e.
the use of a windowsill
overlooking a landscape
to place a row of the same book, its text
opened at different pages
76 pp. 15.8 x 10.8cm, casebound in slip case. Edition of 100. Collection hold an a.p. signed. Published by Coracle, Docking, Norfolk.
Cutts, Simon (curator) 2006, Certain Trees : The Constructed Book, Poem and Object 1964-2006, Centre des livres d’artistes, Saint-Yrieix-la-Perche.
Sackett, Colin (ed.) 2000, Repetivity: Platforms and approaches for publishing, Research Group for Artist’s Publications, School of Art and Design, University of Derby,
The Waterfalls of New Hampshire in Winter (1994)
The white plastic over is pale blue inside, as are the fore-edges of the white pad, the perfect bound top edge glistening in reflected light. Repeated on each sheet and printed in blue is a small poem: ‘a perfect bound block of blue paper’. the dedication is ‘for the Van Horns’ who hail fro New Hampshire. No 51/100. Published by Coracle Press, Docking, Norfolk .
Cutts, Simon (curator) 2006, Certain Trees: the constructed book, poem and object 1964-2006, Centre des livres d’artistes, Saint-Yrieix-la-Perche, France.
Moeglin-Delcroix, Anne, Dematteis, L, Maffei, G & Rimmaudo, A, 2004, guardare/raccontre/pensare/conservare (looking. telling. thinking. collecting) four directions of the artist’s books from the Sixties to the present, Casa del Mantegna, Mantova, Edizioni Corraini.
The A.Goldsworthy Questionnaires (1997)
24 pp letterpress and rubber stamp sewn wrappers in celophane wallet. 12.0 x 10.0 cm. Published in an edition of 200 by Coracle Press.
Sackett, Colin (ed.) 2000, Repetivity: Platforms and approaches for publishing, Research Group for Artist’s Publications, School of Art and Design, University of Derby.
A Smell of Printing: Poems 1988-1998
From the dust jacket: Simon Cutts has been making poems and objects for almost forty years. Since then he has employed many of the devices and formats of jypothetical publishing inherent in the small press. Poems taken from the original formats and arrangements in which they were first issued between 1986 and 1999. Granary Books, New York co-published with Coracle Press
Diary: How to Improve the World. (You Will Only Make Matters Worse) Continued Part Three (1967)
“LXI. U.S. citizens are six per cent of world’s population consuming sixty per cent of world’s resources. Had Americans been born pigs rather than men, it would not have been different”. First sentence from Cage’s booklet. First printing, 3,000 copies; second printing, 2,000 copies, both in red and blue inks on white paper. Something Else Pres, NY. (A Great Bear Pamphlet)
Frank, Peter 1983, Something Else Press : an annotated bibliography, McPherson & Company, USA
Mud Book How to make Pies and Cakes (1988)
John Russell writes in, A Note on “Mud Book”, that the mud pie is the ‘proto-pie’. Commercial publication after edition of 500 copies. 13.5×13.5cm, 44pp, with dust-jacket. Harry N. Abrams, Inc., New York.
Print Collector’s Newsletter, Vol XV
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane
Suite vénitienne – Please follow me (1988)
“For months I followed strangers on the street. For the pleasure of following them, not because they particularly interested me. I photographed them without their knowledge, took note of their movements, then finally lost sight of them and forgot them.” Calle’s curiosity continues as she follows a man from Paris to Venice. This book contains her notes and photographs and an essay by Jean Baudrillard on Calle’s work called “Please Follow Me.” 87 pp. 21 x 18cm, paperback. Printed offset/photo/text). Bay Press, Seattle, USA, (originally published 1983 by éditions de l’ étoile, Paris).
Urban Garden, (Bring the soft colours and scents of the garden into your bathroom) (1995)
A pun on the complexities of urban society, where even the brand of toilet paper becomes a matter of concern. the use of floral icons and artificial scent is far removed from the soft colours and scents of a real garden, which the artist feels is a more important matter of concern for human fulfilment. Bound with plastic tubing anf flower buttons. 140 pp. 12.0 X 12.0 cm in and edition of 13, unsigned and unnumbered. Lyre Bird Press: Off the Wall, Townsville.
The Stumbling Block, its index (1990)
“The Stumbling Block, its Index is a series of poetic definitions to invoke an imaginary object. the Block cannot be found or contained in single description, it is a shape shifter, an enigmatic energy form that exists to align itself with caution to the shadow zones of human activity. the book is also an attempt to write sculpture, to use parallel methods to order materials, form and process, to fuse and structure them with association not metaphor. In this way to construct a numinous receiver and listen to the whispers therein.” B. Catling. The book is printed letterpress and case bound with hand-worked graphite boards and embossed title. From the edition of 500. Published by Book Works, London.
Bury, Stephen 1995, Artists’ Books The Book as a Work of Art. 1963-1995, Scolar Press, Aldershot,
Turner, Silvie (ed.), 1993, Facing the page – British Artists’ Books, a survey 1983 – 1993, estamp, London. p. 35.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane
La Mia Prima Leziona (2007)
In La Mia Prima Lezione (My First Lesson) the artist draws on her childhood memory of learning to write at a time at school in Australia, when Italian was her first language. The book works its way through letters which finally make the sentence: scusi non capicso niente (sorry, I don’t understand anything) and shows how one can be taught without understanding. Linocut print, acrylic, pen and ink, 35.0 x 27.0 cm. Bound by George Matoulas. Edition 6/6. Signed A. Cavalieri.Published for exhibition Lessons in History Vol. 1 held at grahame galleries + editions March/April 200&.
