Index: to the encyclopedia

index

Scott McCarney

Index : to the encyclopedia / a project by Scott McCarney.
Rochester, N.Y. : Smart Books , 1994.

[56] p. : il. p&b
23 x 15 cm
offset; brochura
1000 ex.

Images from a 1960 edition of the Encyclopedia Americana combined with scans of the index carved into a pattern of pixels. A deluxe wallpaper edition packages one bound book with two unbound books that can be assembled into an overall pattern of the artist’s hand.

Imagens de uma edição da Encyclopedia Americana de 1960 combinada com páginas do índice da enciclopédia, em um padrão de pixels que, com o livro desmontado, formam a imagem da mão do artista, mostrada na capa.

[fonte – scottmccarneyvisualbooks]

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Flux paper events

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George Maciunas
Flux paper events
Berlin, Edition Hundertmark, 1998 (1ª ed. 1976)
16 p.
21 x 15 cm.

O livro teve intervenções em diferentes páginas: cortes, rasgos, grampos, dobras e perfurações. No site da Fundação Bonotto, encontramos imagens do livro de Maciunas e uma carta com o projeto, o que permitiu que o editor Armin Hundertmark fizesse uma edição póstuma da obra em 1998.

Published by Edition Hundertmark, Berlin
Different pages with interventions: cuts, stains, tears,
staples, perforations and folds. pp.16, 21 x 15 cm.

1. Project
Published in edition of the series “Karton”
Photocopy, 28 x 22 cm.

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2. Book, 1976
First editon, part of Special Edition
“Künstlerhefte 1976-1979”
Cardboard box, numbered 2/80

3. Assemblage, 1998
Eight open books of the second edition
assembled on wooden box by L. Bonotto,
254 x 35 x 6 cm.

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Imagens: http://www.fondazionebonotto.org/fluxus/maciunasgeorge/artistsbook/fx142813.html

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Mallarmé, The Book

Klaus Scherübel.
Mallarmé, The Book
New York, Printed Matter Inc., 2004
ISBN 0-89439-012-0

Nos últimos trinta anos de sua vida, o poeta francês Stéphane Mallarmé (1842-1889) se dedicou a um “trabalho maravilhoso”, que ele simplesmente chamou O Livro (Le Livre). Ele imaginou o livro como uma arquitetura textual-cósmica: uma estrutura extremamente flexível que iria revelar nada menos que “todas as relações existentes entre tudo.” Esta “Grande Obra”, totalmente liberta da subjetividade de seu autor e contendo a soma de todos os livros era, para Mallarmé, a essência de toda a literatura e ao mesmo tempo um livro “muito comum”. A realização deste
trabalho “puro” que planejava publicar em uma edição bestseller nunca progrediu além de sua concepção e uma análise detalhada das questões estruturais e materiais relacionadas com a publicação da obra.
Em Mallarmé, O Livro o artista Klaus Scherübel atua como editor e preservador da obra-prima esquecida de Mallarmé. Em um gesto que destaca o estatuto contraditório do livro, impossível de realizar (como um livro) e plenamente realizado (como um trabalho conceitual), Scherübel produziu uma “capa” para O Livro nas dimensões especificadas por Mallarmé mais de cem anos atrás.

http://klausscheruebel.com/

Drafting defeat: 10th century road maps and 21st century disasters

E2P4-08

Slavs & Tatars
Drafting defeat: 10th century road maps and 21st century disasters.
Moscow: Slavs & Tatars, [2007]. [16] p. with Russian folktale in inside cover
22 x 31 cm. Edition of 250.

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A collection of highly stylized 10th century maps of the Middle East with translations of  the legends that accompanied them in a 1933 Soviet edition of Nasser Khosrow’s Safarnameh (Book of Travels).

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Maps of The Arabian Peninsula, Egypt, Syria, The Persian Gulf, The Caspian Sea and Iraq by Abu Ishaq Ibrahim Ibn Muhammad Al-Farsi al-Istakhri aka Abu’l Qasim Ubaid’Allah Ibn Khordadbeh aka Al Farsi aka Istakhri.

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We have always had an aesthetic weakness for the merciless and brutal banality of bureaucracy. Little did we know that such a weakness would extend to the bureaucrats themselves. The following are reproductions of 10th-century maps by Al-Istakhri (aka Ibn Khordadbeh or Al Farsi) found in a 1933 Soviet edition of Nasser Khosrow’s Safarnameh, or Book of Travels. Both Istakhri and Khosrow were Persian bureaucrats whose legacy was a paper trail of the very antithesis of administration: a regime of curiosity that attempted to describe and map out the Middle East as a coherent geographic and cultural region. Khosrow, an 11th-century Persian poet and philosopher, had led an uneventful life as a tax collector in present day Turkemenistan when one night, in his sleep, a voice told him to leave behind his life of worldly pleasures. Khosrow dropped his avowed weakness for the medieval Merlot and began immediately to plan a seven-year trip through the Caucases and the Caspian to the holy cities of Medina and Mecca. Khosrow was, to some extent, the millenary Muslim equivalent of a 21st-century born-again Christian. Except where the former asked questions, the latter offers only solutions. Where the former travelled extensively, the other is unlikely to have a passport. 

Academia, the publisher of Safarnameh, was itself an unorthodox outfit in the Soviet landscape of the early 20th century with a reputation for smart, unexpected titles on relatively limited runs. These maps were drafted during a period when Islamic geography rekindled an interest in Roman and Greek scholarship abandoned by the Christian West. Early draftsmen including Istakhri contributed to An Atlas of Islam, with a visible bias for the Farsi-speaking peoples in the Middle East, where a boundless taste for geometric shapes and symmetry belongs today more to the world of fantasy than fact. Later cartographers such as Al-Idrisi went on to craft intricate maps on improbably luxurious materials (e.g. a 400-pound tablet of silver) with even more improbable names (such as The Gardens of Humanity and the Amusement of the Soul) that would serve for centuries to follow. When Christopher Columbus studied these maps, before setting out to sea, we wonder: did it occur to him that his future would be no less unpredictable than our past?

The Illustrated Dictionary of Received Ideas

ImagemGareth Long & Derek Sullivan.
The Illustrated Dictionary of Received Ideas
[Toronto], 2010
228 p.
21,5 × 27,8 cm
25 ex.

http://garethlong.net/

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The Illustrated Dictionary of Received Ideas
Gareth Long & Derek Sullivan
Drawing Session/Performance – Smack Mellon, Brooklyn, USA. June 2009.

2009-ongoing

Since 2009 Gareth Long and Derek Sullivan have worked towards an on-going project to illustrate and translate Flaubert’s Dictionary of Received Ideas. Seated at an iteration of Long’s Bouvard and Pécuchet’s Invented Desk For Copying, a series of desk-sculptures pulled from the unfinished pages of Gustave Flaubert’s incomplete last novel, the two artists intend eventually to illustrate every entry in Flaubert’s posthumously published satirical dictionary – a text that contains 950 biting and surprisingly contemporary entries lampooning bourgeois French society of the time. Flaubert had intended to include this text as part of the second half of the novel Bouvard and Pécuchet. Long and Sullivan’s project has them draw images copied from the Internet (the dilettante’s library of today, and one that parallels the vast library embedded within Flaubert’s novel) which brings the surprisingly contemporary platitudes up to date, and match Flaubert’s own caustic wit and meta-references with a disarmingly funny, charming (and sometimes school-boyish) sense of humour. Just as the desk-sculptures act as an illustration of the final moments of the novel, with Long and Sullivan seated at them, they too become a sort of extended illustration of the eponymous characters. A self-professed ‘crap drawer,’ Long’s lack of skill as an illustrator for the Dictionary is a form of illustration itself: his drawings are obviously those of an amateur, just as Bouvard and Pécuchet are destined to remain amateurs in each of their endeavours. And so, by ‘copying’ the two characters in the novel, Long and Sullivan’s drawing sessions contribute to the seemingly endless cycle of mimicry and citation taking place in the book.

Long and Sullivan compile their collected illustrations in an on-going series of bookworks (there are 6 iterations to date), designed by Mike Gallagher, titled The Illustrated Dictionary of Received Ideas.

Long and Sullivan have worked on the Dictionary through more than 23 illustrating sessions to date, which have included public drawing sessions at MoMA PS1, Printed Matter, Smack Mellon, Kate Werble Gallery, and the Bloomberg Building in New York; The Power Plant, Mercer Union, Art Metropole, the AGYU, Oakville Galleries and Jessica Bradley Art + Projects in Toronto; The Southern Alberta Art Gallery, Lethbridge; READ Books at the Charles H. Scott Gallery, Vancouver; The Musée juste pour rire in Montreal; Flat Time House in London, England; Shandy Hall in Coxwold, England; and Wiels in Brussels.

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Details

dailey

Richard Dailey
Details: Private Parts in Public Spaces, a Comparative Study of Antique Sculpture
Paris, One Star Press, 2002
14 x 22,5 cm
150 p.
Cover : Paperback, color, glossy finish
Binding : glue bound
Interior : black-and-white
250 ex. numerados

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Richard Dailey ilustrou em close-ups fotográficos um capítulo do repertório de escultura antiga catalogando os deuses e deusas, heróis e heroínas da Antiguidade, envoltos em sua aura de beleza e verdade. As imagens são tradicionalmente apresentadas em forma de álbum: álbuns de fotos, estudos da natureza, manuais ilustrados, catálogos de museus. Curiosamente, o efeito desses close-ups contradiz a percepção tradicional de escultura clássica. Sua individualidade, reforçada pela idade, aqui emerge das feições de expressão clássica.

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Richard Dailey has illustrated in photographic close-ups a chapter from the repertory of antique sculpture by cataloguing the gods and goddesses, the heros and heroines of antiquity, wreathed in their aura of beauty and truth. The images are presented traditionally in familiar album form : photo albums, nature studies, practical illustrated manuals, museum catalogues. Curiously, the effect of these close-ups contradicts the traditional perception of classical sculpture ; their individuality, enhanced by the ages, emerges here from the lineaments of classical expression.

Layout and photos : Richard Dailey

Disponível em PDF aqui

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French Fries: a new play

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Dennis Bernstein, Warren Lehrer.
French fries : a new play
written by Dennis Bernstein, Warren Lehrer
designed by Warren Lehrer.

Purchase : Ear/Say ; Rochester : Visual Studies Workshop, 1984.
[104] p. : il. color.
20,9 x 27,5 cm.
offset.
700 ex.
ISBN : 0961387106
ISBN : 0898220394

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Esta é uma peça teatral que é encenada nas páginas do próprio livro. As falas de cada personagem são escritas em uma tipografia e uma cor diferentes. A história acontece em uma lanchonete. A capa foi impressa no mesmo material usado para as capas de cardápios.

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This edition is limited to 700 copies signed and numbered by the authors. The book is smythe sewn and encased in a die-cut hardbound wrap around cover. All photo-typesetting was set by Warren Lehrer on a berhold acs 3200 compugraphic 7500 and an itek quadritek 1200. Esther rothschild is set in Century Schoolbook Bold Italic. Carmen is set in Univers 75 (reversed). Flash is set in Clarendon Bold (bounce). Walley Dugan is set in Stymie Light and Bold. Jack Murphy is set in Helvetica Bold Condensed. Jo Jo is set in Bembo Roman. Louise Giallanza is set in Kabel Medium. The stage directions are set in Univers 55. News updates are set in Univers 67. The introduction, menu and colophon are set in Century Schoolbook Roman, Italic, Bold and Bold Italic. Other typefaces used throughout the book: Bodoni Bold Italic, Windsor Elongated, Optima Roman, Cooper Black Italic, Helvetica Condensed Light, Futura Bold, Graphique Overlapped, Craw Clarendon, Umbra Caps, Jim Crow Caps, and Orplid.

http://artistsbooksonline.org/

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A Field Guide to Weeds

A field guide to weeds

Kim Beck
A Field Guide to Weeds
New York: Printed Matter, 2008
Capa de tecido
Offset, 5 cores
17.5 x 11.8cm
96 p.
1st edition, 2007, 750 ex.
2nd edition, 2008, 1500 ex.

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“Um guia de campo para as ervas daninhas” se disfarça como um guia de bolso do século 19, mas é um guia que o mato tomou conta. Este projeto usa a forma física do livro como uma metáfora para uma rachadura no passeio da cidade: o dente de leão, caruru e erva – as plantas que as pessoas ignoram, passam por cima, arrancam ou evitam escrupulosamente – brotam da sarjeta, invadem as páginas e tomam o livro. Múltiplas formas se sobrepõem e se repetem, atraindo o olhar do leitor para o que é esquecido. Este livro foi publicado pela Printed Matter como parte do Programa de Publicações de  Artistas Emergentes. Ele está relacionado com as instalações realizadas em: Moroso, Bater Mellon e Artists Image Resource.

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A FIELD GUIDE TO WEEDS masquerades as a 19th century pocket guide, but a guide in which the weeds themselves have taken over. This project uses the physical form of the book as a metaphor for a crack in the city sidewalk: the dandelion, pigweed, and poison ivy—the very plants we step over, ignore, dig up, or scrupulously avoid—creep out of the gutter, up pages, and overrun the book. Multiple silhouettes overlap and repeat, drawing the reader’s attention to the overlooked. This book was published by Printed Matter as part of the Emerging Artist Publishing Program. It is related to installations at: Moroso, Smack Mellon and Artists Image Resource. Cloth cover, sewn-bound, ribbon, 5-color, 17.5 x 11.8cm, 96 p. 1st edition 750; 2nd edition 1500.

Mais info: http://www.idealcities.com/field-guide.html

 

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Arty

Arty
[São Paulo, Base-V],
capa em couché laminado
10 cm x 8,5 cm
64 páginas
impressão laser em amarelo e preto
Os livros dessa série são totalmente editados por meio dos resultados de busca de imagem no Google de uma determinada palavra que vai impressa na capa. Tamanho 8,5cm x 10,5cm, 64 páginas (Arty impresso em 2 cores) (Besta impresso 4 cores). 2008.

BASE-V é um grupo de artistas de São Paulo que atua desde 2002. Atualmente é formado por Zansky, Danilo Oliveira e David Magila. Trabalham a partir da experimentação livre e improvisação.

[fonte]

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