art made from books: altered, sculpted, carved, transformed

Prefacecopyright©2013byBrianDettmerIntroductioncopyright©2013byAlysonKuhnAllartcopyrighttheindividualartists.Page176constitutesacontinuationofthecopyrightpage.Allrightsreserved.Nopartofthisbookmaybereproducedinanyformwithoutwrittenpermissionfromthepublisher.

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CONTENTS

PREFACEBYBrianDettmer6

INTRODUCTIONBYAlysonKuhn8

ARTISTS

JamesAllen24

ThomasAllen30

NorikoAmbe36

Anonymous42

CaraBarer48

DougBeube54

SuBlackwell60

JenniferCollier66

BrianDettmer70

AriánDylan

76

YvetteHawkins80

NicholasJones86

JenniferKhoshbin92

LisaKokin98

GuyLaramée104

PabloLehmann110

JeremyMay116

PamelaPaulsrud122

SusanPorteous126

AlexQueral130

JacquelineRushLee134

GeorgiaRussell140

MikeStilkey144

KylieStillman150

JuliaStrand

154

RobertThe160

VitaWells166

ARTISTBIOS170

IMAGECREDITS176

PREFACE

BRIANDETTMER

ITowerofBabble,2012,Paperbackbooks,acrylicmedium.

Igrewupintheeightiesrightacrossthestreetfromaschoolforthedevelopmentallydisabled.MybrotherandIlovedtodumpsterdive,alwaysoutofcuriosityratherthannecessity.Theexcitementofexplorationwasbalancedwithanequallystrongsenseofobligationtosavevaluableitemsfrombeing

thrownaway.Thissensewasn’tmerelyforthesakeofbeingenvironmental.Itwasforthesakeoftheobject,andthepotentialforitsresurrection,revitalization,andrebirth.

Ourfavoritespotwastheclusterofdumpstersbehindtheschool.Therewereafewtimeswediscoveredseveraldumpstersfullofhardboundbooks.Wecouldn’tbelieveanyonewouldthrowthebooksaway,andwewouldgatherboxloadstotakehometoouratticlibrary.Theymayhavebeenoutofdate,oruselesstousspecifically,butwewouldtakethemforthetitles,thepictures,andoftenfortheactualstories,orsometimesjustbecauseitwasabook.Wehadamassiveatticlibraryduetoourdiving.

Encyclopediaswerelikeswimmingpoolstous.Wedidn’thaveourownsetbutwealwaysknewsomeonewhodid.Wecouldpolitelynegotiateaquickswimintotheneighbor’ssetor,ifweneededalongerswim,wecouldwalktothelibrarydowntown.Atthelibrarywecouldgetrefreshedandgatherinterestingideasfromdeepwithinthewaves.

Thesituationhaschanged.Thebookisnolongerthekingoftheinformationecosystem.Wecannow

accessalmostanythinginstantlyonline,andboundencyclopediashavebecomelargelandmammalsthatcan’tcompetewiththenewerspecies.Theyhavecollapsedandtheycan’tgoon.Dowefeedfromthecarcass?Ideas,likeprotein,arevaluableandshouldn’tgotowaste.Theyshouldbeconsumedbysomeone.Or,dowetreatthemthroughtaxidermytopreservetheminaninanimatestateforfuturegenerationstoviewinmuseums?

Icutbooks.Istartedcarvingintothemaroundtheyear2000.IwasworkingonaseriesofcollageswhereIbeganwithnewspapersandendeduptearingapartbooksforafragmentedsurfaceoftextonthecanvas.IfeltguiltyaboutwhatIwasdoing,butalsointriguedbythedeeptexturesandconceptualpotentialoftheprintedpage.Thisledmetosealupbooks,paintingtheedgesoforphanedencyclopedias—lonersfromthriftstores—andcarvingdeepholesintothem.Iwasexploringideasaboutnewwaystoapproachthepages.Atone

pointIwascarvingalargeholeintoabookwhenIcameacrossalandscapeonapage;withoutthinkingIbegantocutaroundthelandscapeandafigureemergedafewpagesbelow.Icarvedaroundthatfigureandanotherimageappeared.ItwasexcitingbecauseIhadnoideawhatwouldemergeonthenextpage.Itwaslikereading.Myintuitionswerestrongandtheresponsewasevenstronger.IknewIwasdoingsomethingnewandsomethingrelevantwitholdmaterials.Itisrecycling,butnotjustinthematerialsense;it’sarecyclingofideas,images,text,andtexturesfromourculturalpast.Wepullfromthepasttomakesomethingnew,thewayartalwayshas.

Therehasbeenalongtraditionofartaboutthebook,ofartrepresentingbooks,ofartists’books,andevenalteredbooks;however,inthelastfiveyearsIhavenoticedahugeriseinpracticingartistsandamoreinterestedaudience.Mostofthisbookworkhasemergedasaresultof,oraresponseto,theriseoftheInternetandthefactthattheroleofbookshasdramaticallychangedinourcurrentinformationecology.Manynonfictionbooks,specificallyreferencebooks,havelosttheiroriginalfunction.ButIdon’tthinkbookswilleverdie.Ithinkitistheperfectformformanyofourideasandstories.Thetraditionalnovel,mostfiction,largemonographs,art,design,andvariousothergenresoftextandimagearebestinbookformbecauseofthequalityavailableinprint—thetactility,thefunctionality,durability,andtheauthorityoftheobject.

Somebooksmaynolongerbeasvitalastheyoncewere,butlikepaintingatthebeginningofourlastcentury,itwon’tbereplacedorevendemotedinourculturalhierarchybyanewerform.Whenphotographyandhigh-speedprintingbecamecommonplace,peoplefearedandprophesizedabouttheendofpainting.Butinsteadofsuffocatingpainting,printingandphotographyfreedpaintingfromitspedestrianresponsibilitiesandallowedittoevolveintonewer,moremoderndirections.Thehistoryofmodernart,ledbythenewfreedomsofpainting,wouldn’tbethesamewithoutthesenewertechnologiesforcommunication.Thesameishappeningnowwiththebookinthedigitalage.Wehaveanexcessofoldmaterialwenolongeruseandanemergenceofnew

ideasaboutthebook.Byalteringthebook,wecanexplorethemeaningsofthematerialandtheideaofthebookasasymbolforknowledge.Wecanexplorequestionsaboutthehistoryandthefutureofbooksandtheimpactofnewtechnology.Wecancontemplateandillustrateideasaboutliteratureandinformationtechnology.

Itisnotaboutnostalgia.Itisabouttherichnessofitshistoryandthebeautyofitsform,thoughmoreoftenitgoesfarbeyondthis.Theinfinitewaysabookcanbeexploredwithourmindsandourtoolshasjustbegun.Weareatanexcitingandpivotalmomentinthewaywerecordandreceiveourinformation.Theformofthebook,asymbolforideas,information,andliterature,maybethemostrelevantsignifierandrichestmaterialwecanworkwithtoday.Weneedtotakeadvantageofthismomentandrespectthehistoryofthebookwhilecontemplatingitsfutureinthefaceofshiftstodigitaltechnology.

Thebookistechnology.Thebookisamachine.Thebookisfood.Thebookisabody.Itisavastpoolweneedtodiveinto.

INTRODUCTION

ALYSONKUHN

ISuBlackwell,TheBookoftheLost,2011.Secondhandbook,lights,glass,woodbox.

Thisanthologyshowcasestheworkofartistswhoseprimarymaterialisbooks.Theseartistsdonotmakebooks;rather,theytakebooksapart.Interestingly,astandardnomenclatureforthisrelativelyrecentartformhasyettoemerge.Theterm“alteredbooks”iswidelyusedbyartistsandcurators,butmanymembersoftheart-appreciatingpublicfinditmisleading.DougBeube,whohasbeenalteringbooksformorethanthirtyyears,likesthewordbookwork,whichislogicalandevocative.Beubeseeshimselfasasculptorwhomanipulatesbooks,andheusesthetermmixedmediaartistbecausehealsoemployscollage,installation,andphotography.BothBeubeandBrianDettmer,whocontributedtheprefacetothisanthology,havepioneeredtechniquesthatcontinuetoinspireanewgenerationofbookartists.

Jewelry-makerbestdescribeswhatJeremyMaydoes.Hecraftsrings,bracelets,andnecklacesbylaminatingmany,manylayersofpaperthathecutswithascalpelfromthepagesofasinglebook.JenniferCollierstitchespagesfromvintagestorybooks,cookbooks,andinstructionalmanualstofashionherpieces—clothes,shoes,andhouseholdobjects.InMay’swork,theoriginaltextisobscured;inCollier’s,theoriginalnarrativeliterallyprovidesthefabric.Otherartistsemploy,andsometimescombine,elementsoforigamiandpapercutting.

Sufficeittosay,theworksassembledhereareremarkablydiverseinform,size,andscale.May’s“literaryjewelry”andAriánDylan’spaperbackchesssetareatthediminutiveend,whereasPamelaPaulsrud’sBibliophilismturnsthespinesofseveralhundreddiscardedbooksintoahugearearug,andYvette

Hawkins’sinstallationsofcylindricalbooksfillanentiregallery.InbetweenareVitaWells’sairborneclusterofindividualvolumes,andencyclopedicmultivolumelandscapesbyGuyLaraméeandBrianDettmer.

Theartisticalterationofbooksgotitsstart,withabang,inthelate1960s.BritishartistTomPhillipssethimselfthechallengeofbuyingausedbookandalteringeverypageofitbypainting,collaging,orcutting.ThenovelhepurchasedwasAHumanDocumentbyVictorianauthorWilliamHurrellMallock.PhillipsnamedhisownworkAHumument:ATreatedVictorianNovel.Phillipscelebratedhisseventy-fifthbirthdayin2012,coincidentwiththepublicationofthefifthrevisededitionofAHumument.Phillipscontinuestorevisehisopus,andtosharetheworkinitsentiretyontheproject’sofficialwebsite(www.humument.com).Phillipshasfurtherembracednewtechnology:aHumumentappforiPadisnowavailable.

IIBrianDettmer,processshot.

Thenotionof“treating”abookinthiswayhashistoricalprecedent,albeitmoreaboutcollectingandlessaboutcreatingthanPhillips’sundertaking.Backineighteenth-centuryEngland,thepracticeofextra-illustrationbecamefashionable.Asitsnamesuggests,thisinvolvedaddingillustrationsandnewsclippingsfromothersources,usuallytoabiography.So,theoriginalboundtextwassupplementedbytheowner,whothenpossessedauniquelycuratededition—aninterestingvariationonvanitypublishing.Foratime,publishersactuallyincludedblankpagestoaccommodatesuchadditions;withother

books,anownerwouldhavetheoriginalvolumeunboundandthenrebound.TheBiographicalHistoryofEngland(1769)bytheReverendJamesGrangerwassopopularwithextra-illustratorsthatthispracticebecameknownasgrangerism.

IIIBrianDettmer’scollectionofusedX-Actoblades.

Today,referencebooksthathaveoutlivedtheirusefulnessassourcesofinformationaretreasuretrovesforcontemporarybook-alteringartists.Volumeswithpatterned,stamped,orotherwiseembellishedcoversalsohavepotential.Occasionally,aself-helpbook,atelephonedirectory,orascientificreportmaybecomefodderforabookwork.Somebookloversareuncomfortablewiththenotionofalteringbookstomakeart.Wearetaughtaschildrentorespectbooks,totreatthemwithcare.Yet,manyofusfindtheircontentssopersonallymeaningfulthatwewritenotesinthemarginsorevenhighlightentirepassages.Wemaydog-earthepagesofapaperbacktomark

ourplace.AuthorAnneFadiman,inheressay“NeverDoThattoaBook”(fromExLibris:ConfessionsofaCommonReader),dividesbookloversintotwocategories,the“courtly”andthe“carnal.”Thecourtiers,ifyouwill,treatbooksassacredobjects;thecarnalreadersmakenotesin,andtakeotherlibertieswith,theirbooks.Bothgroupslovetheirbooks,butshowitdifferently.

IVTwoofthemanybookshelvesinBrianDettmer’sstudio.

Alteredbookstapintoourcollectiveheightenedinterestinbooksasobjects.Physicalbooks,asdifferentiatedfromdigitalversions,tendtotriggermemories,bothvisualandtactile.Oureyesreadabook,ourhandsfeelitandholdit,andourmusclememorydeepensourrelationshipwithit.Somereaderskeepthereceiptforabookrightinsidethefrontcover,especiallyifitwaspurchasedonatrip.Manyshopsautomaticallysliptheirbookmarkintoabook.Handheldembossers,bookplates,andrubberstampsareallpopularwaystoidentifyyourbookasyours.

Then,whenwearefinishedreadingabook,wedecidewhethertokeepitorlenditorre-giftit.Wemaytakeittoausedbookstore,orsellitonline,ordonateittoalibrarysale—wherebook-alteringartistsfindtheirrawmaterials,andgivethemnewlife.

Imaginethatyouareanauthor,andonedayyoureceiveasagiftacopyofyourfirstnovel,butithasbeenphysicallyalteredtothepointwhereitisnolongerpossibletoactuallyreadthestory.ThishappenedtowriterJonathanLethemseveralyearsago.ThebookwasGun,WithOccasionalMusic,andithadbeencutintotheshapeofapistolbyartistRobertThe,whoseworkLethemdescribesas“thereincarnationofeverydaymaterials.”Thewriterreflectsonthis“strangebeautyofseconduse”inanarticlepublishedinHarper’sMagazinein2007,concluding“theworldmakesroomforbothmynovelandRobertThe’sgun-book.There’snoneedtochoosebetweenthetwo.”Theartisthasmadeothergun-books,includingonefromTheMediumistheMassagebyMarshallMcLuhanandQuentinFiore(p.164).

VGuyLaraméeusingasandblastingcabinettocontainthedust.

VIJeremyMay’ssanderbitsforhisrotarytool.

VIILisaKokin’ssewingmachine.

Moreandmoreartgallerieshavebeguntoshowalteredbooks.Onegalleristwhohasfeaturedtheseworks,bothinanannualArtoftheBookexhibitionandintheoccasionalsoloshow,isDonnaSeagerofSeagerGrayGallery.Shefeelstheseworksevoke,firstandforemost,surprise—andthencuriosityanddelight.

Abookisahighlyfamiliarandbelovedform.Whenitisaltered,somanyassociationsarecalledintoplay,includingthedeeprelationshipwehavewithbooksingeneralandwithcertainbooksinparticularSomepeople’sinitialreactionishorrorattheeviscerationofasacredorpreciousobject,butthenthefertilefieldthatabookcanbeasmaterialforartbecomesevident.Contentandform—andourattitudesorperceptions—aremanipulatedatthesametime.Theworkengagesnotonlytheeye,butalsotheintellect,allowingforpowerfulcommentaryinconcertwithextraordinaryvisualappeal.

Inthesummerof2012,theChristopherHenryGalleryinNewYorkmountedaninternationalexhibitiontitledACutAbove:12PaperMasters.Fourartistswhoseworkappearsinthisbookwereincludedinthatshow:DougBeube,BrianDettmer,GuyLaramée,andPabloLehmann.Throughspendingtimewiththeirwork,co-curatorDianaEwerobservedthatbytransformingabookintoasculpture,theartistinasensepermitsthebookanalter-ego.

Theseartiststurnbooksintonewobjectswithintheirownright,2-Dand3-Dsculpturalworksthatevokeavisualpleasureandalsochallengeourownunderstandingofwhatabookhasbeenandwhatitshouldbe.Theartistsplayonourfamiliarexperienceofthebook,turningitonitsheadbycutting,sawing,shredding,andstitchingspecificbooksrememberedfromchildhoodassacredculturalartifacts!Weareengagingwithsomethingthatisintellectualandtoanextentpolitical.Theseartistsareagentsofchange,invitingustoconfrontandquestionhowweunderstandandprocessknowledge.Whilstwe

continuetoremainawareofbooks’originalpurpose—bookworkshaveanimmediatepoignancyastheInternetsurpassesprintedmaterialasourprimaryfocusforobtaininginformationand,formanypeople,seekingentertainment.

VIIIThomasAllen,processshot.

IXJenniferCollierfinishingapairofshoes.

X

XI

X,XIAnonymous,@edbookfest(6/10),2011.

ThiswasmadefortheEdinburghInternationalBookFestival.Really,isthereanythingnicerthanacupoftea,acake,andalazyafternoonwithabook?—Anonymous

XIIAnonymousatworkinherstudio.

Thisanthologyincludesananonymousartist,someonewhohaschosentoreceivenopersonalrecognitionorcompensationforthetenbookworksshemade(shehasrevealedherselftobefemale)andmysteriouslyleftatlibrariesandotherculturalcentersthroughoutEdinburghinthecourseof2011.Thepiecesshareasenseofcreativeabandonorfrenzyortatter—asiftheyhaveweatheredastormoratempestinaMadHatter’steapot.Theyhavebeenwidelyacclaimedinprint,andtheattentiontheygeneratedintheblogosphereisquitefitting,aseachpieceboreahandwrittengift-tagaddressedtothevenue’sTwittername.Theoutpouringofaestheticdelightandmoralsupportfromlibraryloversisafinetestimonialtothegrowingawarenessandappreciationofalteredbooksasanengagingwaytoillustratethewondersofreading.

ANATOMYOFANALTEREDBOOK.

Onewayofreflectingonthediversityoftheseartistsisbyconsideringwhichpartorpartsofabooktheyworkwith.ForphotographerThomasAllen,theproverbial“Don’tjudgeabookbyitscover”istheexactoppositeofhisapproach.Thefirstbookheeveraltered,attheageoffive,wasaBetterHomesandGardensstorybook,ontowhoseinsidebackcoverhetracedtheoutlineofhishand.Today,forty-someyearslater,Allenusesthefrontorbackcoversofbooks,andtheoccasionalinsidespread,ashisblankcanvas.Hespecializesinliberatingpeopleorthingsfromthecoversandlettingthemstanduporflyofforplaybasketballontheirown.InRhyme&Reason,inspiredbyNortonJustersThePhantomTollbooth,Allenusesaperfectpairofwell-wornbooks(p.32).Hecutstwocharacters,whostepoutgracefullyfromtheircovers,elegantskirtsflowing.(Theywouldbethebestofbookends.)

XIIIThomasAllenpreparestophotographKingAzaz,theUnabridged(RulerofDictionopolis),cutfromthefrontcoverofavintageWebster’sNewPracticalSchoolDictionary.

MikeStilkeyalsospecializesinalteringcovers,butcollectivelyratherthanindividually.Hearrangesashelforstackorwallofbooks,andthenpaintsasceneorportraitoverthespines.Thesamebroodingblack-cladcoupleappearsinseveralworks,alwayslookingBohemianandbookish.InLoversAllUntrue,abook’soriginalcoverbecomesacarpet,atopwhichaneatlydressedhorse-manplaysagreenaccordionthatmatchesthechairhe’sstandingon,hismanedisappearingintothebackcoverofabookaboutAbrahamLincoln(p.147).

InherseriesStillStanding,VitaWellsturnsbookspinesintoskeletalspines.Shearrangesthembycolorintotoweringcolumns:shadesofred,gradationsofblue,acontinuumofneutrals.Eachcolumnisstackedonawoodandmetal“shoe.”Thevolumeshavebeensandedconvexly,sotheircontentsarebulgingout.Usually,hintsoftextarevisiblealongtheedges,andtheinkpatternswithcreamborderssuggestprintedtextiles,anotherofWells’sinterests.InoneoftheninefiguresconstitutingStillStanding,theartistpresentswordmarks(logosortrademarksmadefromletters)fromdecadespastofpublisherswhoarethemselvesstillstanding(p.166).

Analteredbookcanstilllooklikeabookevenifmuchofitscontenthasbeenremoved.Themissing—ortheremaining—contentsuggestsanewnarrative,onethatmayeitherreplaceorreinforcethewriter’soriginalintent.

Insomeofherpieces,NorikoAmbefocusesheralterationsonthe“interiorgeography,”arecurrentnotioninherwork.ForToPerfectLovers:TelixGonzalez-Torres,theartisthasmeticulouslycarvedtwocopiesofthesamebook,enticingtheviewertotrytofindthedifferences(p.40).Ambe’stinycircularcutsarelightandlacy,evocativeofacrocheteddoilyoramillefioripaperweight,butthetextthatremainsonthepagesuggestsadifferentscenario.Itpresentstwo1996entriesfromachronologydocumentingtheAIDSepidemic:thefirstoneannouncingthedeathofFelixGonzalez-TorresinMiami;thesecondabreakthroughinproteaseinhibitors.Withinthiscontext,thenonidenticalcutsrevealmutatingcellsunderamicroscope,orevenacraterofdespair.Butifwecouldonlyclosethebook,everythingwouldseemfine.

JeremyMayisalandscapearchitectturnedjeweler.Hetransformsvintagebooksintojewelryboxestoholdtherings,pendants,andbraceletsthathemakesbylaminatinghundredsoflittlesheetsofpapertogether—littlesheetsthathehascarefullycutoutofthebookinquestion.Thefirstpiecehemade,backin2007,wasaringforhiswifefortheirfirstanniversary,thepaperanniversary.IttookMayalmosttwoyearsofexperimentingtoperfecthis

secretlaminatingtechniquebeforegoingpublicasLittleflyin2009.Worksoffiction,nonfiction,andpoetryareallsuitable,aslongasthebookisthickenoughtoallowMaytocarvearecessforthefinishedpiece.

XIVJeremyMay’sstudio:bespokeringmadefromTheCollectedPoemsofW.B.Yeats,inspiredbythepoemTheSongofWanderingAengus.

Theoriginalbookstructurecanalsobecomeawindow,aframe,orastage.Someartistsstartbycuttingthecoverandthenworkingtheirwayin.Infact,JamesAllendescribeshisworksasBookExcavations.Hecutsintothecoverofvintagebooksandcarefullydelvesdown,onepageatatime.Ashegoesmoredeeply,Allenreinterpretsthebook’ssubjectbyselectingelementsforhisownvisualnarrative.Whatwasoriginallylinearorsequentialisnowlayeredandsimultaneous.InDresses,2010,heexcavateselaboratelyattiredladiesfromcenturiespast,allwithelaboratecoiffuresorheaddresses(p.24).Hisselectivehistoryofwomen’sfashionat-a-glanceleadstheimaginativeviewertofantasizeaboutthesurrealteapartyorliterarysalonatwhichtheseladiesfoundthemselvesjuxtaposed.

XVJeremyMay,Serialno.045—DieSchonheitdesWeiblichenKorpers,2009.Bookpageswithblack,red,andpurplepaper.(DieSchonheitdesWeiblichenKorpersbyC.H.Stratz)

“Criminalityandinsanityareplantswhichspringupfromthesamesoilofphysicalandmentaldegeneration.”

Gray’sAnatomyhasinspiredseveralartists,withitsmyriadofillus-xvtrationsanditspotentialforwordplay.ForDouble-sidedGray’s,JuliaStrandperformsanintricatedissectionoftheclassicanatomytext,cuttingthroughboththefrontandbackcoverstoexposeskeletalelements,organs,andother

bodyparts—allofwhichappeartobefloatingindependently(p.156).SeveralofStrand’sotherworksinvolvecutoutsofbutterflies,aperfectdoublemetamorphosis.

NicholasJonessometimesusesgraphicelementsonacoverashispointofdeparture.Inotherworks,hecutsthecovertocreateasilhouetteorashoreline.ForGedichte,theartistgentlyreconfiguresavintagevolumeofpoetry(p.90).Hisfoldsarecrisp,precise,andfromthedeliberationemergesanewlyricalform.Thepoemsaresuspendedinmidair,likeapirouettingskirtinslowmotion.Thewordswecannotreadcastapetaledorplumagedshadowontheendpapers.

XVIAriánDylan,Autorretratogritando(Self-PortraitScreaming),2010.Trimmedbook(laserandhand).Notethepairofsymmetricalsilhouettescreatedbythebackground.

XVIIKylieStillman,CommonOak,2007.

KylieStillmanoftenusestheforeedgeofbooks—thepartthatfacesinwardwhenabookisshelved—asherpointofentry.Shesecuresastackofbookstocreatehercuttingblock,andthencarvesoutabird,abranch,oraflowerinapot.Thecontrastoffieldbetweentheplantanditscontainercanbehypnotic.InHangingBasket—FishboneFern,thepothangsonitsthreestrandsofchainfromatrompel’oeilhookStillmanhascarvedintotheuppermosttwovolumesinatallstack(p.151).

Someartistsspecializeinflippingbooksinsideout,whichcanturnthepagesintoacylinder.Byfoldingeachsuccessivepageinonitselfinexactlythesameway,YvetteHawkinscreatesjewel-likelittlesculptures.InherinstallationAioLandinParticular,2010,shearrangeshundredsofcylindersintoadenselandscapeoforderlytreestumps,orperhapstheyarenewshoots,whichthenstartclimbingupthegallerywall,formingaDNAchainofliterarycreation(p.80).

AriánDylansculptstheedgesofpaperbacksandthenturnstheminsideouttocreateformsthatlooklikesmoothlittleorbsorornamentsorfruits.Whenhungtogether,theysuggestagalaxyorasucculentgarden.DylanusesthesametechniqueinTheOrderandtheChaos,afullsetofchesspiecesonaboard(p.79).

Otherartistsalterbookstoapointwherethepagestakeonalifeoftheirown,assculpturalobjectsthataremorelikefireworks,exoticflora,oretherealcreatures.Giventhatthebasematerialisusuallyadamagedordiscardedbook,thetransformationisasdramaticasthatofanuglyducklingintoaswan,orevenafrogintoaprince.CaraBarerenticesbookpagestobehavelikevibrant,flowingfabricandthensuspendstheminmid-maneuver.Theyarecrimped,undulated,curled,andscrolled—andtheyseemtodefygravity.Themosthumbledirectorycanbecomearesplendentbutterflyorawhirlingdervish.Colorededgesmakethemseemliketheyaredressedupforaperformance,thoughsomeofBarer’spiecessuggestthatthedancemightbeover.Barerphotographsherworks,whichmeansthattheviewercannotwalkaroundthem,buttheartistpresentstheperfectangle.

JacquelineRushLeereformatsbooksintopetals,leaves,andexoticflorathatshowcasethesymmetryofnature.Theartistspiralsdirectoriesintoacrosssectionofalogoraplantstem—fromwhichtheyoriginallycame—oranaerialviewofanisland.Insomeworks,pageshavegentlyrolledinonthemselves;inothers,theyundulateinaninvisiblecrosscurrent.

Referencebooksareabrilliantrawmaterialforworksexploringhowwe

obtain,preserve,andshareinformation.Frequently,thetitlesoftheseworksreinforcethetheme.Inmanyofhispieces,DougBeubereflectsonthewaysinwhichlanguageisusedtohideorrevealintentions.Hehascreatedaseriesofmasks,eachcarvedonabandsawfromanentiredictionary,usingastencilhehasmadeinadvance.Thesuccessofthecutisnotagiven,whichiswhyBeubekeepsplentyofdictionariesonhand.Oncecut,thebookisliterallyturnedinsideouttogettheconfiguration.ForMaskedWords,2011,Beubemadeahairpieceoutofanotherbook,slicingitintostrandsonaguillotinecutter,thencollectingthestrandsintoabundle.WhenBeubeexhibitsapairofmaskstogether,onlyonewearsahairpiece—andit’snotgender-specific.Thehairpieceisremovableand,intheory,interchangeable,whichmighthintathoweasyitistotalkoffthetopofyourhead(p.55).

XVIIICaraBarer,Shiitake,2007.Archivalpigmentprintonragpaper.(Who’sWho,2003)

LisaKokinhasrecentlyturnedherattentiontoself-helpbooks.Sometimes,shecutsthecoversupandstitchesthemintoleavesandpetals.Kokin’sparentswereupholsterers,andsheishandywithasewingmachine.She’salsotakentoreducingbooksbacktotheirrawform,whichistosaypaperpulp.Kokincompactsthepulpintostonesorballsornuggetsandusuallyconfiguresthemwithabookthatisstillwhole.Somehighlycondensedinformation—oreven

elementalgraymatter—seemstobeoozingoutofTheTamousRothMemoryCourse,suggestingthatthereader’sstreamofconsciousnesscanindeedoverflowitsbanks(p.101).

XIXMikeStilkey,TimeandTimeAgain,2010.Acryliconbooks.ExhibitedatBristolCityMuseum,Bristol,UnitedKingdom.

XXPabloLehmann,GameText1,2006(detail).CansonpaperprintedwithanexcerptfromImagesandWordsbyHoracioZabalaandcutoutwithtextfromthesametitle.

AlexQueralandGuyLaraméebothuseabookasablockofmaterial,buttheirsourcebooksare“informationopposites.”Queralusesdiscardedphonebooks,whichareultra-disposable,evenephemeral.Hecarvesreliefportraitsoutofthem,transformingthousandsandthousandsofanonymouslistingsintoasingle,highlyrecognizableface,withfeaturesenhancedbytheuseofshadow.Laraméeusesverysubstantialoldreferencebooks,especiallydictionaries,tocarvescenesoutofthetops.Hismore-or-lessgreenlandscapesoffermountain

meadowsandpeaks,sometimeswithatinyshelterorrefuge.Laraméehasalsoexpressedtheimpactofavolcanooratsunamiinhisalteredbooks,reflectingchangesinthenaturalandtheintellectualclimates.

PamelaPaulsrudusesoldbooksaselementsinhermixed-mediasculptures,oftenaddingherowncalligraphy,drawing,orpaintingrightonthecover,orontoaseparatepanelthatsheattaches.Bitsofothertextsorephemerafindtheirwayintohercompositions,sometimesvisiblethroughalittlewindow.Paulsrudoccasionallymountsapieceonacaster,suggestingthatitisheadedsomewhere—likeabookmobile.

Someartistsworkwithindividualpagesremovedfromabook,andthepagemayormaynotremainreadableinitsnewincarnation.SusanPorteoustakesbookscompletelyapartandconvertstheircontentintopartofasculpturethatfrequentlyincludeswoodorstone.Inoneseries,shetwistspagesintopapertwineandwindsitaroundanoldspool.Shemightbespinninganewyarn,ortwistingtheoriginalmeaning,orsimplylosingthethreadofherstory.InBridgeComplete,foldedpagesarecompressedtoformasuspensionbridgebetweentworocks,overlookinganinformationgap,orevenanabyss(p.127).

JenniferColliertakesbooksapartandthenstitchesselectedpagestogetherassomethingaltogetherdifferent.There’smethodinherwhimsy:foreachcreation,Collierusesabookthatcorrespondstothefinishedpiece,frequentlyanitemofclothingorakitchenaccessory.AvintagetypingmanualprovidesallthepartsforherPaperTypewriter(p.68).Collier’splatenismadefromillustrationsofpropertypingposture;typicaltypingexercisesoftheirdayformtheoutsideofthemachine.ReadersallovertheworldhavenotedCollier’sblack-and-whitepaperdress,withredpapershoes,onthecoverofTheThoughtfulDresserbyLindaGrant.

XXIVitaWells,FlightsofMind,2012(detail).Books,filament.InstallationatOakopolisGallery,Oakland,California.

XXIIGeorgiaRussell,LesParavents,2011,aplaybyJeanGenet.Cutbookjacketinacryliccase.ParaventsisFrenchforscreens.

GeorgiaRussellcutspagesintoplumageortendrilsorveins.Insomeworks,thefeathersorshardspushtheirwayoutfrombehindtheiroriginalbeautifulcover.Inothers,Russellcutsthecoverinawaythatunderscoresthesubject;sometimesonlythetitleremainsintactastherestofthecovermeltsorflowsaway.WhenRussellmountsapieceinanacryliccaseorglassbelljar,it’sasifshehastaxidermiedanexoticbirdorpreservedanotherfragilespecies.

It’spossibletosendameaningfulandengagingmessagebycuttingindividuallettersoutof,orinto,atext.PabloLehmannspecializesinindividualletterforms,cuttinganewtext,oneletteratatime,outofanother.Insomeworks,thecharactersareinstantlyidentifiable,thoughthewordsorsentencesmayremaindisjointed.Inotherworks,theartistseemstobewritingamessageinapersonalalphabetofscript-likeswooshes.Sometimes,theoriginalpageisstillreadablearoundorbehindLehmann’stext;othertimes,severallayersoverlap,likeasuccessionofgossamercurtainsthroughwhichwecanvaguelysenseashadowyform.

SuBlackwell’scuttingworkisdelicateinadifferentwayfromPabloLehmann’s.Blackwellisknownforbooktableauxthatbringtolifeascenefromafairytaleorfolkstory.Alandscapeoftrees,alittledwelling,perhapssomebirds,andmaybeevenaninstantlyrecognizableheroine,allriseupoffthepage.Snippetsofwordsmayshiverinanimaginarybreezeorfloatintothinairorevenbesweptawaybyatinybroom.

JenniferKhoshbinalsouseschildren’sbooks,orotherbooksontowhichsheplaceschildren;sometimesthesefiguresgettoplaylikechildrenandsometimestheydonot.Khoshbincutssmallpreciselyplacedconcentriccirclesintoabook,taperingdowntoasinglewordatthebottom:faceorrescueorlife.InLook,onaslightlyspookynight,threeyoungboysclamberofftheirendpaper,boundforoneofKhoshbin’sholes(p.93).Downtheygo,andwewillneverknowwhathappensnext.

RobertThefrequentlyseemstorevelintheinterplayofpositiveandnegativespace.Cuttinganobjectoutoftheentirethicknessofabook,hecreatesatwo-partpuzzlethatismysteriouslyhumorousorthought-provoking,especiallywhenTheshowsusthebookfromwhichabigbugorcrustaceanhasliberateditself.InhisTractatusseries,Thehascutalargeoakleafthroughaweatheredvolume,TractatusLogicoPhilosophicusbyLudwigWittgenstein.Hescatterstheleavesintheforest,wheretheyseemrightathome(pp.160–161).

BrianDettmerrarelyconfineshimselftoonebookatatime.Encyclopediasetsandmultivolumedictionariesfrequentlycomeunderhisknife,asheexcavatesimagesbyexcisingthesurroundingpartsofeachoriginalpage.ICouldTellYouiscomposedofbooksfromadifferentgenre:fifty-threepaperbackmysteries,combinedandsandedtocreateonelargebeamofinformation(p.74).Dettmerhascarvedtheopen-endedphrase“IcouldtellyoubutthenI’dhaveto”intothesmoothsurface.Eachcutawayletterrevealshundredsofindividualwordsfromtheunderlyingbooks,exposingtheinnersecretsofthemysteries,butinafragmentedway.Bitsofrevealedwordsaroundthemaintextsuggestbitsofdataorthepunch-cardsystemofearlycomputing.Foreboding,aswellasbeauty,isintheeyeofthebeholder.

Theworksoftheartistsinthisanthologyhavebeenseen,andwillcontinuetobeseen,ingalleriesandmuseumsaroundtheworld.ThankstotheInternet,manyofthemarealsoviewableontheartists’ownwebsites.Someofthepeoplewholookatthemmaydosowithnostalgiafortheoriginalbooks’earlierlives.Othersmayhavehadlittleuseforthemasbooks.Peopleonbothsidesofthe“margin”canbeengaged,touched,andeveninspiredbythemasart.It’sexcitingtothinkabout.

XXIIIBookfragmentsinAnonymous’sstudio.

JAMESALLEN

Onepageatatime,JAMESALLENcutshiswaythroughbooks.Hebeginsbycreatinganopeninginthecover;hethenusesareductiveprocesstoshapeelaboratescenes,cuttingawaysectionsofeachpagetoreveallayersunderneath.Thebookremainsboundandthepagesintact.Byselectivelykeepingfragmentsofimagesandwords,Allen’sBookExcavationscometogetherasthecontentemerges.Allenconsidersbothnarrativeandcompositionaldynamicsofeachbooktoformhiscondensedreinterpretations.Indoingso,hedestroystheoriginalintentofthebookandcreatesanew,visualmeditationonitssubject.

IDresses,2010.(HistoricCostumeinPictures)

IITheArmyofNervesWhichGototheBrain,2011.(Everybody’sEncyclopedia)

IIISkulduggery,2012.(75YearsofDCComics:TheArtofModernMythmaking)

IVSkulduggery2012(detail).(75YearsofDCComics:TheArtofModernMythmaking)

VPatternDreaming,2009.(Machines)

VIProperTreatment,2009.(AmericanRedCrossFirstAidTextbookforBellTelephoneEmployees)

THOMASALLEN

THOMASALLENhasbeenalteringandphotographingbooksfromavarietyofgenres,includingprimaryreaders,dictionaries,andpulpnovels,fortwentyyears.In2011,AllenwasaskedtocreateaseriesofuniqueworksofartforprominentpublicspaceswithintheCharlotteR.BloombergChildren’sCenteratTheJohnsHopkinsHospitalinBaltimore,Maryland.HechoseStuartLittlebyE.B.White,TitePhantomTollboothbyNortonJuster,andHoops,ayoungadultnovelbyWalterDeanMyers.Foreachbook,Alencarvedsilhouettesonthecoversandpagesandthenphotographedtheworksfordisplay;inthecaseofTitePhantomTollbooth,Allenselecteddifferenttitlesthatevokeaspectsofthecharactersdepicted.

I

II

I,IIStuartLittle,2011.

AweatheredanddiscardedcopyofE.B.White’sclassic,StuartLittle,wasgentlymanipulatedtomakebigpicturesofalittlemouse.

III

IIIThePhantomTollbooth,2011.

InspiredbyidiomsfoundinThePhantomTollboothbyNortonJuster,referencebooksbecomesomeofthecharacters:RhymeandReason,KingAzaz,TheMathemagician,Tock.

IV

V

VI

VII

VIII

IX

IV-IXHoops,2011.

CharactersfromWalterDeanMyers’snovelaboutinnercityteensappearassilhouettesinthecoversofsixcopiestorevealpositivemessageswithwordsshapedbynegativespace.

NORIKOAMBE

ForNORIKOAMBE,cuttingbooksisacollaborationbetweentheartistandtheimagesortextalreadyonthepage’ssurface.Recognizingthatprintedmatterconveysaspecificmessage,shechooseshermaterialscarefully.Justasthestructureofthebookstraddlesthelinebetweentwoandthreedimensions,Ambecreatesworkthathoversbetweendrawingandsculpture.Hercuttingplaysagainstthepresetpatterns,andeventhoughthephysicalactionissimple,shedoesn’ttrytoperfectthelinesinherwork.Intheartist’swords,“Subtleandnaturaldistortionsconveythenuancesofhumanemotions,habits,orbiorhythms.”Forthisreason,Ambemeticulouslymakesallherworksbyhand.

I —ArtistBooks,Linear-ActionsCuttingProject,2010.InstallationviewatTheFLAGArtFoundation,NewYork.

IICuttingBookSerieswithEdRuscha:ArtistsWhoMakePieces,ArtistsWhoDoBooks,2008.(BookbyEdRuscha)

IIIArtVictims:DamienHirst,2009.(CatalogueofDamienHirst)

IVFlatGlobe“Atlas,”2006.

VToPerfectLovers:FelixGonzalez-Torres,2010.

VITheSand–TheAmericans:RobertFrank,2011.Book,Plexiglas.

ANONYMOUS

Overthecourseofeightmonths,fromMarchtoNovemberof2011,tensmallbooksculpturesbearingtags“Insupportoflibraries,books,words,andideas”weresmuggledintovariousculturalvenuesaroundEdinburgh.AlthoughtheartisthasremainedANONYMOUS,thebeautyofboththeworkandthemysterysurroundingithasgainedrenown.Whiletheindividualsculpturesaremadefromoldpaperandbooks,theprojectisinterwovenwithnewtechnology,witheachgiftaddressedtothevenue’sTwittername.

TheonlybooksusedthatwerewrittenbyalivingauthorwereExitMusicandHideandSeek,bothbyEdinburgh’sIanRankin.Inwhatseemedonlyafairexchange,sculpture11/10,@beathhigh,wasthesingleworknotgiftedtoaninstitutionbuttoIanwho,accordingtotheartist,isarguablyaninstitution.

ChrisScott,whobecamechiefrecorder,photographedandbloggedeachsculptureasitappeared,providingthestorywithanonlinehome.Hebecameavitalcollaborator,althoughheandtheartisthavenevermet.

I@byleaveswelive(1/10),2011.

PopularlycalledThePoetreeandinspiredbyTheScottishPoetryLibrary’stagline“byleaveswelive.”ThepoeminsidetheeggshellisEdwinMorgan’sATraceofWings,lamentingthelossofhisfriendBasil

Bunting,“ararebird.”

II@filmhouse(3/10),2011.

AsculpturewasleftatEdinburgh’sFilmhousetocelebrateagreatvenue,invaluabletothosewhoalsoenjoytheirbooksonthebigscreen.

III@curatoremg(8/10),2011.

TheWritersMuseumpaystributetoEdinburgh’sliteraryheritage.Inthissculpture,“Dr.JekyllandMr.Hyde”iscraftedfromIanRankin’snovelHideandSeek,andtwoofEdinburgh’sliterarysonsaregivinga

nodtoeachother.

IV@ntlmuseumsscot(9/10),2011.

ItwouldbewrongofmetotakecreditfortheideaofplacingArthurConanDoyle’sTheLostWorld,completewithaT.rex,intoEdinburgh’sNationalMuseum.ThisIthinkcamefromphotographerChrisScott.Itworkedwell.Dinosaursarecool,andmuseums,likelibraries,arefree,fascinating,andbeyond

value.

V

VI

V,VI@beathhigh(11/10),2011.

Thiswasmadefor@beathhigh(IanRankin)tomarkthepublicationofTheImpossibleDead,andasathankyouforhissupportthroughouttheproject.ViaTwitter,hewasinontheideafromthebeginning

andservedasasoundingboardthroughout.

CARABARER

CARABARERblursthelinebetweenobject,sculpture,andphotography.Shefirstfindsdiscardedorobsoletebooks,andbyusingwaterandvariousclamps,string,staples,andglue,transformsthemintosculpture.Shethenphotographsthem,capturingtheextraordinarygraceandbeautyoftheiralteredform.Barer’ssculpturesandtheiraccompanyingphotographsarealamentforeraspastwhenbookswereconsideredmuchmorevaluableandapathtoknowledge.Asbooksarebecomingincreasinglydisposable,replacedbytheInternetasaprimarysourceofinformation,Barerhopestoraisequestionsaboutthesechanges,aboutthetransientandfragilenatureinwhichwenowchoosetoobtainknowledge,andaboutthefutureofbooks.

IElegy,2011.Archivalpigmentprintonragpaper.(Enigmahardbacknovel)

IICorset,2007.Archivalpigmentprintonragpaper.(NortonAnthology)

IIILeap,2004.Archivalpigmentprintonragpaper.(Photoshop5computermanual)

IVFashion,2011.Archivalpigmentprintonragpaper.(BookongraphicsinJapanesefashion)

VExplorer,2011.Archivalpigmentprintonragpaper.(TheUltimateRoadAtlas)

VICarmen,2007.Archivalpigmentprintonragpaper.(HoustonYellowPages)

VIIBundle,2010.Archivalpigmentprintonragpaper.(TexasA&MDirectory)

DOUGBEUBE

DOUGBEUBEbeganalteringthebook’sstructurein1979,pushingitsphysicalpropertiesbycutting,folding,gouging,piercing,andslashing.Eversince,Beubehasexcavatedfoundbooksasiftheywereundiscoveredarcheologicalsites.Thecodexmaybeanoutdatedtechnologyinadigitalage,butitisthetransformationfromanalogprinttoelectronictypethatinspiresBeubetomorphsuchantiquatedrecordingdevicesofinformationandknowledgeintovisuallymeaningfulobjects.Theviewerengageswiththerecontextualizedobject,whichmightotherwisehavegoneunnoticedinitscustomarysetting,andparticipatesinitstransformationthroughacritiqueof,ordialoguewith,themethodstheartistusestomodifythebookwork.

ICity,1990/2002.Alteredbooks.

IIMaskedWords,2011(shownwithandwithoutheadpiece).Altereddictionary,wood,metal,marble.

IIIDisaster:Twisters:TwistedBorough,2009.Yellowphonebookpages.

IVRuffledCollar,2004.AlteredFrenchtoEnglishdictionary.

VVestofKnowledge,2008.Alteredencyclopedia,fabric,vinyl,wire,metal,wax.

VITheManyLivesofMissChatelaine,2008.Alteredbooks,collage,sculpture,acrylic,ink,thread,paper,zippers.

SUBLACKWELL

SUBLACKWELLfindsinspirationforherenchantingbooksculpturesintherealmoffairytalesandfolklore.Hertableauxtendtofeatureyounggirlswhoinhabithaunting,fragilesettingsthatconveythevulnerability,anxiety,andwonderofchildhood.ThereisaquietmelancholyinBlackwell’swork,depictedinherchoiceofmaterialsandsubtlecolor.Shereadseachstoryfirst,andherfinaldesignisintimatelytiedtothetale.Herworksarereminiscentofbelovedchildren’spopupbooksandmake-believeworlds.ForBlackwell,whohasalwayslovedtheideaofescapingintoagoodstory,books“cantransportyoutoadifferenttimeandplace,andsomewheremoremagical.”

IPandoraOpeningBox,2009.Secondhandbook,lights,glass,woodbox.

IITheLastUnicorn,2012.Secondhandbook,lights,glass,woodbox.

IIITheSnowQueen,2008.Secondhandbook,lights,glass,woodbox.

IVAlice:AMadTeaParty,2007.Deconstructedbookinabox.

VRedRidingHood,2010.Secondhandbook,lights,glass,woodbox.

VI

VII

VI,VIITheBaronintheTrees,2011.Secondhandbook,lights,glass,woodbox.

JENNIFERCOLLIER

JENNIFERCOLLIER’spracticefocusesoncreatingworkfrompaper—pagesfrombookssuchasnurseryrhymes,cookbooks,andchildren’sstorieswithdelightfulimagery.Scouringfleamarketsandcharityshops,Collierfindssourcematerialandthenexploreswaystotransformit,givingnewlifetothingsthatotherwisewouldgounlovedorbethrownaway.Booksserveasbothinspirationandthemediaforherwork,withthenarrativeonthepagessuggestingthefinalform.Withtechniquesofbonding,waxing,andtrapping,Collierproducesunusual“fabrics”thatshethenusestoremakeeverydayhouseholdobjects.Shetreatsthepapersasiftheywerecloth,stitchingwiththreadtocreateacontemporarytwistontraditionaltextiles.

ICookBookBalletSlippers,2012.Vintagecookbookpages,ribbons,buttons,hand-stitching.

IICurleyLocksGloves,2011.Vintagenurseryrhymebookpages,wax,buttons,machinestitching.

IIILadybirdBookBabyShoes,2012.VintageLadybirdbookpages,mouldingmedium,machinestitching.

IVSuper8Camera,2011.Vintagetheaterprograms,grayboard,machinestitching.

VPaperTypewriter,2011.Vintagetypewritermanualpages,grayboard,machinestitching.

VINurseryRhymeKnifeSet,2011.Vintagenurseryrhymebookpages,wallpaper,grayboard,machinestitching.

BRIANDETTMER

Throughmeticulousexcavationandconcisealteration,BRIANDETTMEReditstraditionalfoundbooks.Hebeginsbysealingtheedges,creatinganenclosedvesselfullofunearthedpotential.Hecutsintothesurfaceofthebookanddissectsdown,workingwithknives,tweezers,andsurgicaltoolstocarveonepageatatime,exposingeachlayerwhilecuttingaroundtextandimagesofinterest.Nothinginsidethebooksisrelocatedorimplanted,onlyremoved.Imagesandideasarerevealedtoexposealternatehistoriesandmemories.Dettmerconsidershisworkacollaborationwiththeexistingmaterialanditspastcreators,andthecompletedpiecesrevealamediumtransformed,thecontentrecontextualized,whilenewmeaningsorinterpretationsemerge.

I

II

I,IISaturationWillResult,2011.Encyclopediaset,acrylicmedium,pedestal.

III

IV

III,IVAmericanPeoples,2011.Hardcoverbooks,acrylicmedium.

VAbsoluteAuthority,2011.Hardcoverbook,acrylicmedium.

VITowerofBabble,2011(detail).Paperbackbooks,acrylicmedium.

VII

VIII

VII,VIIIICouldTellYou,2011.Paperbackbooks,acrylicmedium.

IXTheMarchofDemocracy,2010.Hardcoverbooks,acrylicmedium.

ARIÁNDYLAN

MostofARIÁNDYLAN’screativeprocessisbasedonthediscursivenatureofbooks.Hiscarvedbooks,orCavidades(cavities),combinevisualandverballanguage,andplayupontheimagesandtextwithin.WithaprecisionbladeDylancutsintocoversandpages,creatingintricate,thought-provoking,andoftenwittyimagerythatisaproposofthebook’ssubjectmatter.ForDylan,thebookisavehicletootherworldswithanenigmaticpowertofreethereaderfromamoreinsularplace.Subtractingfromthebookallowshimtointerpretitscontentandproposenewmeaning,andinthecarvingouthecreatesaspaceforideastoinhabit.

IElinsólitopaisajemexicano,2011.Trimmedbook(laserandhand).

IISemillasdelibro(SeedBook),2012(detail).Trimmedbook(laserandhand).

IIIASimpleMonk,2008.Hand-trimmedbook.

IVTheRealEmerald,2008.Hand-trimmedbook.

VInquietuddeAlicia(Alice´sConcern),2009.Hand-trimmedbook.

VIPedroPáramo,2010.Hand-trimmedbook.

VIIElordenyelcaos,2010(detail).Trimmedbook(laserandhand),bindingmaterial.

YVETTEHAWKINS

YVETTEHAWKINSmakestactile,engaging,andtexturalsculpturesandinstallationsthatexploresuggestionandsecrecy.Herpracticeisconcernedwiththephysicalactsoflooking,reading,andlistening,andbooksandprintedephemeralendperfectlytothisend.Hawkinsworksinintricatedetailonalargescale.Shefolds,cuts,prints,andstitcheshundredsoftimesover,employingtraditionalcrafttechniquestocreateelaborateinstallationsthatfillwholerooms,spanceilingtofloor,andofferspacesforviewerstowalkthrough.Theresult:aworldinterwovenwithliteraryandphysicalillusion.Hersculpturesencourageviewerstobeconsciouslyawareoftheirsurroundingsbycontrollingandmanipulatingthewaythingscanbeseen,read,andheard.

I

II

I,IINoLandInParticular,2010.InstallationattheGlobeHub,UnitedKingdom,2010.

IIIAllTheBooksIHaveNeverFinished,2010.InstallationattheGalleryofWonder,UnitedKingdom,2010.

IVWallFlowerBookSculptures,2012.

VIAlltheBooksIHaveNeverFinished,2010(detail,studioview).

V

VII

V,VIINothingtoReadHere,2010.InstallationatKeelRowShoppingCentre,UnitedKingdom,2010.

NICHOLASJONES

Obsoletetextbooks,tatteredpulpfictions,anddisuseddictionariesareasourceofcreativeinspirationforsculptorNICHOLASJONES.Inmostcultures,booksarereveredasrepositoriesofstories,factualinformation,andimages.Jones’suseofbooksasthebasisofhisartshiftsour“reading”ofthesefamiliarobjectstoasculpturalidiomappreciatedforitsphysicalshapeandallusion.Astheraisond’etreofthebookhasbeenalteredandallfunctionalitylost,theviewerisabletoengagewiththeinherent“bookness”ofthebook.Cutting,tearing,sewing,andfoldingtheleavesofeachbookradicallyalterthemannerinwhichweengagewiththesevolumes.

ITheVictorianAustralian,2009.Cutnewspapers.

IIConciseAtlasoftheWorld,2012(detail).Cutbook.

IIITheBarberofSeville,2008.Cutbookwithsteelpins.

IVBookwormEnsconced,2008.Cutbookwithbookwormmadefromtornandsewnpaperonlinenthread.

VGreekArt,2007.Cutbook.

VIGedichte,2008.Foldedbook.

VIIAustralianYearBook1969,2010.Cutbook.

JENNIFERKHOSHBIN

JENNIFERKHOSHBIN’screationshaveanillustrativefeel.Usingbooksashercanvas,Khoshbincreatesanewnarrativebeyondwhatthetextfirstintended.Sheexplorestheideaofstory,fable,andtalewithinamodernaestheticthroughimagesthatincludechildren,astronomy,botany,andanimals.Shedesignsherworksinawaythatallowsonlookerstorealizethebook’smeaningfromadifferentpointofview.Sincetheencounterwithtexthasnowbecomemostlyanonlineexperience,Khoshbinisreimaginingthefutureofthebookitself.Talescometolifeinherextensivelaborofpapercuttings,drawings,andsculptures.

ITrue,2009.Paper,graphite.

IIJune1974,2008.Cutbook,paper,graphite.

IIILook,2009.Cutbook.

IVMaskedLeap,2009.Cutbook.

VSwingingMyWayBack,2009.Cutbook.

VIHoles,2009.Cutbook.

VIIProveIt,2009.Cutbook.

LISAKOKIN

LISAKOKINgrewupinahomewherebooksweretreatedasreverentialobjects,soitwaswithmuchtrepidationthatshetookherX-Actoknifetoabookovertwentyyearsago.Thefirstcutwasthehardest,butsincethenshehasbeenhappilyreassembling,chopping,shredding,pulping,de-spining,andotherwiseevisceratingbooksthatsherescuesfromthelandfill.HumorandacritiqueofthestatusquoarehallmarksofKokinswork.Mostrecentlyshehasturnedherattentiontoself-helpbooksinneedoftransformation;usingmostlythespinesandaddedthread,shereconfiguresthemintodeceptivelycheerfulpieces,whichonlyuponcloserinspectionrevealtheirmoreintrospectivesource.

IHowtoStopWorryingandStartLiving,2010.Self-helpbookspines,batting,thread,waxedlinen.

IIHowtoStopWorryingandStartLiving,2010(detail).Self-helpbookspines,batting,thread,waxedlinen.

IIITheBride’sDowry,2008.Shreddedandreassembledbookpages,PVAglue,acrylic,imitationsinew.

IVPanaceaPlus,2010.Self-helpbookspines,PVAglue,mull,thread.

VTheFamousRothMemoryCourse,2007.Pulpedandreassembledbookpages,PVAglue,wire.

VIFourBallsShort,2008.Shreddedandreassembledworldatlaspages,PVAglue,wire.

VIIHowtoBe,2010.Self-helpbookspines,PVAglue,wire,mull,thread.

VIIIMeSeeHowYouDoIt,2009.Bookfragments,waxedlinen,woodenspools,metalhinges.

IXHowtoBe,2010(detail).Self-helpbookspines,PVAglue,wire,mull,thread.

GUYLARAMÉE

ForGUYLARAMÉE,theerosionofcultures,andofcultureasawhole,isathemehehaswoventhroughhispracticesince1983.Movedbywhatheseesasthediminishingstateofbooksandlibraries,Laraméeoriginateshisworkfromtheideathatultimateknowledgecouldbeanerosioninsteadofanaccumulation.Hecarveslandscapesoutofbooks,andthemountainsofdisusedknowledgemetamorphosetomountains,hills,andfieldsofanotherkind,placesthatapparentlydonotsayanything,placesthatsimplyare.Laramée’sintentisthatthesesceneswillchallengeeverythingweknowandeverythingwethinkweare.

I

II

I,IIElamorporlasMontañanoscura,2012.CarvedLitrédictionary,inks,ribbon,littlebookcutout.

III

IV

III,IVLarousseméthodique,2011.CarvedLaroussedictionary,inks,bitumenofJudea.

VTheWeb,2012.Carveddictionary(Webster’sEncyclopedicUnabridgedDictionaryoftheEnglishLanguage),inks,paint(covers),copperholder,bitumenofJudea.

VIPrajnaParamita,2011.Carvedartistbook(1,000copiesofaBuddhistSutra,boundbythemasterbinderClémentPoirier,coveredwithlinenandembossedwithgold).

VIIStupa,2012.CarvedTibetan-Chinesedictionary.

PABLOLEHMANN

Bytranscribingtextandcuttingpages,PABLOLEHMANNreconstructsbookstocreatemesmerizingformsthatoftenresemblenets,lace,orlabyrinthinewebsofwords.ForLehmann,cuttingpapersisawayofwriting,ofcreatingspaces,andoftransfiguringtextsintosingleobjects.Eachpage,eachdisjointedbook,enableshimtoargueapersonalpointofview;aboveall,itisaplacewherethereaderiscommittedtoinventingnewpathsofcomprehensionfromeachcuttext.Inthissense,wordsarenotjustvehiclesofmeaningbutalsoshapes;theyaremysteriouswebsthateveryonecaninterpretandread,usingtheirmostintimatecodesandtheirmostsecretdesires.

IReadingandInterpretationVIII,2009.PhotographicprintcutoutwithtextfromTheConceptof“text”byPabloLehmannoverTheGardenofForkingPathsbyJorgeLuisBorges.

IICut-outscreen1,2006(detail).CansonpaperprintedwithanexcerptfromSignatureEventContextbyJacquesDerridaandcutoutwithtextfromthesametitle.

IIIBaroqueVowel(E),2010.Photographicprintofbookfragments,cutoutwithtextfromVariationsonWritingbyRolandBarthes.

IVNakedBook,2007.PapercutoutwithtextfromVariationsonWritingbyRolandBarthes.

VIncompossibleText1,2006.CutoutpagesfromEdipoandLimitsbyJorgeLuisBorgesandDonQuijotedelaManchabyMigueldeCervantes.

VITheScribe’sHouse(theroom),2010.Lamdaprint,editionoffive,ofaninstallationatscale1:1madeofbookfragments.

VIITheScribe’sHouse(thedesk),2011.Lamdaprint,editionoffive,ofaninstallationatscale1:1madeofbookfragments.

VIIIThesaurus,2011.PapercutoutwithtextfromTheUnconsciousbySigmundFreud.

JEREMYMAY

JEREMYMAYtransformsbooksintojewelry,orwearable“narratives,”ofexquisitebeauty.Hisprocessismethodical:afterreadingthebook,heselectsadistinctivequotethatinspiresthedesignofthepiece;hethenremovesaselectionofpages,laminatingwithadditionalrecycledcoloredpaperandthenpolishingthemtoahighgloss.Textandimageextendthroughtheobjectbutareonlyexposedatthesurfaces,affordingatantalizingglimpseofthenarrativewithin.Whennotworn,thejewelnestsinthebook’sexcavatedspace,returnedtoitsoriginalcontext.Eachpieceisoneofakindandcarriesaserialnumber.

ISerialno.070—LesÉtapesdeMadeleine,2009.Bookpageswithgreen,brown,anddarkredpaper.(LesÉtapesdeMadeleinebyJoséphineColomb)“Levaitlesyeuxaucieletjoignaitles

mainspouruneprièred’actionsdegrâces.”

IISerialno.172—Bis(s)zumMorgengrauen,2011.Bookpageswithred,brown,green,andgraypaper.(TwilightbyStephenieMeyer)“Ilikethenight.Withoutthedark,we’dneverseethestars.”

IIISerialno.136—GeekLove,2011.Bookpageswithdarkgreen,burgundy,andbluepaper.(GeekLovebyKatherineDunn)“Itmaybethattheimpressionsofherinfancyarecaught

somehowinthepulpofhereyes,luringher.Ortheremaybesomehookedstructureinhercellsthattwistshertowardallthattheworldcallsfreakish.”

IVSerialno.028—VanityFair,2009.Bookpageswithorangepaper.(VanityFairbyWilliamMakepeaceThackeray)“Butthetruthis,neitherbeautynorfashioncouldconquerhim.Our

honestfriendhadbutoneideaofawomaninhishead.”

VSerialno.141—Flowers,2011.Bookpageswithblackanddarkbluepaper.(FlowersbyJanetHarveyKelman,C.E.Smith)“Whentheflowersarewitheredtheyarefollowedbygroupsof

beautifuldarkredberries.”

VISerialno.205—TheEverglades,RiverofGrass,2011.Bookpageswithblue,green,lightbrown,anddarkgraypaper.(TheEverglades:RiverofGrassbyMarjoryStonemanDouglas)

“Themiracleoflightpoursoverthegreenandbrownexpanseofsawgrassandofwater,shiningandslowlymoving,thegrassandwaterthatisthemeaningandthecentralfactoftheEverglades.

Itisariverofgrass.”

VIISerialno.140—LadyChatterley’sLover,2011.Bookpageswithred,pink,darkblue,andblackpaper.(LadyChatterley’sLoverbyD.H.Lawrence)“Allthelowerwoodwasinshadow,almostdarkness.Yettheskyoverheadwascrystal.Butitshedhardlyanylight.Hecamethroughthe

lowershadowtowardsher,hisfaceliftedlikeapaleblotch.”

VIIISerialno.161/1—ToKillaMockingbird,2011.Bookpageswithred,green,anddarkbluepaper.(ToKillaMockingbirdbyHarperLee)“I’dratheryoushootattincansinthebackyard,butIknowyou’llgoafterbirds.Shootallthebluejaysyouwant,ifyoucanhit’em,butrememberit’sa

sintokillamockingbird.”

PAMELAPAULSRUD

Thetactile,resonant,andcommunicativequalitiesthatbooksofferintheirtraditionalrolearethesamequalitiesthatattractPAMELAPAULSRUDtousebooksinhersculpturalwork.Inspiredbynature,language,dreams,andthosequietspaces,Paulsrudfindsthebooktheperfectsourcewithwhichtoexploreanewlanguage,anewperspective,andanewwaytotellastory.Aswithbooks,wherethemessageandstoryhiddenwithinonlyunfoldwhenonetakesthequiettime,space,andattentiontobewithit,Paulsrud’ssculpturalworksofferanewandenchantingrelationshipbetweentheviewer,theartist,andtheobject.

IBibliophilism,2006.Alteredbooks.

IITouchstones,1997–present.Alteredbooks.

IIIGenerationalIntegrity,fromtheseriesDreamPalimpsest,2008.Alteredbook,acrylic,plaster,Sumiink,stone,hardware,wire,photo,encaustic.

IVElaborateScheme,fromtheseriesDreamPalimpsest,2009.Alteredbook,acrylic,plaster,Sumiink,Xeroxtransfers,stick,stones,hardware,encaustic.

VAWP,fromtheseriesDreamPalimpsest,2009.Alteredbook,acrylic,plaster,Sumiink,Xeroxtransfers,hardware,encaustic.

VI

VII

VI,VIITheCompleatEnchanter,fromtheseriesDreamPalimpsest,2009.Alteredbook,acrylic,Sumiink,Xeroxtransfers,hardware,pencil,encaustic.

SUSANPORTEOUS

SUSANPORTEOUSusesfoundbooksasbothsubjectmatterandrawmaterialinherwork.Throughcutting,tearing,folding,andrebinding,shecreatesarelationshipbetweenthecontentoftheoriginalbookandthestructureofthenewform,andintheprocessaddslayersofmeaningandcomplexity.AlthoughPorteousutilizestraditionalbindingtechniquesinmanyofherworks,sheexaggeratesandmanipulatestheshapes,proportions,andmaterialssothatthebooksbecomesensualobjectsnolongermeanttobereadfromcovertocover,insteadseenasanimmediateandcohesivewhole.

ITheEssentialGandhi,fromtheseriesGandhi,2012.Alteredbook,antiquespool.

II

III

II,IIIBridgeComplete,fromtheseriesHowtoPlayBridge,2007.Alteredbook,linen,rocks.

IV

V

IV,VEncyclopedic,2008.Alteredbooksandlinen.(TheWorldBookEncyclopedia,completesetincludingreferencebookboundseparately)

VI

VII

VI,VIIAtoZ,2007.Alteredbook(AnIllustratedDictionary,publisherunknown)

ALEXQUERAL

Takinganordinaryphonebook,ALEXQUERALcarvesafaceintothisobjectofsomanyfacelessnames.WithaverysharpX-Actoknife,alittlepotofacrylicmediumtosetdetailareas,andagreatdealofcraft,Queralliterallypeelsawaythepagesofthebookasiftheywerethelayersofanoniontorevealtheportraitwithin.Oncethecarvingiscomplete,hewilloftenapplyablackwashtoenhancethefeaturesandthensealtheentirebookwithacrylictopreservethework.However,heneverlosesthelineregistration,andthebookremainsquitepliable.

IISeeYou(PhilSilvers),2011(detail).AcryliconcarvedNewYorkCityresidentialtelephonedirectory.

IIIt’sAllRelative(AlbertEinstein),2010.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.

IIIHeWasRightAboutBush(MichaelMoore),2007.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.

IVAmore(DeanMartinakaDinoPaulCrocetti),2011.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.

VFreeTibet!(HisHolinesstheDalaiLamaakaLhamoThondup),2008.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.

VIDeputyFife(BarneyFifeakaDonKnotts),2010.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.

VIIMr.Bean(RowanAtkinson),2010.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.

VIIITheManWhoFelltoEarth(DavidBowie),2010.AcryliconcarvedPhiladelphiaresidentialtelephonedirectory.

JACQUELINERUSHLEE

JACQUELINERUSHLEEtransformsbooksintosculpturesbyapplyingvariousphysicalandconceptualpractices.Drawntothecomplexityofthebookasfamiliarobjectandarchetypalform,shescramblesitsformalarrangementandcreatesnewnarratives.Sheselectsherbookscarefullyandherresponsetoeachisunique.MostofthetechniquesRushLeeemploysareinformedbybothtraditionalandnontraditionalartisticpractices.Sheutilizescomponentsinherentinthebooksthemselves,suchasinks,covers,pages,bookmarks,andheadbands.Mostofher“residual”sculpturesorinstallationsemergeasapalimpsest—somethingthatbearstracesoftheoriginaltextwithinitsframeworkbutpossessesanewnarrativeasavisualdocumentofanothertime.

I

I,IIInMediaRes:Vascellum2009–2012.Manipulatedbookcomponentsandarchivalglue.

III

IIIPeacock,fromtheseriesDevotion,2008.Usedbook,hand-paintedink.

IV

IVLoremIpsumIII,2010–2012.Bookcomponents,hand-stitching,archivalglue.

V

VAbsoluteDepth,fromtheseriesExLibris,2000.Installationoffiredperiodicalsheddingtextinwater.

VI

VIAnthologia,fromtheseriesDevotion,2008(detail).Usedhand-painted,sanded,andassembledbooks,

burnishedinks,bookmarks,archivalglue.

VII

VIIShrunkenEncyclopedia,fromtheseriesExLibris,2000.Petrifiedbook(bookhigh-firedinkiln).

CollectionoftheHonoluluMuseumofArt,Hawaii.

VIII

VIIIIsland,2012.Telephonebooks,screws,foundandappliedinks.InstallationattheHonoluluMuseumof

Art,Hawaii.

GEORGIARUSSELL

GEORGIARUSSELLslashes,cuts,anddissectsprintedmatter,transformingbooks,musicscores,maps,newspapers,andphotographs.Theatmosphereofheroriginalmaterialissignificantinconveyingherfeelingsandideas,anditisanemotionalexperienceforhertodestroyabookandliterallytakeapartthelayersofmeaninginthetext.Russell’scutbookworksareoftendisplayedlikeexoticspecimensinantiqueglassbelljars,andalthoughshehintsatorganicforms,theyarenotdescribedliterally.Herdissectedbooksarebothobjectandimage,andanyoriginalelementsthatsurviveherprocessbecomeareferencetotheirpastexistence.

I

IL’Artd’Aimer,2012.Cutbookjacketandpageoftextinacryliccase.

II

IIFirstandLastThings,2011.Cutbookinbelljar.

III

IIITheClansandTartansofScotland,2011.Cutbookinbelljar.

IV

IVTheStoryofArtV,2012.Cutbookincircularacryliccase.

V

VLeMaroc,2012.Cutandpaintedbookincircularacryliccase.

MIKESTILKEY

MIKESTILKEYlookstoeverydaylifeforhisartisticinspirationandideas.Heseespotentialinvintageorusedobjects,suchasrecords,books,furniture,andanythingthathasahistory.Hiscanvasforpaintinganddrawingispaper,albumcovers,bookpages,andevenbookcovers.Stilkeyimaginesthestorybehindeachobjectandseekstoconveyitinhissite-specificbookinstallationsandpaintings.Alsoinspiredbymusic,heoftenlistenstoasongandvisualizesthepaintingorimagethatcouldaccompanyit.Usingamixofink,coloredpencil,paint,andlacquer,Stilkeydepictsamelancholicandattimeswhimsicalcastofcharactersthatinhabitambiguousspacesandnarrativesoffantasyandfairytales.

I

IWhentheAnimalsRebel,2007(detail).Acryliconbooks.InstallationatRiceGallery,Houston,Texas.

II

IITheFantasticFive,2011.Acryliconbooks.

III

IIIThePianoHasBeenDrinking,2010.Acryliconbooks.InstallationatHurleyInternational,CostaMesa,

California.

IV

IVLoversAllUntrue,2011.Acryliconbooks.

V

VFallingforYou,2010.Acryliconbooks.

VI

VIBirdsAttackManonBike,2010.Acryliconbooks.

VII

VIIReminiscent,2010.Acryliconbooks.InstallationatHurleyInternational,CostaMesa,California.

KYLIESTILLMAN

Filteringmodernartandcrafttraditionsthroughherowninventivesensibility,Melbourne-basedartistKYLIESTILLMANtransformscommonmaterialsintodivineworksofart.Hersculpturesrevealadexterousabilitytoworkwitharangeofmaterials,frompaperstacksandtimberconstructstooutdatedbookvolumes,plasticbottles,andVenetianblinds.Datingfrom1999,herworkhasexploredaspectsofthenaturalworldandwaysinwhichitcanbecaptured,represented,andcultivatedintamedenvironments.Theartist’senchantingandskillfullycraftedworkcreatesanintriguingsenseofnarrativethroughitscarefulinterplayofpresenceandabsence.

I

IEucalypt,2012.

II

IIHangingBasket—FishboneFern,2010.(Twenty-six-volumesetofencyclopedias)

III

IIIRosemary,2011.

IV

IVFlock,2007.InstallationattheMuseumofContemporaryArtTaipei,2012.

V

VEuropeanGoldfinch,2008.

JULIASTRAND

JULIASTRANDrescuesbooksfromgaragesales,secondhandshops,andestatesales.UsingX-Actoknives,rotarycutters,tweezers,pliers,andfiles,shedeconstructsthesebooksandrefashionsthemintotopographicallandscapes,paperspecimenboxes,andthree-dimensionalcollagesoftheoriginalcontents.Herfavoritesubjectsarereferencebooks,severaleditionsoutofdate.Nolongervaluedfortheinformationtheycontain,thesebooksaregivenasecondopportunitytobeappreciatedthroughhercarvings.

I

ITopographicalFunk&Wagnalls,2010.(Funk&WagnallsStandardReferenceEncyclopedia,1963)

II

IIPracticalStandardDictionary,2010(detail).(Funk&WagnallsPracticalStandardDictionary,1931)

III

IIIWebster’sDiptych,2011(detail).(Webster’s3rdNewInternationalDictionaryoftheEnglishLanguage,

Unabridged,1966)

IV

IVDouble-sidedGray’sAnatomy,2011(front).(Gray’sAnatomy,1991)

V

VDouble-sidedGray’sAnatomy,2011(back).(Gray’sAnatomy,1991)

VI

VIWebster’sDiptych,2011(detail).(Webster’s3rdNewInternationalDictionaryoftheEnglishLanguage,

Unabridged,1966)

VII

VIICompton’sButterflies,2011.(Compton’sPicturedEncyclopediaandFact-Index,1955)

VIII

VIIIChemistryButterflies,2011.(OrganicChemistry:ABriefCourse,SecondEdition,1970)

IX

IXTopographicalTheoriesofPersonality,2010.(TheoriesofPersonality,1970)

ROBERTTHE

ObsessionwiththesemioticerosionofmeaningleadsROBERTTHEtocreateobjectsthatevangelizetheirownrelevancebyadirectfusionofwordandform.Books—manyculledfromdumpstersandthriftstorebins—arelovinglyvandalizedbacktolifesotheycanassertthemselvesagainst,andreflectbackon,theculturethatturnedthemintodebris.Drawntowhatistweakedanddiscordant,Theengagestexttodrawinspirationforhisforms,andinfusesthemwithafiercewitandirony.

I

II

I,IITractatus,2004.(TractatusLogicoPhilosophicus,LudwigWittgenstein)

III

IV

V

III-VDuchamp,2008.(TheWorldofMarcelDuchamp,1887–1968,Time-LifeLibraryofArt)

VI

VITheMediumistheMessage,2006.(TheMediumistheMassage,MarshallMcLuhanandQuentinFiore,

1967.ThetitleisavariationonMcLuhan’snotedphrase“Themediumisthemessage.”)

VII

VIII

VII,VIIIObject/Objectif,2006.(Objet/Objectif,RainerCroneandDavidMoos)

VITAWELLS

PerceptionhasbeenacorethemeinVITAWELLS’sworkovertheyears,particularlyinrelationtohowpeopleformidentitiesandfindmeaningintheirlives.Sheisinterestedinwhatcontributestohowweseeourselvesandtheworldaroundus—fromourneurologicalfunctioningtoourpsychologicalstructuretooursocialcontext—andthesignificantroleofreadingintheprocess.Throughhermanipulationsofbooks,Wellsexploresthediscretionaryandchangeablecharacterofperception.Herintentistopromptreflectiononwhatwethinkweknow.

I

II

III

I-IIIStillStanding,2009–2011.Books,steel,wood,glue.

IV

IVFlightsofMind,2012.Books,filament.InstallationatOakopolisGallery,Oakland,California.

V

VI

V,VIUnabridged,2007.Book,hair,lights,fan,key,screws,hinges,glue.

ARTISTBIOS

JAMESALLEN

OriginallyfromGreatLakes,Illinois,JamesAllen(American,born1977)currentlylivesandworksinSeattle,Washington,whereheisrepresentedbyWinstonWächterFineArt.HeearnedaBachelorofFineArtsfromtheUniversityofWisconsin-Milwaukeein2000.Allen’sartworkwasincludedinTiteBookBorrowers:ContemporaryArtistsTransformingtheBookattheBellevueArtsMuseumin2009.HehasalsoexhibitedinmanycitiesacrosstheUnitedStates,includingNewYork,Chicago,andMiami.(www.winstonwachter.com)

THOMASALLEN

ThomasAllen(American,born1963)isacareerartistandillustrator.Hisphotographsofreimaginedpulpnovelshaveappearedinbothprintandonlinemedia,includingHarper’s,theWallStreetJournal,andNationalPublicRadio.AllenisrepresentedbyFoleyGallery(NewYork)andG.GibsonGallery(Seattle).Allen’smonograph,Uncovered:PhotographsbyThomasAllen,waspublishedbyApertureFoundationin2007.HelivesinsouthwestMichiganwhereheisabeekeeperinthesummer,makesmaplesyrupinlatewinter,andproduceshandmadesoapallyearround.(www.thomasallenonline.com)

NORIKOAMBE

CurrentlylivingandworkinginNewYorkandTokyo,NorikoAmbe(Japanese,born1967)receivedaBachelorofFineArtsinoilpaintingfromMusashinoArtUniversityinTokyoin1990.Shebeganworkingwithpaperin1999withherprojectLinear-ActionsCutting/Drawing.Inherworks,Ambeindividuallycuts

andstacksthousandsofpiecesofpapertocreateanoriginaltopography.ShehashadsoloshowsatPierogiGallery(Brooklyn,NewYork),JoseeBienvenuGallery(NewYork),TheFLAGArtFoundation(NewYork),LoraReynoldsGallery(Austin,Texas),andSCAITheBathhouse(Tokyo),andgroupshowsattheMuseumofArtsandDesign(NewYork),andTheDrawingCenter(NewYork),amongothers.HerworkisinthepermanentcollectionsoftheMuseumofModernArt,NewYork,andtheWhitneyMuseumofAmericanArt,NewYork.(www.norikoambe.com)

ANONYMOUS

Ineverycitytherearespecialplacesthatenlivenourdaysandcolorourdreams.Anonymous’sworkwasconceivedinsupportofsuchplaces.Byplacingeachpieceinapublicspace,theartistensuredthattheycouldbeencounteredjustasonecomesacrossabookonashelf,itsformonlyhintingatagreateralchemythatturnssymbolsonpaperintolivingstories.Itisnotthattheartistisplayinghardtogetbychoosingtoremainanonymous;theworksimplyinsiststhatsheremainamystery,andintheartist’swords,“Anyway,mysteriesarefun.”(www.thisiscentralstation.com/featured/mysterious-paper-sculptures)

CARABARER

CaraBarer(American,born1956),originallyfromFreeport,Texas,graduatedfromtheArtInstituteofHoustonandthenmovedintoastudioandbeganpaintingandprintmaking.ShefurtheredherstudiesofartandphotographyattheUniversityofHouston,andtheGlassellSchoolofArtattheMuseumofFineArts,Houston.Afterbecominginspiredbyaweatheredphonebookonthesidewalkin2004,herworkchangedandherfocushasbeenonsculpture

andphotographyofbookseversince.Barer’sworkisinpublicandprivatecollectionsthroughouttheworld,andsheisrepresentedingalleriesintheUnitedStates,Canada,andEurope.(www.carabarer.com)

DOUGBEUBE

DougBeube(Canadian,n.d.)isamixed-mediaartistlivinginBrooklyn,NewYork,whoworksinbookworks,collage,sculpture,andphotography.BeubereceivedaMasterofFineArtsinphotographyfromtheVisualStudiesWorkshop(Rochester,NewYork)in1983.HeregularlylecturesandexhibitshisworkthroughoutCanada,Europe,andtheUnitedStates,andhisworkcanbefoundinbothprivateandmuseumcollections.Since1993hehascuratedtheprivatecollectionofAllanChasanoff,titledTiteBookUnderPressure,inNewYorkCity.Beube’smonograph,DougBeube:BreakingtheCodex,waspublishedinthefallof2011.DavidMcFadden,chiefcuratoroftheMuseumofArtsandDesign(NewYork)wrotetheintroductionandseveralwritersdiscusstheartBeubehasmadeoverthepastthirtyyears.(www.dougbeube.com)

SUBLACKWELL

BorninSheffield,UnitedKingdom,SuBlackwell(British,born1975)residesinLondonandworkspredominantlywithpaperandbooks.SincegraduatingfromtheRoyalCollegeofArtinLondonin2003,Blackwellhasworkedasanartist-in-residenceandhasexhibitedattheBronteParsonageMuseuminHaworth,WestYorkshire,andtheMuseumofArtsandDesigninNewYork.Blackwellhasabroadpractice:HerdesignsareusedingiftcardsproducedbyRogerlaBorde;shehascollaboratedwithNicoleFarhiandVogue;andshehasworkedoninternationaladvertisingcampaignsforCartier,Crabtree&Evelyn,

andtheFairmontHotels.BlackwellalsocreatedbeautifulillustrationsforabookoffairytalespublishedbyThames&Hudson.BlackwellisrepresentedbyLongandRyleGallery,London.(www.sublackwell.co.uk)

JENNIFERCOLLIER

JenniferCollier(British,born1977)livesinStafford,UnitedKingdom,wheresheworksfromhergallery,UnitTwelve,whichsheestablishedin2010.Sheoriginallytrainedintextiles,completingaBachelorofArtswithhonorsintextilesatManchesterMetropolitanUniversity(UK)in1999.Althoughherstudiesweretraditionalandshespecializedinprinting,knitting,andweaving,allthemethodsshenowemployswereself-taughtthroughexperimentationwithdifferentmediaandtechniques.Collierexhibitsnationallyandinternationally,andherworkhasbeenfeaturedinmagazinessuchasVogueandElleDecoration,Shemakesworkoncommission,undertakesartworkshops,andrunshergalleryspace.(www.jennifercollier.co.uk)

BRIANDETTMER

OriginallyfromChicago,BrianDettmer(American,born1974)currentlyresidesinAtlanta,Georgia.DettmerhashadsoloshowsinNewYork,Chicago,SanFrancisco,Atlanta,andBarcelona.HisworkhasbeenexhibitedthroughoutNorthAmericaandEuropeatgalleriesandmuseums,includingtheMuseumofArtsandDesigninNewYork,theMuseumofContemporaryArtofGeorgia,theInternationalMuseumofSurgicalScienceinIllinois,andtheMuseumRijswijkintheNetherlands.Dettmer’sbibliographyincludestheJVewYorkTimes,ArtNews,TheGuardian,Telegraph,ChicagoTribune,ModernPainters,Wired,theVillageVoice,andNationalPublicRadio.(www.briandettmer.com)

ARIÁNDYLAN

AriánDylan(Mexican,born1984)receivedhisdegreeinvisualartfromtheNationalSchoolofPainting,Sculpture,andPrintmaking,“LaEsmeralda,”inMexicoCity.Hehasobtainedartscholarships,suchastheYoungCreatorsFellowshipfromMexico’sNationalFundforCultureandtheArtsin2010-2011,andhasheldartresidencesinCanadain2005andtheUnitedStatesin2008.In2011,DylanreceivedtheEcoCreaciónawardforadesignandsustainabilitycompetitioninMexico.HehasparticipatedinindividualandgroupexhibitionsinJapan,Spain,Canada,theUnitedStates,Chile,China,andMexico.HeiscurrentlyinaMastersprogramattheNationalUniversityoftheArtsinBuenosAires,Argentina.DylanisrepresentedinMexicobyLaEstaciónArteContemporaneo(Chihuahua)andGaleriaMassimoAudiello(MexicoCity),andbySeagerGrayGallery(MillValley,California)intheUnitedStates.(www.ariandylan.com)

YVETTEHAWKINS

YvetteHawkins(British,born1979)isapaperartistofSouthKoreanandEnglishdescentwhomakesinstallationsandsculpturalobjectsusingbooks,maps,andotherfoundmaterials.HawkinstrainedattheGlasgowSchoolofArtandgraduatedfromNewcastleUniversityin2007.ShehashadnumerousgroupandsoloexhibitionswithintheUnitedKingdomandSpain.ShealsoworksoncommissionandhaspiecesincollectionsinItaly,Japan,andtheUnitedStates.HerworkhasbeenfeaturedinbooksandmagazinesandwasincludedinBookArt:IconicSculpturesandInstallationsMadeFromBooks(Gestalten,2011).HawkinsiscurrentlyrepresentedbyGlobeGallery,UnitedKingdom.(www.yvettehawkins.com)

NICHOLASJONES

BornintheUnitedKingdom,NicholasJones(Australian,born1974)completedaBachelorofFineArtsattheVictorianCollegeoftheArtsinMelbournein1997,andaMasterofFineArtsattheRoyalMelbourneInstituteofTechnologyin2001.Hisworkhasbeenshowninanumberofsoloexhibitions,includingTiteGardenofForkingPathsatGeelongArtGalleryinAustralia,andhehastakenpartinmanygroupexhibitionsinAustralia,NorthAmerica,andSouthAmerica.Jones’sworkhasbeenfeaturedinseveralpublications,includingMaketheCommonPrecious(CraftsmanHouse),BookArt(Gestalten),andWhereTheyCreate(Frame),andheisrepresentedinnumerouspublicandprivatecollectionsinAustralia.(www.bibliopath.org)

JENNIFERKHOSHBIN

OriginallyfromPhiladelphia,JenniferKhoshbin(American,born1968)wasexposedtoartatanearlyage:hergrandfatherandunclearemastercarpentersandhermotherisaceramicartist.KhoshbinstudiedFineArtsandSociologyattheUniversityofTexas,Austin,andtheUniversityofKentucky.ShehasexhibitedingalleriesandmuseumsthroughouttheUnitedStates,andherworkhasbeenfeaturedinseveralartandcraftbooksandmagazines,includingReadymade,HouseBeautiful,Glamour,andSpaces,Shealsocollaborateswithherhusband,PaulLewis,onpublicworksunderthenameRefarmSpectacle.KhoshbincurrentlylivesinSanAntonio,Texas,withherhusbandandtheirtwochildren.(www.jenkhoshbin.com)

LISAKOKIN

LisaKokin(American,born1954)livesinElSobrante,California,withherpartner,LiaRoozendaal,threeChihuahuastudioassistants,andBindithecat.Thedaughterofupholsterers,Kokinstitcheseverythingshecangetherhandson,includingdiscardedbookswhichsherescuesfromthelocalrecycling

center.KokinreceivedherBachelorofFineArtsandMasterofFineArtsfromtheCaliforniaCollegeoftheArtsinOakland,California,andsheistherecipientofnumerousawardsandcommissions.HerworkappearsinmanyprivateandpubliccollectionsintheUnitedStatesandabroad.KokinisrepresentedbySeagerGrayGalleryinMillValley,California,TayloePiggottGalleryinJackson,Wyoming,andGailSevernGalleryinSunValley,Idaho.(www.lisakokin.com)

GUYLARAMÉE

Overthecourseofhisthirtyyearsofpractice,interdisciplinaryartistGuyLaramée(Canadian,born1957)hascreatedinsuchvarieddisciplinesastheaterwritinganddirecting,contemporarymusiccomposition,musicalinstrumentdesignandbuilding,singing,video,scenography,sculpture,installation,painting,andliterature.HehasreceivedmorethanthirtyartsgrantsandwasawardedtheCanadaCouncilfortheArts’JosephS.StaufferPrizeformusicalcomposition.Hisworkhasbeenpresentedintheaters,museums,andgalleriesintheUnitedStates,Belgium,France,Germany,Switzerland,Japan,andLatinAmerica.Paralleltohisartisticpractice,Laraméehaspursuedinvestigationintothefieldofanthropology,andethnographicimaginationisanimportantthemeinhisartisticwork.(www.guylaramee.com)

PABLOLEHMANN

PabloLehmann(Argentinean,born1974)graduatedfromtheNationalSchooloftheArts(IUNA)inBuenosAires,andsince2000hehasbeenaprofessorthere.HehashadsoloexhibitionsatBlackSquareGallery(Miami),CarlaReyArteContemporàneo(BuenosAires),1/1CajadeArte(BuenosAires),andMattheiGallery(Santiago,Chile).Lehmann’sgroupexhibitionsincludethePhilipsdePury&CompanyauctioninLondonandtheSivoriMuseum,Bicentennialeditionauction,inArgentina.Hehasalsoparticipatedinartfairs,

suchasArtChicago,ScopeMiami,ScopeNewYork,MiamiInternationalArtFair,ArtBo—Bogotá,ArteBa—BuenosAires,andBuenosAiresPhoto.LehmannhastwicereceivedtheSalónNacionaldeArteTextilaward.(www.pablolehmann.com.ar)

JEREMYMAY

JeremyMay(British,born1976)isalandscapearchitectoriginallyfromSuffolk,UnitedKingdom.MayreceivedhisBachelorofArtsfromtheUniversityofGreenwich,andafterhavingworkedinhisfieldofdesignovertenyears,createdhisfirstpaperringinSeptember2007.HelaunchedhisbrandLittleflytothepublicinJanuary2009,aspiringtobringjoyandcolortosustainablymindedindividualsbytransformingpaperintolastingbeauty.May’sjewelshavebeenpresentedinLondon,Paris,Osaka,Athens,Hamburg,SaintPetersburg,andNewYork.CurrentlyMayisworkingonprivatecommissionsandoncreatingcollectionsofjewelsunderathematologytobepresentedinexhibitionsaroundtheworld.HelivesandworksinLondon.(www.littlefly.co.uk)

PAMELAPAULSRUD

PamelaPaulsrud(American,born1951),avisualartistrecognizedinternationallyasapapermaker,calligrapher,bookartist,andcollaborator,createsbothintimatepiecesandlarge-scaleinstallations.Paulsrud’sexplorationinenergyandvibration,lettersandlines,andherloveofthelandandtheearthanditsresonanceinspiresbothherworkandherlife.Herworkisincludedinnumerousprivateandpubliccollectionsandhasbeenpublishedinmanymagazines,books,andjournals.Sheteachesworkshopsinletteringandbookarts.Paulsrudisalsoextremelypassionateaboutanongoingprojectthatsheco-createdtitledTreewhispers(www.treewhispers.com),aninternational

collaborationawakeningourheartfeltconnectiontotrees.PaulsrudisrepresentedintheUnitedStatesbySeagerGrayGalleryinMillValley,California,and23SandyGalleryinPortland,Oregon.(www.pamelapaulsrud.com)

SUSANPORTEOUS

SusanPorteous(British,born1980)receivedaBachelorofArtswithhonorsinFineArtfromtheUniversityofLeedsin2003andaMasterofFineArtsfromCaliforniaStateUniversity,LongBeach,in2008.Sincethenshehascontinuedtoexplorebothsculpturalandtraditionallyboundbookswhileinvestigatingissuesofform,content,word,andimageusinghandmadeandcommercialproductionmethods.PorteousexhibitsworkinjuriedandinvitationalexhibitionsthroughouttheUnitedStatesandEurope,andherworkhasbeenpurchasedbyseveralpublicandprivatecollectionsandincludedinvariouspublicationsonbookart.ShecurrentlylivesandworksinDenver,Colorado.(www.susanporteous.net)

ALEXQUERAL

AlexQueral(Cuban,born1958)andhisfamilymigratedfromHavanatoMexicoandthentoMiamiwhenhewasayoungboy.HereceivedaBachelorofFineArtsfromtheUniversityofWashington,Seattle,andaMasterofFineArtsfromtheUniversityofPennsylvania.HisworkshavebeenexhibitedinCanada,China,England,Mexico,andthroughouttheUnitedStates,andtheyappearinthecollectionsofRipley’sBelieveItorNot!,JerrySpeyer,andtheKohlerfamily.Queral’scarvedtelephonebooksareexclusivelyrepresentedbyProjectsGalleryinPhiladelphiaandMiami.Severalofhisphonebooksarenowavailableashigh-resolutionphotographicimagesinavarietyofsizes.(www.projectsgallery.com/Queral.html)

JACQUELINERUSHLEE

JacquelineRushLee(Anglo-Irish,born1964),asculptorwholivesandworksinHawaii,isrecognizedforherinnovationinworkingwiththebookform.Herartworksarefeaturedinnumerousbooks,blogs,magazines,andtheinternationalpress,includingBookArt:IconieSculpturesandInstallationsMadefromBooks(Gestalten),Papercraft:DesignandArtwithPaper(Gestalten),theNewYorkTimes,theWashingtonPost,CourrierInternational,SculptureMagazine,DPIMagazine,Taiwan,andFocus,amongothers.RushLeeexhibitsherartworkinternationallyandherworkisinprivateandpubliccollections.(www.jacquelinerushlee.com)

GEORGIARUSSELL

GeorgiaRussell(Scottish,born1974)haslivedandworkedinFranceoverthepastdecade.RussellstudiedatAberdeenUniversity,Scotland,andgraduatedfromLondon’sRoyalCollegeofArtin2000.HermanysoloandgroupexhibitionsinLondon,France,andtheUnitedStateshaveincludedSlash:PaperUndertheKnifeattheMuseumofArtsandDesign,NewYorkin2009-2010.Russell’sworkhasbeenfeaturedinbooksandmagazinesinEuropeandtheUnitedStates,andsheisrepresentedinthecollectionsoftheVictoriaandAlbertMuseuminLondonandthePompidouinParis.(www.englandgallery.com)

MIKESTILKEY

LosAngelesnativeMikeStilkey(American,born1975)hasalwaysbeenattractedtopaintinganddrawingonvintageephemera,includingbooks.HisworkhasbeenexhibitedthroughouttheUnitedStatesandinternationallyingalleriesandmuseums,includingtheBristolCityMuseumandArtGallery(UK),LeBasseProjectsandKinsey/DesForgesGallery(CulverCity,California),DavidB.SmithGallery(Denver,Colorado),GilmanContemporary(Ketchum,

Idaho),andtheRiceUniversityGallery(Houston,Texas).Hehasalsocreatednumerouslarge-scaleinstallationsinTurin,Italy;Bern,Switzerland;HongKong;andBeijing.StilkeylivesandworksinLosAngeles.(www.mikestilkey.com)

KYLIESTILLMAN

KylieStillman(Australian,born1975)completedaBachelorofFineArtswithhonorsatRoyalMelbourneInstituteofTechnologyin1999.Shehassinceheldseveralsoloexhibitionsandparticipatedinnumerousgroupshows,includingWonderland,MuseumofContemporaryArt,Taipei(2012),2008AdelaideBiennialofAustralianArt,ArtGalleryofSouthAustralia,andUncanny:TiteUnnaturallyStrange,Artspace,Auckland(2005),NewZealand.StillmanhasbeenawardedAustraliaCouncilfortheArts’studioresidenciesinNewYork(2009)andMilan(2006),andshehasbeencommissionedtocreatelarge-scaleartworksforHermesAustralia(2011)andWestpacPrivateBank(2010).StillmanisrepresentedbyUtopiaArtSydney.(www.kyliestillman.com)

JULIASTRAND

JuliaStrand(American,born1983)holdsaPhDinCognitivePsychologyandteachesatthecollegelevel.Sheconductsresearchonthecognitiveandperceptualmechanismsunderlyinghumanspeechperception.Throughherresearch,teaching,andart,shehopestohelpothersseethingsinnewandunexpectedways.(hokeystokes.blogspot.com)

ROBERTTHE

OriginallyfromCarmel,California,RobertThe(American,born1961)studiedphilosophyandmathematicsattheUniversityofWisconsin,Madison,andsignletteringattheInstituteofLetteringandDesigninChicago.Hebeganmaking

bookpiecesin1991andhasappearedinsoloandgroupshowsthroughouttheUnitedStatesandEurope.Hisworksareinbothprivateandpubliccollections,includingtheMuseumofModernArt(NewYork),theWalkerArtCenter(Minneapolis),andtheLosAngelesMuseumofContemporaryArt.ThereceivedthePollock-KrasnerAwardin2011andiscurrentlyarchivingtheworkofMaryanneAmacher.HelivesinupstateNewYork.(www.bookdust.com)

VITAWELLS

HailingfromafamilyofartistsinSouthTexas,VitaWells(American,born1959)hasbeencreatingobjectssinceshecouldwieldanX-Actoknife.She’slivedandworkedindiversesettingsthroughseveralchaptersoflife,butreading’sprivilegedplaceandareverenceforbookshavebeenconstantsinallofthem.Duringmanyyears’involvementwithtextiles,Wellsdevelopedakeensensefortexture,structure,andcolor.Inherbookwork,theseaestheticsareinconversationwithconceptualcontentthatreflectsherlifelongintellectualcuriosityandloveofscholarship.WellsdivideshertimebetweenherstudioinBerkeley,California,andtheCaminodeCompostelainFranceandSpain.(www.vitawells.net)

IMAGECREDITS

Allimagesnotlistedarecourtesyoftheartist.

PAGE6TowerofBabble,courtesyoftheartistandKinz+TillouFineArt.

PAGE8TheBookoftheLost,photobyJaronJames,courtesyoftheartist.

PAGES10-11PhotosbyBrianDettmer.

PAGE12,VPhotobyGuyL’Heureux.

PAGE12,VIPhotobyStaceyWei.

PAGE12,VIIPhotobyLiaRoozendaal/JaguireDesign.

PAGE13,VIIIPhotobyThomasAllen.

PAGE13,IXPhotobyLukeRichardsonPhotography.

PAGE14PhotosbyChrisScott.

PAGE15Courtesyoftheartist.

PAGE16,XIIIPhotobyThomasAllen.

PAGE17,XIVPhotobyStaceyWei.

PAGE17,XVPhotobyEvaChloeVazaka.

PAGE18,XVIAutorretratogritando,courtesyoftheartist.

PAGE18CommonOak,courtesyoftheartistandUtopiaArtSydney.

PAGE19Shiitake,photobyCaraBarer.

PAGE20GameText1,photobyDanielChen.

PAGE21PhotobyScottMcCuePhotography.

PAGE22LesParaventsphotobyEngland&CoGallery,London.

PAGES30-35PhotosbyThomasAllen.

PAGE36 —ArtistBooks,Linear-ActionsCuttingProject,photobyGenevieveHanson,courtesyoftheartistandLoraReynoldsGallery,Austin,Texas.

PAGE36CuttingBookSerieswithEdRuscha:Artistswhomakepieces,artistswhodobooks,photobyNorikoAmbe.

PAGE37ArtVictims:DamienHirst,photobyRobertBoland.

PAGES38-39FlatGlobe“Atlas,”photobyMasaNoguchi.

PAGE40ToPerfectLovers:FelixGonzalez-Torres,photobyTsukasaYokozawa.

PAGE41TheSand–TheAmericans:RobertFrank,photobyMareoSuemasa,courtesyoftheartistandSCAITHEBATHHOUSE,Tokyo.

PAGES42-47PhotosbyChrisScott.

PAGES48-53PhotosbyCaraBarer.

PAGES60-61,63-65PandoraOpeningBox,TheLastUnicorn,RedRidingHood,TheBaronintheTrees,photosbyJaronJames,courtesyoftheartist.

PAGES62-63TheSnowQueen,Alice:AMadTeaParty,photosbyAndrewMeredith,courtesyoftheartistandLongandRyleGallery.

PAGES66-68CookBookBalletSlippers,LadybirdBookBabyShoes,Super8Camera,PaperTypewriter,photosbyIainPerry.

PAGES67,69CurleyLocksGloves,NurseryRhymeKnifeSet,photosbyLukeUnsworth.

PAGES70-71SaturationWillResult,courtesyoftheartistandKinz+TillouFineArt.

PAGE72AmericanPeoples,courtesyoftheartistandToomeyTourellFineArt.

PAGE73AbsoluteAuthority,courtesyoftheartistandWexlerGallery.

PAGE73TowerofBabble,detail,courtesyoftheartistandKinz+TillouFineArt.

PAGE74PhotoscourtesyoftheartistandPackerSchopf.

PAGE75CourtesyoftheartistandSaltworks.

PAGES80-81,84,85NoLandInParticular,NothingtoReadHere,courtesyofColinDavisonandGlobeGallery,UnitedKingdom.

PAGE82AlltheBooksIHaveNeverFinished,photobyIreneBrown.

PAGE83WallFlowerBookSculptures,photobySarahDeanePhotography.

PAGE84AlltheBooksIHaveNeverFinished,photobyYvetteHawkins.

PAGES86,88,90TheVictorianAustralian,BookwormEnsconced,Gedichte,photosbyJamesWiddowson.

PAGES87,88ConciseAtlasoftheEarth,TheBarberofSeville,photosbyPoppyGreenham.

PAGE89GreekArt,photobyJohnGollings.

PAGE91AustralianYearBook1969,photobySimonSchluter.

PAGE95SwingingMyWayBack,photobyToniFrissell.

PAGES98-103PhotosbyLiaRoozendaal/JagwireDesign,courtesyofSeagerGrayGallery,MillValley,California.

PAGES104-109PhotosbyGuyLaramée.

PAGES111-113Cut-outscreen1,BaroqueVowel(E),IncompossibleText1,photosbyDanielChen.

PAGE113NakedBook,photobyGustavoLowry.

PAGES116-121PhotosbyEvaChloeVazaka.

PAGES122-125PhotosbyPamelaPaulsrud.

PAGES130-133PhotosbyHelenHyder,courtesyofProjectsGallery,Philadelphia,Pennsylvania.

PAGES134-135,136,137InMediaRes:Vascellum,LoremIpsumIII,Anthologia,photosbyPaulKodama.

PAGE136AbsoluteDepth,photobyBradGoda.

PAGE138PhotobyBradGoda.

PAGE139PhotobyShuzoUemoto,installationattheHawaiiArtNowExhibition,2012,courtesytheHonoluluMuseumofArt.

PAGES140-143PhotosbyEngland&CoGallery,London.

PAGES144WhentheAnimalsRebel,photobyNashBaker.

PAGES150-153PhotoscourtesyoftheartistandUtopiaArtSydney.

PAGES154,159TopographicalFunk&Wagnalls,PracticalStandardDictionary,TopographicalTheoriesofPersonality,photosbyJonStrand.

PAGES155-159Webster’sDiptych,Double-sidedGray’sAnatomy,Compton’sButterflies,ChemistryButterflies,photosbyJuliaStrand.

PAGES160-165Collectionoftheartist.

PAGES166-169PhotosbyScottMcCuePhotography.