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Experimental Narrative and Artists' Books Foster Hall Gallery, Louisiana State University, Baton Rouge September 5,1999 to September 30,1999

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Experimental Narrative and Artists' Books Foster Hall Gallery, Louisiana State University, Baton Rouge September 5,1999 to September 30,1999 JOURNAL OF ARTISTS' BOOKS JA SPECIAL ISSUE: Experimental Narrative and Artists' Books Foster Hall Gallery, Louisiana State University, Baton Rouge September 5,1999 to September 30,1999 "TURNINGTHE PAGE: A CELEBRATIONOF THE ARTSOF THE BOOK" JAB12 IS entlrely dedicated to the exhlbltlon, "Expenmental Nai As we "turn the page" to the 21st century, Interest and even con- ratlve and Artlsts' Books," Foster Hall Gallery, School of Ar cern about the future of the book In a world where electronic Loulslana State Unlverslty, September 5, 1999 through Septembt ommunication becomes more and more commonplace is ever 30, 1999 It contalns statements by the artlsts whose work IS fei icreasing. The Libraries and the School of Art at Louisiana State tured In the exh~bltlonand catalogue Bill Burke, Fran~o 'niversity have developed Turning the Page, to create communi- Deschamps, Helen Douglas, Johanna Drucker, Brad Freema1 awareness of the book as an art form. Ten Baton Rouge orga- Ruth Laxson, Cllfton Meador, Judlth Mohns, Bea Nettles, Gty izations have cooperated to create the first city-wide celebra- Rlchman, Clarlssa Sllgh, Telfer Stokes, Phlllp z~mmermm~*d on of this kind, which is aimed at increasing our appreciation Janet Zwelg nd broadening our definition of the book and its place in the volving world of contemporary art. These events celebrate the As part of the opportunities afforded by h~sposltlon as ViSitlng ~chtradition of book making and highlight works of today's Professional at Loulslana State Unlverslty In Baton Rouge, for Fall lcst prominent book artlsts semester 1999, Brad Freeman was lnvlted to curate an exhlbltlon on some aspect of artlsts' books He chose to focus on the toplc Books demand the synthesis of two Important l~teraclesllnguls- of experimental narrative, prlmarlly on account of h~sown Inter- I' tic and vlsual Publlc forums will address the transformat~onal ests In uslng books and thelr structure to comment upon hn own power of the book In community and curr~culum Exhlbltlons, experience, and also on account of the cons~derableamount of ', workshops, vldeo presentations and lectures will hlghllght lnterestlng contemporary work produced In thls area In the last 1- rlbrant aspects of the arts of the book and discuss how the decades Johanna Drucker collaborated wlth hlm on curatlng the 7 hslon of the varlous dlsclpllnes of artlsts, wrlters, graphlc exhlbltlon, as well as on thls catalogue, whlch IS Issued as JAB12. des~gnersand crafts people results In thls unlque and dynamlc Slnce ~tsfoundlng SIX years ago, JAB has found an lncreaslngly ' Form of artlstlc expression wlde readership and also, happlly, an array of wrlters Interested In developing the crltlcal dlscuss~onof the fleld, and we will rurning the Page: A Celebration of the Arts of the Book" is the return to our usual format In the Spr~ng2000 Issue, JABi3. perfect vehicle to implement and support fine printing in 5 Louisiana, a region where traditional crafts and storytelling have g We are most appreclatlve of the asslstance offered by Leslle 5 Koptcho, In the School of Art, and Elalne Smyth, In the Llbrary, at deep roots. Exhibitions such as "Experimental Narrative" rein- S force the storytelling nature of books, and storytelling has the Louls~anaState Unlverslty, and for the opportunity to put thls power to transcend race, culture, age and educational back- 9 exhlbltlon and catalogue together Thanks to Charles Bae for ground. In essence, the book is a crucible for conversion, and scannlng slldes of the artlsts' works, and to the artlsrs for thelr 2 partlclpatlon Addltlonal thanks to JoAnne Paschal1 of Nexus our hope is that "Turning the Page" acts as a bookmark signifying 2 an important opportunity for examining this rapidly changing Press for varlous klnds of asslstance wlth regard to B~llBurke's genre. It will also create lasting partnerships among arts organi- 5 work And flnally, thanks to Ken Str~ckland,Dean of the School of zations, and serve to bring the artistic and literary communities Art and Deslgn at Purchase College, SUNY, for permlsslon to use the Center for Edltlons In producing thls Issue of JAB closer together. 1 Lslle Koptcho School of Art buisiana State University 1.Baton Rouge Todd Walker (rlght) photographed wlth 1- Rut&, {mLR 1=, Mmt8sIt&. Photograph by Brad Freeman Dedication to Todd Walker 1917-1998 This exhibition and catalogue, issued as the Journal of Artists' Books #12,are dedicated to the memory of Todd Walker. His extensive and sustained work in the form of the book inspired us to investigate its potential, to enjoy its complexity and specificity, and to understand print technology as a creative tool. NARRATIVEAND ARTISTS' BOOKS or text and the production of a story become a focus of the work.4 This is nowhere more true than in artists' books where a Johanna Drucker self-consciousness about the aesthetic potential of a familiar form is explored in imaginative use of the usual materials of sto- res, as l~teraryh~stor~an Karl Kroeber says, are as old as rytelling (words and images) as well as the exploitation of the ankmd, and the tell~ngand retell~ngof tales IS a fundamen- structures according to which they are offered to our eyes in the ature of soc~albehav~or Personal and collect~venarratlves openings, turnings, and sequenced pages of a book.5 In artists' render coherent the ~nexpl~cableand random features books, narrative negotiates between the finite real estate of the expenence. Accord~ngto the cultural anthropolog~sts page and the vast territory of imagination making use of all and 4structural~sts of the early 20th century, the formal coher- every possible tool of verbal and visual invention. ma? of a narratlve prov~desan ~nd~vrdualor a group w~tha ver- Narrative coherence offers a believable explanation, a Son of existence that ~t can ~nhab~tIn ~tsImaginary, psych~c workable story, a version of one's life that serves as a viable slipslce.2 Myth~ctales form the core of cultural ~dent~tywhether image of ongoing existence, a tale of continuity and disruption, etched In stone, pr~ntedand bound, or of trials and tribulations with oneself or one's family, tribe, com- on the screens of telev~s~onsand theaters These storles munity, or people as the central figure whose tale is being told. forge a bond between ~nd~v~dualexperlence and collect~ve Anthropologists and psychologists such as Joseph Campbell in frames of reference Our bel~efsystems are created by the sto- Hero with a Thousand Faces and Carl Junyin Man and his p r"Les they embody, our l~vesshaped accord~ngto the narratlves Symbols, trace the commonality of specific themes across cultur- we come to expect and imagine To a great extent, the sense we al and historical boundaries and into the interior and dream life make of the world we ~nhabrtIS formed by the culturally spec~ftc of individuals. The creation myth, the story of a flood, the hero's shape of our capaclty to lmaglne ~t,and In turn, each story con- journey to the underworld, even the fall from grace and casting tributes to the culture's own narration of ~ts~dent~ty, values, and out from paradise by an angry god-many of these are stories ktoiy. Narrat~venot only glves coherence to our l~vedexperience, that form the core of tales from prehistory to sacred texts and it also has the capaclty to transport us out of the l~m~tsof our own find their way into secular tales. Vladimir Propp, the Russian ctlve through the accounts or adventures of others. folklorist, suggested in his 1928 publication, The Morphology of ut storles are not s~mplyor only the tales that they tell. the Folktale, that all narratives could be mapped onto a limited The unfold~ngof a narratlve lnvolves the act of telling as well as set of schematic outlines, and that these reductive formulae pro- the substance of what IS told. An aud~encerecetves a tale In an vided the fundmental devices of storytelling. Such a broad &a of read~ng,watch~ng, or l~sten~ngbut focuses on the story: scope, and the generalizations to which it inevitably gives rise, the absent events take center stage as the circumstances of the blurring the boundaries of every era and situation into a vague telling d~sappear3 The ~nformat~onIn the actual text, the sense of a "human spirit" must be tempered with the critical sequence of words, phrases, andlor Images can be sketchy or recognition of the social role of stories. Narrative has the capaci- replete the story ~mag~nedbetween and among these elements ty to function seductively and coercively as a force of control, in the mental reception of the vlewer fills In these gaps, creating concealing the stresses of lived experience behind the neat reso- contlnulty and d~mens~onsresonant w~themotlon and viv~dness lutions of tales told as entertaining distraction, that can conceal There a often a d~sproport~onaterelat~on between what is glven real conditions behind insidiously consumable c~ichb.~ in the narratlve and produced In the Imaglnatlon: In some ways In the absorption of oral tradition into written and then the mlnlmal accounts of anclent mytholog~esor folk tales are print culture, the possiblities for narrative techniques develop in capable of suggestions that exceed those wrought by the heav~ly dialogue with the potential of each technological innovation. deta~leddescr~pt~ons of h~ghreal~sm. Even ~llog~calforms of nar- Texts find their counterpart in painted images in wall paintings, ranon, the strange events of a Nat~veAmer~can story featur~ng codices, scrolls, manuscripts, books, newspapers, film, video, the complex character, Coyote, or a surreal~stpoem, can carry and then electronic media.
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