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Object Focus: Th E Book Texts for Object Focus the Book Guidebook Contributed by the Guidebook and All Graphic Collateral for Object Focus: the Sarah Fagan, A

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object focus: Th e Book Texts for Object Focus The Book guidebook contributed by The guidebook and all graphic collateral for Object Focus: The Sarah Fagan, A. R. De Filippi, Ella Gold, Gelsey Kurrasch Book was designed and set on a variety of Apple computers Sharon Mizota, Geraldine Ondrizek, Claire Siepser, Barbara using Adobe Indesign CS5. Tetenbaum, and Namita Gupta Wiggers. Trade Gothic (Condensed No. 18), designed in 1948 by Designed by David Roos. Jackson Burke, is used for artist's names, the table of Copyright 2010 Reed College, Museum of Contemporary contents, and the "Object Focus:" portion of the logotype. Craft in partnership with Pacifi c Northwest College of Art and Sharon Mizota. All rights reserved. The red italics throughout are Adobe Caslon Pro, a variant of Object Focus: The Book (November 18, 2010 – February William Caslon's 18th century faces redesigned by Carol 26, 2011) organized by Museum of Contemporary Craft in Twombly from Caslon's specimen sheets. partnership with Pacifi c Northwest College of Art, Portland, OR. Curated by Geraldine Ondrizek, Reed College and The body of the guidebooks, object labels, wall labels and Namita Gupta Wiggers, MoCC in collaboration with Barbara introductory text is set in Scala Sans, designed by Martin Tetenbaum, Oregon College of Art and Craft. Majoor in 1993. This guidebook was printed on Wausau Color Copy 98, a 32# bright-white, extra-smooth digital paper. The cover is Strathmore cold-press 140# watercolor paper. Printing was done on a Konica Minolta BizHub C280 laser printer. The guidebooks were bound at Publication Studios, Portland, Oregon. 2 object focus: Th e Book Table of Contents Acknowledgements . 5 Index of Artists . 135 Introduction . 9 Appendix Fluxus Study Table and Programs . 139 Introduction . 13 Objects and Essays . 14 Avant-Garde & Russian Artists’ Books Introduction . .39 Objects and Essays . 40 Contemporary Chinese Artists’ Books Introduction . 53 Objects and Essays . 54 Contemporary Livres d’Artistes Introduction . 63 Objects and Essays . 64 Contemporary German Artists’ Books Introduction . 83 Objects and Essays . 84 Politics and Place Introduction . 93 Objects and Essays . 194 Contemporary Conceptual Artists Books Introduction . 115 Objects and Essays . 117 3 4 object focus: Th e Book Acknowlegements As always, exhibitions are collective projects that require exten- signage, printed materials and guidebook which accompanies sive dialogue, research, sorting, sifting, rethinking, refi ning, the exhibition and Leslie Miller for her work with the Media; editing, and logistical coordination. Object Focus: The Book is both through Communications and Public Programs, PNCA. no exception. Most of all, Kat Perez, Exhibition Coordinator, MoCC deserves On behalf of the Museum of Contemporary Craft in partnership special recognition for her logistical and organizational skills with Pacifi c Northwest College of Art, we would like to thank that ensured that the objects were catalogued and installed Geraldine Ondrizek, Reed College for helping us create an with the most professional of care. Under her direction, assistant exhibition that surveys a range of book forms in contemporary preparators Claire LaMont (PNCA ‘09), Tesar Freeman (PNCA culture. Barbara Tetenbaum, Oregon College of Art and Craft ‘09) and Michael Welsh (MFA candidate, PNCA ‘11), with the provided invaluable support, discussion and dialogue. aforementioned interns, executed a fl awless exhibition change- over. Special thanks to Eric Franklin for bringing our exhibition We would like to especially thank Gay Walker, Mark Kuestner design to life through lighting. and the library staff , Reed College for working with us to arrange the loan of the works, and for their assistance throughout the – Namita Gupta Wiggers, Curator, months as we cast a wide net, re-cast our focus, and refi ned our requests. Museum of Contemporary Craft in partnership with Pacifi c Northwest College of Art Curatorial Interns A. R. De Filippi, Reed College 2011; Sarah Fagan, Post-Baccalaureate Candidate, Oregon College of Art and Craft, 2011; and Millicent Zimdars provided excellent research, writing, proofreading and installation support. Many, many people worked behind the scenes to make this exhibition happen. In particular, we would like to thank David Roos (PNCA ‘10) for his outstanding design work for the 5 PNCA AND MUSEUM OF CONTEMPORARY CRAFT EXHIBITIONS AND PUBLIC PROGRAMS ARE GRATEFULLY ACKNOWLEDGE THE FOLLOWING SUPPORTED BY THE FOLLOWING: CORPORATIONS AND FOUNDATIONS FOR THEIR SUPPORT: PNCA+FIVE Ford Institute for Visual Education PNCA+FIVE Ford Institute for Visual Education Paul G. Allen Family Foundation Paul G. Allen Family Foundation Sue Horn-Caskey & Rick Caskey boora Architects The Collins Foundation The Collins Foundation Maribeth Collins First Independent Bank Truman & Kristin Collins The Ford Family Foundation John Gray Charitable Fund of the Oregon Community Foundation Gerding Edlen Development Company, LLC The Ford Family Foundation William G. Gilmore Foundation MJ Murdock Charitable Trust John Gray Charitable Fund of the Oregon Community Foundation National Endowment for the Arts LAIKA PGE Foundation Leupold & Stevens Foundation Regional Arts & Culture Council McGraw Family Foundation Harold & Arlene Schnitzer CARE Foundation MJ Murdock Charitable Trust The Standard National Endowment for the Arts Mary Hoyt Stevenson Foundation The Nines Rose E. Tucker Charitable Trust Oregon Arts Commission Schwabe, Williamson & Wyatt Oregon Community Foundation The Western States Arts Federation Oregon Cultural Trust Whiteman Foundation PGE Foundation Ziba Regional Arts & Culture Council With special thanks to: NWC Nick Weitzer Contracting and Willamette Week. Harold & Arlene Schnitzer CARE Foundation Schwabe, Williamson & Wyatt Siteworks Design | Build The Standard Mary Hoyt Stevenson Foundation Herbert A. Templeton Foundation Rose E. Tucker Charitable Trust The Western States Art Federation Whiteman Foundation Ziba ZGF Architects LLP With special thanks to: The Heathman Hotel, Twenty Four Seven, NWC Nick Weitzer Contracting and Willamette Week. 6 object focus: Th e Book 7 8 object focus: Th e Book Introduction In its most common form, a book is understood to be an object as a whole employs a teaching collection as a tool for public made of printed or written papers gathered together, glued or exploration of the book as a form, a site, and an interactive sewn along one side, and bound between two covers. Today, object at precisely the moment when emergent technology such electronic devices as the Kindle™ or nook™ are expanding challenges the materiality of the book in popular culture. public ideas of what a book can be while making information and ideas readily available in digital formats. While text-based Organized geographically and thematically, the exhibition is works easily make this technological transition, the book as a accompanied by this guidebook (available for download from vital cultural object continues to be the focus of artists, crafts- the MoCC website) with essays by the co- curators and student people and designers from around the world. interns from various institutions. Pages of selected works will be turned during the exhibition to off er greater access to the Object Focus: The Book explores how the book developed during contents of each book. A study table off ers hands-on explora- the 20th century into a unique form that defi es expectations tion of additional artists’ books, access to a website produced of how a book should behave. “The book is a unique medium by Reed College, and information on places in Portland where in that it only performs its function if the viewer interacts with visitors can learn to make, study or experience artists’ books it, and turns its pages,” explains scholar Barbara Cinelli. “The for themselves. artist’s book is above all a physical object with which we interact with the physical world.”1 Object Focus off ers a broad survey of Please visit the Museum’s website to learn more about upcom- what is often categorized as the “artist’s book,” introducing ing programs, including a CraftConversation with the exhibition’s makers of books in addition to publishers, teachers, residencies co-curators and a CraftPerspectives lecture by Hannah Higgins. and places where artists’ books continue to fl ourish as examples www.MuseumofContemporaryCraft.org of contemporary culture. Through selections from Reed College’s Special Collections, Object Focus: The Book was curated by Geraldine Ondrizek, Object Focus includes examples of fi ne craft letterpress works Professor of Art, Reed College and Namita Gupta Wiggers, to one-of-a-kind or limited-edition art objects and politically- Curator, Museum of Contemporary Craft in collaboration with based zines to commercially printed publications. Individually, Barbara Tetenbaum, Head of Book Arts, Oregon College of each object serves as an example of how a book delivers a Art and Craft. Reed College’s Artists’ Books Collection has material and conceptual experience. Collectively, the exhibition been made possible by a generous grant from John and Betty Gray and Sue and Ed Cooley to support the Art Department, 1 Barbara Cinelli. “Artists’ Books and Futurist Theatre: Notes for a Possible Interpretation.” Il Libro Come Opera d’Arte/The Book as a Work of Art. (Rome: Galleria Reed College. Nazionale D’arte Moderna, 2006), 27. 10 object focus: Th e Book Fluxus 12 object focus: Th e Book During the period of time in the 1960s when Pop Art was shin- performed their infamous Etude for a Piano (1960), Allan Kaprow ing its neon lights in New York City, the Fluxus art movement watched ice melt in Fluids (1967), and many diff erent artists was also developing its “happenings” both in the city and in contributed to the various iterations of the Fluxkit. Often com- Europe. Fluxus literally translates to “in fl ux,” which, for the pared to Marcel Duchamp’s Boite-en-Valise, or box in a suitcase participating artists, seemed to be defi nition enough of their (1935-1944),2 the Fluxkit was a total sensory experience encap- endeavors. When asked to describe the movement, pioneering sulated into a travel sized consumable good.
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