Book Arts Newsletter

A Quartet of Salvaged Relatives in Borrowed Costumes for the November Book Arts Newsletter, No. 93, 2014, published by Impact Press at the Centre for Fine Print Research, UWE Bristol, UK, and edited by Sarah Bodman.

 

Gracia Haby & Louise Jennison
In the borrowed costume for Petrouchka, designed by Alexandre Benois, c. 1913, with a Barn Swallow.
I
n the borrowed costume of the Chief Eunich from Schéhérazade, designed by Léon Bakst, c. 1910.
In the borrowed costume of a Military Musician from Jardin Public, designed by Jean Lurçat, c. 1935.
In the borrowed costume of a guest from Le Bal, designed by Giorgio de Chirico, c. 1929.

Collage with colour-pencil
2014

 
Artists’ books have emerged as an energetic contemporary artform over the last forty years. Developing from their last materialisation in the 1960s as a way of bypassing the constraints of the gallery; as a vehicle for the dissemination of ideas and a radical format of bringing art to a wider public through artists self-publishing their work. This notion of making art in an affordable non-wall based format led to the growth of what we now recognise as the artist’s book, from traditional printed matter to e-books.

As part of our research we explore many aspects of artists’ publishing: from the conception and history of the artist’s book to creative processes and output, current developments and critical assessments of the subject. Through our research projects and collaborations, we hope to widen critical discourse within the book arts field.

As part of our investigation of contemporary book arts practice we publish the Book Arts Newsletter, the Artist’s Book Yearbook, a biennial publication with essays and information on many aspects of the book arts, and The Blue Notebook journal for artists’ books.

Centre for Fine Print Research, UK
 

Gracia Haby & Louise Jennison, In the borrowed costume of a Military Musician from Jardin Public, designed by Jean Lurçat, c. 1935, 2014, collage for Book Arts Newsletter