Books about artists' books are shelved in the Main Campus Book Stacks and have call numbers beginning with N7433.3 and N7433.35. These books are a good place to look for inspiration.
Books about bookmaking/how to make books have call numbers that begin with Z266 and through Z271.
Century of Artists' Books, 1st ed. by
he Century of Artists' Books is the first full-length study of the development of artists' books as a twentieth century art-form. This work situates artists' books within the context of mainstream developments in the visual arts from Russian Futurism and Surrealism to Fluxus, Conceptual Art, to Postmodernism. Designed to raise critical and theoretical issues as well as provide a historical overview, this book explores more than two hundred individual books in relation to their structure, form, and conceptualization.
Blurred Library: Essays on Artists' Books by
Despite the fact that the field of artists' books has grown steadily since the mid-sixties, the discourse has been largely under- theorized. BLURRED LIBRARY: ESSAYS ON ARTISTS' BOOKS, is a stunning collection of the most revered essays by Tate Shaw, the Director of Visual Studies Workshop. For years, Shaw's contributions to the field of artists' books as a theorist, artist, writer, historian, and teacher have been celebrated internationally, but have largely gone undocumented, until now. Shaw's versatility as a scholar and artist allow him to take a holistic approach to his subject that is historical, conceptual, anecdotal, contemplative, and engaging. BLURRED LIBRARY is an indispensible contribution to the field of artists' books, essential reading for emerging and seasoned artists and scholars alike. Lavishly illustrated throughout by photographer Doug Manchee.
Freedom of the Presses
The artist's book as activist tactic: a toolkit Freedom of the Presses is at once a textbook and a toolbox for using artists' books and creative publications to further community engagement and social justice projects. Far from being a staid survey of an art historical practice, Freedom of the Presses intervenes in an ongoing discussion about art and activism in the present day by considering the place of the art book in the 21st century. The publisher, Booklyn, has been involved in this conversation since 1999, when a group of six artists decided to band together to promote contemporary artists' books and publications. Booklyn's focus has always been voracious, encompassing street art, punk and activist culture alongside more conventional artists' books. This restless energy is present in Freedom of the Presses, which brings together a provocative mix of humorous, intimate and scholarly writing in order to expand how we think about the concept, content, design, production and distribution of artists' and activists' publications today. Aimed at a global community of librarians, publishers and readers, it offers models of how to reimagine contemporary artists' bookmaking as a socially engaged, political practice. With essays by Kurt Allerslev, Tia Blassingame, Sarah Kirk Hanley, FLY-O, Karen Eliot, Richard J. Lee, Florencia San Mart n, Ganzeer, Suzy Taraba, Stephen Dupont, Bridget Elmer, Janelle Rebel, Marshall Weber, Anton Wurth, Xu Bing, Deborah Ultan and Aaron Sinift, Freedom of the Presses enacts the dialogue it calls for, inviting artists and activists to weigh in on the place of artists' books in the most pressing social, political and cultural issues of our time.
Possibilities: When Artists' Books Were Young by
Curated by Mills College Professor Emerita Kathleen Walkup, the San Francisco Center for the Book exhibition "Possibilities: When Artists' Book Were Young" highlights the critical role that women, including women of color, played in the definition, development and curation of artists' books while exploring the challenges of inclusion and diversity. The exhibition works to re-focus our understanding of the time when artists' books were coming into their own. Works exhibited at SFCB include rarely seen exhibition catalogs and posters from early artists' book shows as well as trailblazing works by creators from the 1970s through the 1990s.The full-color catalog includes essays by Joan Lyons, Kathleen Walkup, Martha Wilson and is designed by e bond / roughdrAft books. Represented works include Adrian Piper, Clarissa Sligh, Dorothy Iannone, Suzanne Lacy, and Tomie Arai (among others).
No Longer Innocent: Book Art in America, 1960-1980 by
This important history of the artist's book, a flourishing form which over the years has often been greeted with confusion by critics, collectors, historians and artists, aims to spell out its role in contemporary art and to claim for it a vital and heretofore unacknowledged status since the blossoming of the artform in the 1970s. Renowned scholar and curator Betty Bright takes an inclusive view of the varied field in order to redress its marginalization, identifying three distinct types: the fine press book, the deluxe book, and the bookwork. She covers crucial supporters of the form, like New York's Center for Book Arts, Franklin Furnace, and the Visual Studies Workshop Press in Rochester, New York, as well as key organizations and figures in Chicago, Atlanta, San Francisco and Los Angeles. Bright examines how artist's books have responded to specific movements, such as Pop, Fluxus and Conceptualism, and how the book arts' own mini-art world of the 1970s was shaped by seminal exhibitions, fledgling nonprofit organizations and collectors.
Speaking of Book Art by
Connecting book arts programs at Camberwell College of Arts in London, England, and Mills College in Oakland, Calif., this collection includes interviews with Ron King, Ian Tyson, Joan Lyons, Betsy Davids, Sas Colby, Telfer Stokes, Kathy Walkup, Susan King, Helen Douglas, Johanna Drucker, Paul Coldwell, Susan Johanknecht, Alisa Golden, Julie Chen, and Karen Bleitz. Documenting developments in book art from the 1970s to the 1990s, these interviews also examine how book art education is affecting new practitioners.
Masters: Book Arts by
Surveys work from 40 international book artists.
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