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Madden2019.Pdf This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Gallerist as Publisher: a critical history from 1900 to the present Allan Charles Madden MA (Hons.), MLitt., PgDip. Volume I of II PhD History of Art Edinburgh College of Art University of Edinburgh November 2018 Declaration I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, the work presented is entirely my own. Allan Charles Madden 1 Abstract This thesis presents a critical history of the gallerist as publisher from 1900 to the present. Through a series of case studies of gallerists and their publications, I chart the forms and functions that gallery publishing has taken over the last century and explore the key relationships and issues within this strand of publishing practice. Despite diversity in the content, publishing context, and means of producing these publications, I argue that the history of publishing by gallerists is characterised by the overarching themes of promotion, innovation, collaboration, and democratisation. I explore these themes across a chronological structure, focusing on selected examples of significant and sustained publishing activity led by gallerists from 1900 to the present day in Europe and North America. Beginning in 1900 with the livres d’artiste of Ambroise Vollard and Daniel-Henry Kahnweiler in Paris, I explore the reasons why gallerists were motivated to publish and how publishing became an essential facet of a gallerist’s professional practice. I follow with case studies of publications by gallerists Jeanne Bucher, Aimé Maeght, Seth Siegelaub and David Zwirner. The five chapters of the thesis are structured in order to allow for both a thorough analysis of an individual publication or publishing series as well as an examination of the contemporary publishing context within which they were produced. In my selection of case studies, I analyse examples that demonstrate the various forms and functions of publishing produced by gallerists: the livre d’artiste; the artists’ novel; the gallery magazine; the catalogue as exhibition; and books of art writing. Accompanying these individual case studies is a broader analysis of the ways in which gallerists both influenced and took inspiration from the wider context of art publishing. Despite the wealth of research on the history of artists’ books and magazines in the twentieth century, this thesis forms the first scholarly account of the impact of gallerist publishing on the development of modern and contemporary art publishing. I draw on existing research in the wider field of art publishing and combine it with interviews, archival material and personal accounts of the gallerists in order to re-evaluate the significance of gallerists and their publications in the history of art publishing. While I have consulted a number of archives and exhibitions over the course of this project, at the core of my research are the collections held by the Scottish National Gallery of Modern Art Library and Archive and the thesis is intended, in large part, to reflect the nature of those collections. 2 Table of Contents Volume I Declaration ............................................................................................................. 1 Abstract .................................................................................................................. 2 Acknowledgments .................................................................................................. 5 List of illustrations................................................................................................... 6 Introduction........................................................................................................... 12 Beyond the catalogue: gallerists and publishing as artistic practice in the twentieth century .......................................................................................... 12 Cataloguing the Catalogue: The Roland Penrose Collection ..................... 14 Writing a History of the Gallerist as Publisher ............................................. 15 Chapter One ......................................................................................................... 22 The Gallerist as Promoter: Kahnweiler, Vollard and the publication as brand in the context of Parisian print culture, 1900 – 1939 ........................................... 22 I: Setting the Page, Making a Mark: Parallèlement (1900), L’Enchanteur pourrissant (1909) and the book as brand of quality and modernity .......... 25 I.I: Parallèlement (1900):.......................................................................... 25 I.II: L’Enchanteur pourrissant (1909): ...................................................... 32 I.III: Building the Brand, Founding a Tradition: Vollard and Kahnweiler establishing a practice of gallery publishing: ........................................... 39 II: Paris Press: the impact of the publishing zeitgeist of periodicals, posters and prints in fin-de-siècle Paris.................................................................... 48 Conclusion.................................................................................................... 59 Chapter Two ......................................................................................................... 61 Publishing Surrealism: reviewing the role of Jeanne Bucher as practitioner, publisher and promoter of Surrealist collaborative books, 1925 – 1946......... 61 I: Reading the Uncanny City: Surrealist flânerie, Parisian topography and the collaged streetscape in Une semaine de bonté (1934)......................... 64 I.I: Lions real and figurative: ..................................................................... 67 I:II The Surrealist Flâneur: ....................................................................... 70 I:III The Spaces of Surrealist Flânerie: .................................................... 75 I:IV Collaging the Streetscape: ................................................................ 79 II: Books Between Men: Bucher and the politics of Surrealist homosocial collaboration ................................................................................................. 82 Conclusion.................................................................................................... 95 Chapter Three ...................................................................................................... 97 Behind the mirror: Maeght, Malraux and the magazine as musée imaginaire, 1946 - 1982 ...................................................................................................... 97 I: Derrière le miroir as musée imaginaire: the gallery magazine as serial, collectible and democratic medium ........................................................... 101 3 II: From Der Querschnitt to iris.time unlimited: the forms and functions of the gallery magazine .................................................................................. 113 Conclusion.................................................................................................. 127 Chapter Four ...................................................................................................... 129 Thinking Outside the Book: Seth Siegelaub and the publication as alternative site of display and dissemination, 1968 – 2013 ............................................ 129 I: Xerox Book on Infinite Loop: remaking, restaging and ripping off the Xerox Book in the digital age ..................................................................... 131 II: Distributing Information, Democratising Art: the catalogue-exhibition and the artists’ magazine as alternative exhibition space ................................ 146 Conclusion.................................................................................................. 162 Chapter Five ....................................................................................................... 165 Writing on/for/with Art: David Zwirner’s ekphrasis series, subjective art writing and accessibility in the contemporary gallery publication, 2016 – present ... 165 I: From Proust to Pissing Figures: Strategies of verbalising the visual in David Zwirner’s ekphrasis series ............................................................... 168 II: Speaking Out or Talking Over? Hierarchical and hermeneutical relationships between text and image in ekphrastic theory ...................... 181 III: Ekphrasis and the contemporary catalogue: mapping out a discursive space .........................................................................................................
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