The chart we all need. Citing social media is made simple.
Before the semester gets too hectic, come spend some time with our new artists’ books. Here are just a few we added to the collection at the end of last year.
By Elizabeth Castaldo
Atlanta, Georgia: Elizabeth Castaldo, 2012. Edition of 8.
4 x 5″ closed; 12 pages. Three layer star carousel structure. Silkscreen and inkjet on paper and vellum. Papercutting. Bound in paper over boards. Signed, dated, and numbered on the colophon.
Elizabeth Castaldo: “While pattern is a large aesthetic component of all of my work, I have made some artist’s books that purely explore pattern as an independent element. The book Primordial Forms, the least narrative of my artist’s books, is a star accordion made of three layers, each adorned with an evocative form associated with life. The outermost surface is screenprinted with yellow honeycombs. Hexagonal cut outs reveal the layer beneath. On the middle layer is a pattern of seeds and pigs’ hoofs screenprinted on translucent vellum. Behind this is a third layer of swirling text printed on green paper. These patterns represent forms that I see as fundamental to birth, life, and growth, hence primordial forms. The star accordion structure allows the forms to be discovered as the viewer walks around the book, rather than flipping pages.”
Who I Am
By Sunny Nguyen
Los Angeles: Sunny Nguyen, 2013. Edition of 18.
4 x 6.75”; 24 pages. Letterpress printed at Otis Print Lab. Printed on Cranes Lettra Cover, Fluorescent White, 110 lb. Printed using Nexa Light and Propaganda types with polymer plates. Bound in orange cloth boards with exposed sewn binding using a running stitch.
Sunny Nguyen: “A personal story of my coming out story is narrated with abstract images throughout the book.”
Labor / Movement
By Yvonne Rainer
[Orange, Massachusetts / Hanover, New Hampshire]: Amy Borezo, 2012. Edition of 25.
12.75 x 15.125 x 1.5″; 20 pages. Printed on Vandercook SP-20. Handset metal and wood type, body text in Palatino. Images printed from photopolymer plates. Concertina spine structure expanding from back pastedown. Pages sewn into mountain fold of the concertina. Cloth covered boards. Bound by artist. Housed in cloth-covered clamshell box lined with orange papers that match tabs on pages.
Amy Borezo, Prospectus: “This book depicts movement visually in book form, while calling attention to the complexity of everyday human activity. The book tracks the motions of seven workers over a brief period of time with lines that change in length, width, and color. As the segments of motion grow, page by page, lines intersect and interact, joining to form an intricate pattern on top of a static industrial floor. Shades of silver ink overlap to create a rich, opulent field that belies the seemingly humble activity. Each folio is sewn onto the mountain fold of a concertina. When the concertina is fully extended by the reader, a portion of each page can be seen simultaneously with each other page, exposing the frame by frame growth of the movement pattern. The reader/viewer is implicated in the performance of the book and asked to be aware of her movements as she interacts with the piece.” – See more at: http://www.vampandtramp.com/finepress/b/Amy-Borezo.html#sthash.yWo4QQ5N.dpuf
Food for Thought
By Lynn Agnew & Mary Jeanne Linford
Kingston, Washington: Torn Paper Press, 2013. Edition of 6.
11.75 x 5.75 x 5″ hinged wooden box containing 26 (3.5 x 4.75″) seed packets (fold over envelope style closure) and one colophon pamphlet. One ‘tag’ information page per envelope: 2.75 x 4″ double-sided inkjet printed with hole and string at top. Colophon pamphlet: 3.5 x 4.75″; 8 pages; inkjet printed; sewn binding; numbered. Other materials: glassine envelopes, found objects.
Lynn Agnew: “Food for Thought is an envelope book. Twenty-six ‘seed packet’ envelopes are embellished with ink-jet reproductions of original collages. Each ‘seed packet’ contains a tag which names a critical world problem and addresses it through fact, quotation, or original poetry. The ‘seed packets’ also contain a glassine envelope that holds found-object ephemera related to the issue named on the tag. The envelopes are contained in a wooden box inspired by 1940’s-era hardware store display boxes. Also included within the box is a booklet with the artists’ statement of purpose and colophon. Most materials used to construct the book and box are recycled or repurposed items.”
And if you can’t stop in, check out our artists’ book gallery at http://blogs.massart.edu/artistsbooks/
And our artist’s book research guide at http://massart.libguides.com/artistsbooks
Two important scholarly publishers have made hundreds of their titles available digitally for free to the public.
UC Press E-Books Collection, 1982-2004, includes 700 titles that are available to the public. There are 2,000 titles in the whole collection.
The Getty Center in Los Angeles announced this week that they’ve made 250 of its art-related books, journals, and catalogues freely available online. The titles, which represent a range of publishing output since 1966.
We’re investigating how to add these titles to our own catalog, but in the meantime you can access the books directly from these sites.
And while we’re celebrating free stuff, you might also like these 4,600 images from the Getty.