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> Artists' Books 2012–2019 > Artists' books 2000–2011 > Why books?
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An Introduction ARTISTS' BOOKS > Artists' Books 2012–2019 > Artists' books 2000–2011 > Why books? ZINES > Zines 2019 > Zines 2015–2018 > Zines 2012–2014 > Zines 2002–2011 EXHIBITIONS & PUBLISHED > Exhibitions > Published works > Related projects
Gracia & Louise
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The drafting process

Recently landed: The drafting process, a new post on High Up in the Trees (by Gracia)

Gracia & Louise, 2014, collage for The World of Interiors

Gracia & Louise, 2014, collage for The World of Interiors

Collaborative projectsGracia LouiseSeptember 18, 2014The World of Interiors, in print, collage, literary tours, Chaucer, TS Eliot, the working process, drafts, ideas
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"It is this – " he tapped his egg-shaped head – "this, that functions!"

ZinesGracia LouiseSeptember 20, 2014The Last Confession, David Suchet, Hercule Poirot, Agatha Christie, A Catalogue of Bodies, The Comedy Theatre, instagram
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Free Postage all September long

Zines, Store, PrintsGracia LouiseSeptember 16, 2014sale, free postage, And Zarafa Kept Walking, new greeting cards
 
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News
Sep 27, 2019
Of pink marble and porphyry
Sep 27, 2019
Sep 27, 2019
Sep 25, 2019
2019 Geelong acquisitive print awards
Sep 25, 2019
Sep 25, 2019
Sep 22, 2019
Zarafa
Sep 22, 2019
Sep 22, 2019
Sep 18, 2019
As soon as we met
Sep 18, 2019
Sep 18, 2019
Sep 13, 2019
“The beginning of day”
Sep 13, 2019
Sep 13, 2019
Sep 11, 2019
Stamping Ground
Sep 11, 2019
Sep 11, 2019
Sep 7, 2019
“In the heavens for all eternity”
Sep 7, 2019
Sep 7, 2019
Sep 5, 2019
Melody and Mythology
Sep 5, 2019
Sep 5, 2019
Aug 19, 2019
MIFF 2019, from present to past tense
Aug 19, 2019
Aug 19, 2019
Jul 22, 2019
Sights Unseen: Recent Acquisitions from the Moreland Art Collection
Jul 22, 2019
Jul 22, 2019
Jul 21, 2019
Salvaged Relatives
Jul 21, 2019
Jul 21, 2019
Jul 13, 2019
Other Worlds 2019 Short story competition
Jul 13, 2019
Jul 13, 2019
Jul 10, 2019
Near to the lake’s edge
Jul 10, 2019
Jul 10, 2019
Jul 9, 2019
Light and Shade
Jul 9, 2019
Jul 9, 2019
Jul 8, 2019
Small things; precious things
Jul 8, 2019
Jul 8, 2019
Jun 23, 2019
Like Light
Jun 23, 2019
Jun 23, 2019
Jun 17, 2019
File under ‘Eye’
Jun 17, 2019
Jun 17, 2019
Jun 14, 2019
It came like light out of the walls
Jun 14, 2019
Jun 14, 2019
Jun 11, 2019
Evolve
Jun 11, 2019
Jun 11, 2019
Jun 10, 2019
“The stability of nature can no longer be taken for granted”
Jun 10, 2019
Jun 10, 2019
Jun 3, 2019
Keep an eye on
Jun 3, 2019
Jun 3, 2019
May 31, 2019
In the museum
May 31, 2019
May 31, 2019
May 23, 2019
Watercolour and pencil, blue, green, more
May 23, 2019
May 23, 2019
May 22, 2019
Through a glass eye
May 22, 2019
May 22, 2019
May 18, 2019
Through a forest
May 18, 2019
May 18, 2019
May 17, 2019
Trees of Life for The Big Issue
May 17, 2019
May 17, 2019
May 16, 2019
Divides and reassembles
May 16, 2019
May 16, 2019
May 15, 2019
Windigo
May 15, 2019
May 15, 2019
May 6, 2019
Shopfront
May 6, 2019
May 6, 2019
Apr 15, 2019
Imprint: A Survey of the Print Council of Australia
Apr 15, 2019
Apr 15, 2019
Listening to birds fossicking and noting the busy and fuzzy pollinators in gardens orchestrated to delight in change. Making plans to move in. “Everything is prudent, even the exuberance; everything is prepared, even that which seems wild.” — Édouard Mortier, Duc de Trevise #Monet #Giverny #gardens #inthegarden #ClaudeMonet
Inside, only to go outside. Where the “light constantly changes, and [in doing so] alters the atmosphere and beauty of things every minute“ (Claude Monet). #Monet #autumn #Giverny #inthegarden #thisisautumn
One hire car, to fly around the Arc de Triomphe like a local, and to pause in small villages like Limetz-Villez and Bennecourt where, incidentally, importantly, we met a talkative white cat. A day trip, a swell squealing day trip, with @pasadenamansions, and Louise (expertly, fearlessly, as ever) behind the wheel. I’d once asked Louise if there was anything daring she still wished to do, and renting a hire car whilst we were in Paris was it. And did it we three did. With apologies to the cyclist who dodged us driving the wrong way down a one way street at Gare de Lyon. #Paris #daytrip #hirecar #Giverny #Bennecourt #LimetzVillez
And stayed for ‘You’, with the sculpted and sonic resurrection of a ‘Walking Whale’ from 50 million years ago, a ‘Hell Pig’ from 25 million years ago, and a ‘Mammoth Imperator’ from 4.5 million years ago (within Marguerite Humaeu’s ‘The Opera of Prehistoric Creatures’), and Michel Blazy’s polluted water drip-drops. (‘You’ presents a selection of works by French and international contemporary artists from the 330 pieces in the Lafayette Anticipations Collection — the Moulin Family Endowment Fund. @museedartmodernedeparis) #You #Paris #explore #thisisautumn #museedartmoderne
“In painting, everything must be right: the lines, curves, forms, angles and colours to form an image that can last ... that is the definitive expression of a phenomenon, of an emotion. ... For me, the pleasure of living is mixed up with the pleasure of painting. When one has dedicated one’s entire life to painting, when one has tried to go always further, it is impossible to stop.” Hans Hartung A retrospective of Hartung, by way of the market out the front, on a Saturday. Feel for the description of yellow’s meaning, pure colour, lithographs to illustrate the worlds of Jean Proal — “a question of death. ... I knew what was being expressed there” — watercolours and drawing-writing, and a ‘staged’ workshop. “Several design and interior decoration magazines published articles on ‘Hartung at home’, illustrated with photographs of the living and working space. Hartung welcomes his guests in a workshop with large white walls. It is in fact an impeccable staging, this place being dedicated solely to the promotion of the artist. It was on the fifth floor, in a smaller studio, that the pictorial activity took place. The art critic Jean Clay has, from 1963, understood the set-up and felt the painter’s “distrust”, which protected his real workspace from competition and the market”. #Paris #process #painting #Hartung #inthegallery
Earlier, we’d walked through the collection, feeling paintings pulsate, and now, as I go through my camera roll, I see them with the dancers humming and shaking before them. From 2.30 to 3.30, they inhabited the space. A case of beautiful timing in every sense. A fortunate stroke of serendipity and dream. @liquidloft #Paris #dance #memory #liquidloft #danceinmuseums #contemporarydance #museedartmodernedelavilledeparis
Liquid Loft performed a fusion of ‘Foreign Tongues’ and ‘Stand-Alones’ for the reopening of the Musée d’Art Moderne de Paris. “In the ‘Foreign Tongues’ projects series, Liquid Loft explore the complex interactions between verbal messages and their physical attributes. ‘Foreign Tongues’ approaches, with the vocabulary of body language, the often contradictory forms of communication. Starting point for the various performances are language recordings, which were produced as part of personal interviews in different regions of Europe. ...The site-specific performances are based on local languages and jargons, reflecting the sound environment of the place. With every location, the Spoken Word Symphony grows, the characteristic architecture of the site becomes the scenery of the play”. Merge this with the acoustically interwoven solos in ‘Stand-Alones’ “in separately accessible rooms [which] grow together over the course of the performance into a choreographic canon ... [as] the performers move, apparently without link to the outside world ... surrounded only by the mysteries of the mental spaces of their own world experience. ... When our senses can no longer keep up processing the upheavals in the world, the obvious becomes questionable, unnatural, vulnerable. ... [Before Bonnard, de Chirico, Picabia, Raoul Dufy, and the Delaunays] the individual becomes divided, the body a last refuge. Only in phases of smoldering silence and slow-motion can we detect the traces of expressive distortion in it”. @liquidloft #Paris #dance #liquidloft #standalones #danceinmuseums #contemporarydance #museedartmodernedelavilledeparis
At the Musée du quai Branly — Jacques Chirac, by way of the 63 bus, before “200 hundreds years of history, enrichment, study and conservation of public collections. [The Museum] conserves almost 370,000 works originating in Africa, the Near East, Asia, Oceania and the Americas which illustrate the richness and cultural diversity of the non-European civilisations from the Neolithic period (+/-10,000 B.C.) to the 20th century”. Before private archives donated since 1998 from “30 collections representing 110 linear metres of documents .... [a] galaxy of documents [that] opens up avenues to enhance the biography of items, from their original source to their arrival in the museum”. Travel images, photographs from Burkina Faso in the ‘70s, textiles, gold, feathers, meaning and message, role, and beauty, and the paper funerary simulacra of Taiwan, “which are burnt to assure the comfort of the dead in the beyond”, such as a smartphone with special ‘paradise’ applications. @quaibranly #future #musée #history #collection #museeduquaibranly
We return by way of a silvered Maharajah recorded by Man Ray (‘Modern Maharajah: a Patron of the 1930s’ at the Musée des Arts Décoratifs), wave a wing at Constantin Brancusi’s ‘Bird in Space’ (especially for @peterhaby), and à boat named ‘Louise’ (if only). #Paris #Seine #onfoot #ManRay #ModernMaharaja #MuséedesArtsDecoratifs
Following the line work of memory and movement (and avoiding the large knots of tourists, where possible, with @pasadenamansions) at the Grand Palais for the room-after-room Henri de Toulouse-Lautrec retrospective, co-curated with the Musée d’Orsay, the Musée de l’Orangerie and the Réunion des musées nationaux and supported by the city of Albi and the Musée Toulouse-Lautrec. “.... to adore nights more than days — to adore and to detest immensely; to squander much of one’s substance in riotous living, to have a terribly direct eye and as direct force of hand; to be capable of painting certain things which have never yet existed for us on the canvas....” — Arthur Symons, ‘From Toulouse Lautrec to Rodin’ (London: 1929) #Paris #Lautrec #GrandPalais #ChampsElyssee #ToulouseLautrec
There, a Rose-ringed parakeet (Psittacula krameri), not on a vase or in a painting, but on a sunflower. In the Jardin Écologique, in Paris, and her suburbs, living, glowing, green. #Paris #birds #parakeet #JardindesPlantes #Roseringedparakeet
In awe of the the Carrion crow (Corvus corone linné) and their power to “act like ink-blot tests drawing images out of my unconscious” (Mark Cocker, ‘Crow Country’). At the Jardin des Plants, the gardens are protected by the most robust and intelligent of birds, with one even walking the whole length of the pathway with us. A protector of the garden, hurrying us out the gate before the heavy downpour. We leapt on a 63, bound for Odéon, not as wet as we’d otherwise have been. A wise and beautiful bird, indeed. Merci. #crow #Paris #birds #Carrioncrow #Corvuscorone #JardindesPlantes
At the Centre Pompidou. Before Joan Miró’s ‘Blue’ triptych created out of “a very great inner tension, to reach the emptiness”; Raoul Duffy’s ‘Le Dromadaire’; Natalia Gontcharova’s ‘À propose de la personne’; and André Bauchant’s ‘Fleurs variées’. Before old favourites, and new favourites. For as long as the legs would hold, and not long enough at all. “Brushing a cosmic space punctuated by lines and signs of movement.” At ‘Bacon: Books and Painting’, with the “great poets [those] incredible triggers of images, their words .... open the doors of my imagination”. (@centrepompidou) #Paris #JoanMiró #inthegallery #thisisautumn #CentrePompidou
“Again the pigeons go round the square. What triggers this unified movement? .... it seems completely gratuitous: the birds suddenly take flight, go round the square and return to settle on the district council building’s gutters. 
It is two twenty.” Georges Perec’s catalogue of things and thoughts, his “infraordinary” written over three days in 1974 (the 18th, 19th and 20th of October) within ‘An Attempt at Exhausting a Place in Paris’. He noted “tens, hundreds of simultaneous actions, micro-events, each one of which necessitates postures, movements, specific expenditures of energy,” and the weather: Day 1 is “Dry cold. Gray sky. Some sunny spells”; Day 2, “Fine rain, drizzle”; and Day 3 is “Rain. Wet ground. Passing sunny spells.” I wonder where and how my own mental catalogue will appear, in a collage, or on the pages of our next artists’ book. Will there be the ducks at the grotto, too low and camouflaged by the water to feature in the tourist photos of the fountain at the Jardin du Luxembourg? The stray cat interested in marking the parked Paul’s van at the entrance to the château? A man with his petite chien out for a stroll; his coffee-coloured trousers complementing the dogs orange lead and silky terrier coat. A line in the Post Office; the sun behind the teller causing me to squint. Out in the street, a euro shining, wedged in the grill; you’d need a pair of tweezers or nimble fingers to retrieve it from its hold. A loud man on his mobile. Two people on a scooter. “Four children. A dog. A little ray of sun. The 96. It is two o’clock.” #Paris #onfoot #wandering #justpassing #thisisautumn
An appointment at Atelier Clot, Bramsen & Brunholt, with Christian Bramsen to see their lithographic workshop in flight, a bright injection of yellow on the rollers when we arrived, was a joy befitting the colour. The workshop, founded in 1896 by Auguste Clot, was “from the beginning known as the finest art printer in Paris. Here the young “Nabis”-artists had their lithographs printed — among others Vuillard and Bonnard — but also Degas, Munch, Cézanne, Sisley, Rodin, Matisse, and later Asger Jorn, Alechinsky, Bjørn Nørgaard and others” (Lisbeth Bonde, ‘The French Clot-nection’). The workshop is 300 square metres with a basement 80 square metres, of which we were able to explore. Down the steps, in the caves below, a well, down further still, an etching press for artists “who are perhaps a little more shy”. Atop it sits the 'memento mori' of previous artists from Mexico. The premises in Rue Vielle du Temple has three hand presses: “ 1 copper printing press. 1 lithographic Voirin press. 1 paper cutter. 250 lithographic stones (about 15 tons). 3 inkjet printers 44”, and 1 inkjet printer 60”. An archive of more than 6000 lithographs of over 500 artists”. And there we were, upon Jim’s recommendation (thanks @jim.pavlidis!), drinking beer at the table. Some three hours later we looped back to the Pompidou to meet @pasadenamansions, drawing in her sketchbook before the Francis Bacon pink, orange, and green retrospective, which earlier Christian described as “the show of the year”. Thank-you for showing us your workshop, sharing your time, making us feel so welcome, and allowing us to swim in intense colour that has pushed into the paper, Christian. (Image credit: Atelier Clot, Bramsen & Brunholt, @atelier.clot) #ideas #colour #history #AtelierClot #lithography #printmaking
In 1909, Claude Monet stated of his ‘Water Lilies’ (‘Nymphéas’) in the two egg-shaped rooms which draw out the mathematical symbol for infinity, at the Musée de l’Orangerie: “those with nerves exhausted by work would relax [here], following the restful example of those still waters, and to whoever entered it, the room would provide a refuge of peaceful meditation in the middle of a flowering aquarium” (@museeorangerie). And we felt just what he meant. #Monet #waterlilies #MuséelOrangerie
8.30am Jardin des Tuileries Joggers pass us by, and in the Bassin Octognal, several red umbrellas are submerged in the water as part of installation for the forthcoming International Art Fair. 9.30pm Pont au Change The Extinction Rebellion (@extinctionrebellionfrance) grows. (@extinctionrebellion: “The rebellion is in full swing!⁣ Rebels yesterday held streets in Paris, all day and throughout the night. We need #EverybodyNow to join us in a rebellion without borders. If you haven’t been able to join us throughout the day, remember you can still join us in the evenings!⁣ If you can’t physically join us on the streets you can still support the rebellion by spreading the word or donating.”) #Paris #oneday #onelongday #nowornever #ExtinctionRebellion #ClimateEmergency #InternationalRebellion
Perhaps it was the swans, gliding on the lake before they signalled time for take off with an impressive series of honks. Perhaps it was the horseshoe staircase constructed for Louis XIII (1610–43) by Androuet du Cerceau, decorated in construction scaffolding. Perhaps it was both, and more. Either way, earlier in the week, Louise danced around the grounds of the Château de Fontainebleau. #happy #swans #reflection #Fontainbleau #ChâteaudeFontainbleau
Perhaps it was the greenhouse, glowing pink. Perhaps it was the petite stand selling glace à la française named ‘Louise’ (@louiseglaces). Perhaps it was both, and more. Either way, Louise danced around the Jardin des Plantes, like one of the many birds, in celebration of changeable autumn and beautiful life. #Paris #happy #Louise #gardens #greenhouse
We farewell one of two known specimens of the Santa Lucian Giant rice rat; the sole complete black emu skeleton; and only complete mounted Schomburgk’s deer; and a Rodrigues giant tortoise (Atlas Obscura), and enter the stardust and molten rock of La Galerie de Minéralogie, at the Jardin des Plantes, to view a collection older than the building which houses it. 💎 “When it was created, this minerals and #gems collection incorporated those specimens that had been assembled since 1626 under the reign of French king Louis XIII in the collections of the Royal Garden of Medicinal Plants. Some specimens of the King’s Cabinet and some of the Crown #jewels were also added to this #collection. Its historical interest grew further in the 18th century, when modern disciplines of mineralogy and crystallography emerged. The MNHN collection has continued to grow since its creation, with the aim of sampling the planet’s mineral diversity and showing its possible uses for humanity. This growth is the result of the systematic collecting of mineral species and recording of their geographical origins by the Muséum’s scientists, and through numerous donations: amongst other things, they include a collection of cut gems and #crystals, the dream stone collection of Roger Caillois, objects, samples, instruments, manuscripts and historical models of minerals and crystals that belonged to the great scientists of the 18th and 19th centuries, like Romé de l’Isle, Haüy, Des Cloizeaux or Lacroix. The original documents and manuscripts associated with these historic collections are preserved at the Muséum’s Bibliothèque Centrale. The collection contains some 340 types of mineral species (reference samples of each newly described mineral species).” — La Galerie de Minéralogie #minerals #collection #jardindesplantes #galeriedemineralogie
 
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