Below you’ll find the most recent artists’ book reviews and interviews. See the submissions page to find out how your book can be featured.
8.5 × 11 in. closed
Side stitch and fabric tape binding
Risograph and digital printing
Proponents of the “thin blue line” assert that the police are the only thing preventing society from descending into violent chaos. A coyote in an alley, a bank robbery, missing children, and reckless driving: chaos abounds in Public Collectors Police Scanner. Chicago artist Marc Fischer comes to a different conclusion, however, about root causes and possible solutions. Fischer’s initiative, Public Collectors, is dedicated to making important but obscure(d) cultural artifacts public. To that end, Fischer listened to and transcribed the police scanner in Chicago for seventy-five days straight and compiled his hand-written notes into this often-overwhelming book.
The bulk of Police Scanner is scanned and Risograph printed directly from Fischer’s original, letter-sized notes. The format served as a creative constraint for each listening session: one page per day for an average of about forty-five minutes. Fischer details his methodology in the book’s introduction, including ethical decisions around excluding race, last names, VIN numbers and other identifying information. The end sheets, photographs of Fischer’s desk, document the chaos of the process itself. The side-stapled, taped binding further lends an air of low-fi urgency. Fischer’s handwriting powerfully attests to the challenge, speeding up and struggling to organize fragments of narrative as they are relayed among callers, dispatchers, and officers.
Events unfold relentlessly with no regard for conventional storytelling, nearly numbing the reader with uniform intensity, whether funny or tragic. Nevertheless, certain moments do break through the noise. Some are chilling: “Female keeps whispering the address and hanging up.” Others are absurd. A personal favorite of mine: “When you finish with lunch can you head over to the Department of Finance on Pulaski? They’ve got a dispute with an employee over money.” Fischer himself mines the potential for poignant humor in a related publication, Chest Wound to the Chest, which arranges excerpts from Police Scanner into a single long poem. (As a separate pamphlet, this poetic intervention allows Fischer to explore the fascinating rhetorical aspects of the project without departing from his documentary approach in Police Scanner.)
Since the book’s content reflects the vagaries of reality, the only narrative development is the book’s own layout, which conveys Fischer’s growing facility at following and organizing events as they occur. Police Scanner straddles documentation and performance, a choreography of disconnected chance operations that accumulate to reveal structural societal problems. Fischer tries columns, rows, even numbering events as they unfold wherever there is room on the page. On September 15, text funneled into a narrow column chronicles a suicidal man on a ledge. The empty white margins perhaps also indicate the emotional toll those seventeen minutes took on Fischer. On November 2, he writes: “I refuse to listen to the police scanner on my birthday.”
Birthdays aside, Fischer reflects in his introduction that the situation on the streets changes very little from day to day, even with major events like the 2020 election. Ongoing catastrophes, however, like the opioid crisis and Covid-19 pandemic loom in the background of many pages. Teachers witness child abuse during online classes or call for wellness checks on missing students. Fischer reminds the reader that then-mayor Rahm Emanuel closed half of Chicago’s mental health clinics in 2012, the impact of which cannot be overstated.
From the relentless repetition, the reader gets the impression that these systemic problems actually reflect the system working as intended. On November 6, police are sent to Home Depot to “see Brian about the day laborers and ask them to move off the property.” The same day, police are told to disregard a call because “it’s just the usual alley drinkers.” Systems like health care and labor markets are ultimately managed by the police. Since calls often come from businesses, this whole process plays out on a strange verbal map of brand names and private property. The resulting juxtapositions are often striking: “Bucket boys in front of Tiffany’s on Michigan.” One realizes just how little public space there is, usually an alley or a street. The gulf between the city’s aspirational street names and the events that play out on them is equally wide: domestic violence on King, a robbery at Jefferson and Madison.
Policing itself is, of course, one of the pervasive systems behind each individual event. Its rhetoric reveals its values and assumptions, and ultimately the inadequacy of policing to solve the problems it confronts. “Resources” refer to attack dogs, not to social programs. Victims are characterized as insensitively as perpetrators. Racialized and gendered descriptions are so habitual that a dispatcher alerts police to a “female pit bull” as if that would help identify the dog or explain its behavior. Amid the jargon and acronyms, a dispatcher might throw in a “bon appetit” or “okey dokey artichokee,” reminding the reader of the human subjectivity – for better or worse – behind each voice on the scanner.
In these unguarded moments lies the value of a project like Public Collectors Police Scanner. Fischer bears witness to the system of policing that is ostensibly for, and funded by, ordinary citizens like himself. Everyone shares this responsibility. Fischer is also quick to say that the police scanner doesn’t tell the whole story. After all, not every crisis leads (or should lead) to a 911 call, as police reformers and abolitionists are quick to point out. But it does paint a more complete picture of policing than most citizens receive from news and entertainment media. Fischer encourages his readers to listen to their local police scanner for themselves, and the insights gleaned from Police Scanner demonstrate the value of doing so.
Parker Bolin, Armando Diaz, Zachary Estes, Mmuso Matsapola
8.5 × 5.5 in. closed
The inaugural issue of artists’ publication Witness invites readers to do just that: to not only look at Louisville’s racial justice movement in the summer of 2020, but to experience it more intimately. The photographs, from multiple artists and in a variety of styles, are presented in black and white with minimal commentary, the design around them unobtrusive; the aesthetic is most concerned with allowing the photos to speak for themselves.
Many readers will find the content familiar from newspapers and their own neighborhoods: most of the pieces depict racial justice protests, specifically Louisiville activists’ response to the murder of Breonna Taylor. In Witness, however, the composition and context of these pictures are quite different.
The perspectives tend to be more communal and personal than photographs of similar subject matter in news media: shots are taken from within the crowd of activists rather than an external point of view, or focus on individuals and moments of surprising quiet rather than the broad sweep of a protest or solely its most dramatic events.
Witness shines in its presentation of the ordinary. The events depicted have national and international repercussions and reflect the response not only to one murder in one city but to the entire history of the United States, yet the focus of the photographs is often refreshingly small: the design on the back of a hoodie, a young person carrying a box of candy bars, the windblown hair of someone whose face is mostly obscured by a mask.
It is not only the contributors’ photographs that separate Witness from much coverage of racial justice protests, but also the aesthetic and informational context in which they are presented. Unlike the editorializing or reportage paired with such photographs in the news or on social media, the text here is simple and unobtrusive: only an attribution for each piece, giving the artist’s name and city. Instead of the crowded layout of newspapers and websites, desperate to capture viewers’ attention, the space around the photographs is left empty in Witness.
Conventional journalism remains important, but there is something to be said for allowing the photographs, and by extension their subjects and creators, to speak for themselves. In images focused on individuals, we see more nuance and detail in facial expression and body language than we’re used to, hinting at each subject’s inner life and their specific, personal reasons for being involved. The same is true of photographs of activists’ signs: while the slogans are familiar, extreme close-ups of handmade signs show the unique penmanship and tiny flaws that make each sign stand out as an individual artwork and tool, reflective of its creator-user.
Beyond the simple captions, Witness sometimes presents poetry. Mmuso Matsapola, one of the publication’s curators, contributes a simultaneously snappy and brutal poem next to a stark portrait of an activist with a raised fist; the publication opens with the second stanza of Yusef Komunyakaa’s poem “Knights of the White Camellia and Deacons of Defense” (itself a reference to a little-talked-about fascinating and inspiring bit of racial justice history).
These poems, though distinct in style and the specific events they depict and draw upon, work together toward the same goal as Witness’ unobtrusive design philosophy: not to provide situational context, but to contextualize and resonate with the emotional impact and deeper meanings of these photographs. They also speak to the journal’s mission and the idea of witness in general: an emphasis on personal, lived experience, serving as a counterpoint to the minimization or total erasure of the self in traditional journalism and academic writing. Rather than the typical outside-looking-in approach, the use of poetry in Witness provides readers a more internal, immediate perspective.
In attempting to convey the entire experience of a movement and a community, the curation oscillates between a variety of emotions and freely allows them to bleed into each other. Many of the pictures have the angry tenor one would expect from a protest: the frenetic energy of a powerful slogan handwritten across a cardboard sign, or a clenched fist raised high, or a leader chanting or singing or shouting, the casual brutality of a cop holding down a protestor while other officers stand by. Some are joyful and exuberant, while others center grief.
A series of three images toward the middle of the collection makes plain the pain, the tragedy of events leading up to and during the protests: the first a wide shot of Breonna Taylor’s memorial in Jefferson Square Park; the second a detail of a memorial for Tyler Gerth, a photographer killed during the protests; and the third an extreme detail of a balloon or sign emblazoned with the words “you are loved / you are missed / you are remembered.”
The sequence of these pictures feels deliberate: the first two to honor and remember specific people, and the third to acknowledge that this violence and the movement against it are ongoing, and that there are countless others named and unnamed who have died or suffered just as senselessly. Like the poems and many of the other photographs, this image ties Witness specifically to Louisville and simultaneously to the wider world.
From this complex, contradictory blend of emotions, a new feeling arose by the end of my encounter with Witness. To call it “positive” or “hopeful” feels insufficient — there is pain in this emotional state, and it certainly isn’t quietly or blandly inspirational. The feeling is perhaps best encapsulated by a series of several pages immediately after the three memorial pictures: contributor Amber Thieneman’s Dedication to Brianna Harlan’s “Black Loves Blooms,” inspired by the ongoing project of the same name.
The act of dedicating several pages to work inspired by and made for another artist in such a short and carefully curated publication emphasizes the interconnectedness of the artistic community and the parallel interconnectedness of the events in Louisville with events in the wider world. That dual connection, coupled with the message of unconditional love for Black people so central to Brianna Harlan’s project, is central to the experience of Witness. While the publication is so focused on Louisville’s deep racism, it is also a love letter to that city — not to its police or its history, but to the network of artists and activists there. In its intense focus on one place and one short span of time, Witness manages to impart something much larger: a blooming, a spreading-out of that complex, nameless sense of love.
7.5 × 10.25 in. closed
Binding: Plastic strip fastener
I try not to talk about William Blake. I love his work, but I find his outsized role in the genealogy of artists’ books to be of little use for contemporary criticism. So, when I opened Terra Nullius by Christopher Kardambikis, I shuddered. Its cosmological motifs and inky, atmospheric pages are positively Blake-esque. Flipping through, I came to a spread with a pair of dividers on the verso; perhaps just this once there is a good reason to invoke the dubious originator of artists’ books. Sure enough, the recto opposite folded out to reveal a hidden image – Blake’s Newton – rendered as a mural on the side of a building. But what does Isaac Newton, or William Blake for that matter, have to do with the decline of rust belt Pennsylvania?
In Terra Nullius, Kardambikis returns to his hometown of New Castle, PA. He weaves together family and local histories in short sections of prose, interspersed with two modes of image-making. In the first, spreads of noisy black ink recapitulate Blake’s innovative printmaking in Risograph. Against this grainy night sky, line drawings of mysterious symbols pop with overprinted colors, not unlike the watercolor on Blake’s print. These drawings seem elemental, invoking ice, water, fire, and electricity, but without an indication of scale that would pin them down as specific objects. Other drawings in this mode seem like sketches and leftovers, not the building blocks of the universe, but of Kardambikis’ own process.
The second sort of images are photographic, and, together with the book’s structure, unlock the connection between Terra Nullius and Newton. Kardambikis’ photographs are presented as straight documentary shots of New Castle. Each black and white image is printed with a black border and centered on a recto. Yet these conventional, almost banal images, conceal a wondrous explosion of speculative weirdness. The book is bound with folded fore-edges, and only the rectos with photographs are cut short to unfold further. Each of these hidden scenes is grounded with a repetition of the photograph above, but distorted, printed in wild colors, and augmented with a collage of more mystical elements. Once the reader has the pattern down, the drawings opposite the photograph offer a hint of what might lie beneath. And so, we return to the dividers, the building, and Newton.
For Blake, Newton stood for the myopic rationality of science. The motif of the dividers repeats in Blake’s character, Urizen – the bearded, old man who stands for reason and law. Urizen is a Satanic figure who abstracts and constrains humankind through law and convention, disconnecting us from spirit and imagination. It is this dissatisfaction with the reality that has been imposed, and a belief that art can overcome it, that Kardambikis shares with Blake. He writes:
“The town of New Castle, Pennsylvania circumscribes several spaces simultaneously … The space of the small town, worn thin but cut with well worn grooves by daily rituals. Grooves that carry a flow of memory and people that, in turn, carry a weight.
The second space is speculative. A site in which one can rearrange and examine the component parts to conjure, if however briefly, possibilities.”
The phrase “daily ritual” shows the ambivalence of the grooves Kardambikis sees. Ritual can rekindle the spiritual, but it can also lapse into convention. He returns to New Castle with fresh eyes, seeing a story beyond – or beneath – the dominant narrative of rust belt decline. This alternate reality manifests literally in the drawings and distortions unfolded beneath the book’s conventional photographs. Such a reimagining is not reserved for artists, though. Kardambikis recalls cruising the town square, “the diamond,” as a teenager, driving around with the hope that something new might happen. Nothing ever did, but cruising as a ritual is a powerful shared exercise in imagining another reality.
In fact, Kardambikis seems ambivalent about the role of art in such an endeavor. The dividers that symbolize conformity are also the tool of a bookbinder. And it is in a book of brass that Urizen inscribes his laws for humankind. Even today, when we “throw the book” at someone, we invoke the full force of our legal system. Terra Nullius itself is a legal principle, although the book does little to explore the term’s colonial connotations. Like the grooves of daily ritual, a book is a site of freedom and restraint.
Terra Nullius keeps these aspects in tension and demonstrates that neither is absolute. The documentary images that serve as a foil for the speculative scenes they conceal are themselves highly mediated. Their grainy Riso printing is emphasized by the noisy halftone patterns that encroach on the fore-edge of each page. It is only by convention that the black and white images seem somehow more realistic than the bright colors beneath them. Thus, the binary built into the book’s structure is blurred by its print production.
Rather than critiquing the book form, these complications remind the reader what we are capable of. If we can read – and enjoy – a complex book like Terra Nullius, then we already know how to rearrange and conjure new possibilities. The New Castles Kardambikis imagines are his own, and so too will each reader bring their own interpretations to his narrative. Reading isn’t so different than driving through a small town. There are rules to follow, and structures to guide us, but we can choose to cruise the diamond and see if something else is possible.
6 × 9 in. closed
Convalescence is the first book by musician and visual artist, Grant Evans. It is far from the only artists’ book about grief, yet it stands out as particularly dark and gritty. Not only because it grapples with addiction and murder, but because Evans metaphorizes the process of grief itself in such visceral, embodied ways that the book could easily be classified as horror. Death is more than simply gruesome, though. The book begins with two epigraphs, one from The Tibetan Book of the Dead and the other is the haiku, “Bashō’s Death Poem.” This Eastern perspective is baked into the structure of the book, which works through intermediate states and cycles of repetition rather than linear development. With this intentional approach to non-linear narrative and Evans’ commitment to analog processes and found materials, whether audio or visual, Convalescence engages more deeply with the book as a medium than its paperback production first suggests. The resulting insights extend beyond the book, illuminating media, memory and mourning.
The opening scene, which repeats throughout the book, places two characters – a narrator and their interlocutor – in a spare, concrete room that recalls the setting of Beckett’s Endgame. The narrator recedes after prompting their companion’s long, vivid reflections, until the reader nearly forgets that the unnamed man is not speaking directly to them. Even in this strange liminal space, where it is quite possible that both characters are dead, the primary narrator feels less embodied: a visitor rather than an inhabitant. The nested structure distances the narrator (and reader) from the horror of each story, but the line between characters blurs in the dream-like environment. After all, it was Scheherazade, not Aladdin, who was really in danger, suspended between life and death by nothing more than a story.
Indeed, each time the reader returns to this concrete room, it feels less able to contain the stories that are told there. The room continues to ground the reader between forays into dreams or drugs or memories or the supernatural, but the safe space slowly crumbles. The passage literally erodes through redaction, its meaning and emphasis shifting with each new cycle. The repetition begins to feel like a feature of the protagonists’ nightmares, instead of a respite from them. Haunted hospitals, unending roads, and uncanny humanoids recur more in the mundane manner of bad dreams – or grief – rather than the revolution of some karmic wheel. Nevertheless, a progression emerges from this cyclical, entropic structure. Convalescence, after all, implies healing. Returning to earlier incarnations of the repeated, redacted scenes is rewarding, though Evans avoids a neat resolution.
Instead, Evans revels in the physicality of his narrative. Redacted text leaves gaps in the space of the page, as do the silences transcribed from found audio. Elsewhere, the audio transcriptions are typeset to recall their origin on tape. A twisted loop of magnetic tape makes an appearance as well, further emphasizing the material qualities of memory and storytelling. Blank pages and black pages remind the reader that the whole book itself is a physical information technology, not unlike the tape it contains.
Evans also takes the opportunity to play with the slippage between these modes of recording. Flies are a recurring motif, sometimes appearing in a transcribed, “[buzzing].” These interjections visually interrupt the reading just as the sound might on a tape. Sometimes, though, the flies appear as “[dead flies]” arranged in a tape-like band. Their incessant buzzing rises above the hiss and pop of the tape before one realizes that, of course, dead flies make no sound. Convalescence achieves a messy synesthesia that immerses the reader deeply in each nested story and pushes the limits of how ink on paper can activate senses beyond vision. Clearly, Evans is interested in the book as a medium, but Convalescence is concerned with the idea of a medium in nearly every sense.
Medium: The material or form used by an artist. A book, for example.
Medium: The middle quality or state between two extremes. As in the state between life and death, between sleep and wakefulness. As in a reader seamlessly drifting between dreams and reality, memory and hallucination. As in the flat feeling between a high and a low.
Medium: A person claiming to communicate between the dead and the living. As in a séance with a Ouija board. As in a narrator in conversation with a deceased interlocutor. As in the very book that brings a reader in contact with that narrator.
Medium: A form of storage for information, such as 35mm film or magnetic tape, found and transcribed and redacted and embellished in a book. The information – such as Muzak, the buzzing of a fly or a desperate voicemail – may be recorded in the medium by almost any sort of energy.
Medium: Agency; a means of doing something. As in grieving, apologizing, or driving endlessly without moving forward.
Medium: The substance in which an organism lives or is cultured. As in language. As in addiction. As in trauma.
The media in Convalescence are finite, imperfect and unstable modes of recording and accessing information. From the slow decay of a cassette tape to the destructive process of toner transfer print, Evans complicates the line between inscription and erasure. Such considerations are perhaps inherent to the book form, but Convalescence address memory itself. Evans posits healing as a process of both remembering and forgetting. The two are linked inextricably in a cycle of return and redaction, progress and loss.
By combining highly specific, immersive details with chance operations from found materials and destructive processes, Convalescence shows that the universal dimensions of loss transcend the particularities of any one circumstance. The details change, but the structure – the process – remains. Of all the media Evans investigates, it is the book that is able to hold all of this together: content and structure, linear and non-linear progression, erasure and inscription. The book is a blueprint for processing grief, and the timing couldn’t be better.
5.5 × 8.5 in. closed
100 pages and two multi-page foldouts
Coptic binding with uncovered boards
Thad Higa describes This Land is My Land as “a fictional narrative from the imagined headspace of current day white supremacists.” Artists rarely approach such a project with the required radical empathy, attempting to deepen their understanding of someone with opposing views, no matter how repulsive. The resulting works fall short, with straw men for subjects; narratives with no protagonist with whom the reader can relate. This Land is My Land cleverly avoids this trap, though Higa’s representation of the white nationalist perspective is anything but subtle. The book’s writing, design and structure create an immersive, polyphonic experience more like a collective consciousness than the headspace of a single character. Higa knows he can’t dismantle white nationalism in an artists’ book, but as a poet and graphic designer, he can battle on linguistic and symbolic terrain – a field where white supremacy is active (and inherently visible).
It is in examining the language of white nationalism that Higa achieves the necessary depth and empathy. This Land is My Land is a showcase of the various and complex ways that words and symbols are used to promote white supremacy. The book weaves together all manner of rhetorical devices and strategies, creating an experience familiar to anyone who has read the comments on an online article or listened to attendees at a Trump rally. With this chaotic aesthetic, the book is less a narrative with a beginning, middle and end, and more like a classical symphony with separate movements. The movements address particular themes with distinct visual treatments and correspond to the book’s structure (six signatures and two elaborate foldouts). The exposed spine of the Coptic binding and raw book board covers emphasize the role of the book as more than a mere container.
This Land is My Land is designed and printed digitally, but Higa is clearly invested in the tactility of reading. I have never encountered foldouts quite like the ones in this book, but simple, strategic design elements like color and typeface were enough to guide me through the unfamiliar folds. Higa also plays with visual versus tactile texture, the most obvious example being actual torn pages and facsimile paper tears. Subtler contrasts, such as coated and uncoated papers, add further texture – literal and figurative – to the reading experience.
This tactility is one way Higa demonstrates how language inhabits and informs the physical world. He also manipulates symbols, letters and words in layouts that turn these bits of language into objects and agents interacting in space. In Higa’s hands, words inhabit the real world – cemeteries and supermarkets – and create their own environments from pure typography. They form dense walls of vitriol and elsewhere they dissolve into cyberspace, a ragged trickle of characters. The reality of language cannot be overstated in a book about land and borders, nations and countries. Such constructs are, after all, a matter of definition. And since much of the book’s appropriated imagery is from the Anti-Defamation League’s Hate Symbol Database, the physical impact of the language is easy to feel.
Yet the materiality of language is only one half of This Land is My Land’s examination of white nationalist rhetoric. Higa identifies a dangerous and seemingly contradictory attribute of words and symbols – they are flexible, fluid, fungible. Especially online, white nationalists have harnessed humor, irony and plausible deniability to great effect. The power of these distancing devices is on display in This Land is My Land, whose narrative is disrupted by stark white spreads with one word each: lol, lmao, rofl. These spreads are later echoed by a series of pages spelling out the phrase “I want to break free,” as if the subconscious desire has bubbled up beneath the crust of internet irony.
By playing with the gap between the explicit and implicit, conscious and subconscious, This Land is My Land can engage more deeply with the ways white nationalism appeals to individuals. This is not an attempt to empathize, but rather to deconstruct and disentangle intersectional issues. Higa shows how white supremacy corrodes institutions and ideas, from electoral politics and consumer capitalism to masculinity and parenthood. These intersections are easier inroads for the reader than the often-obscure hate symbols, but their familiarity breeds discomfort. Even progressive readers may find themselves reexamining what abstract concepts like ownership, inheritance, freedom and family mean, and how they ought to impact our daily lives.
This Land is My Land doesn’t answer those questions, but Higa does insert his own voice (or at least that of a narrator from beyond the white nationalist headspace) to offer clarity amid the cacophony of soundbites and insults. In fact, this more poetic, reflective voice poses even more questions — and offers a few insults of its own. These interventions reinforce the connections between land, body and language and give the reader a critical perspective to cling to as they navigate the noise. This is especially important for the book’s conclusion, which exits the white nationalist headspace and deconstructs its rhetoric from the outside.
This dialectic from inside and outside the white nationalist perspective is calibrated to keep the reader from simply setting the book down in disgust or skimming through tired old stereotypes. (The engaging foldouts and tactile elements help with this as well.) The result is a fairly long artists’ book that can nevertheless be read in a single sitting – an immersive, cohesive experience in the book form. The work’s duration weighs on the reader, raising the stakes and hinting at life inside a right-wing echo chamber. One doesn’t feel particularly rosy after reading This Land is My Land, but it is empowering to witness an accomplished artist fight white supremacy with their linguistic and symbolic weapons.
10.625 × 8.375 in. closed
Smyth-sewn softcover with French flaps
“I can’t unknow the impact of these massive systems,” interdisciplinary visual artist Shana Kaplow writes on the front flap of Object Objects, referring to the underpinnings of capital and exploitative labor that gird our consumerist economy. “How do we extricate from them?” Her final words, on the back flap, provide a possible answer: “It’s Sisyphean–it’s hopeless, but I don’t want to give up.”
Between the covers, Kaplow grapples with further questions posed by the consumerism and mass production associated with global retailers like IKEA: what is the end user’s responsibility for the way in which these everyday objects are produced (and its impact on human lives and the environment)? How and why do we attach meaning to individual mass-produced pieces? She poses and attempts to answer these questions in a variety of forms, often massive ink paintings that dominate entire walls of a gallery or sculptures utilizing a variety of found objects.
Despite its global scope, the experience of reading Object Objects is an intimate one. The book blends the artist’s creative process with her finished works. Rather than attempting to replicate the feeling of attending an exhibition, the book puts us in Kaplow’s studio and, to a certain extent, in her head. It achieves this by showcasing Kaplow’s finished installations alongside sketches, notes, and works in progress, along with an essay on her work by New Orleans writer Veronica Kavass entitled “Windows above a Luncheonette” and a conversation between the artist and Sarah Petersen.
The notes, sketches, and contextual writings realize the conceptual side of the artist’s practice, while the photographs of works in process remind us of the physicality of that practice. Many of the notes are printed in Kaplow’s handwriting on transparent vellum pages so they overlay the work itself instead of appearing alongside it, inviting readers to experience her creative process beside her and enhancing the feeling of closeness to the work.
We witness the evolution of Kaplow’s piece Expansion of Influence in a series of pages near the beginning of the book: we first see a precarious pile of monobloc chairs in Kaplow’s studio, then an elaborate hand-sketched diagram, and finally the completed installation, in which the artist renders the negative spaces in this stack of chairs in 38 ink-on-paper cutouts spread across a 15 × 9 foot wall. A similar pattern is repeated for several other works throughout the text, giving us a sense of what each piece looked like as it changed from a loose idea to a model or diagram to a finished and exhibited piece.
The sense of being alongside Kaplow throughout her process not only makes the work more accessible and sheds light on one artist’s experience of the creative act, but also neatly intersects with the concerns of her work. Kaplow’s art asks audiences to engage with the mass-produced in much the same way that we engage with art objects: with greater curiosity regarding both the production and the possible meanings of the object in question. Her choice to share the process of creating her own work in such detail encourages us to consider the similar labor involved in the production of the everyday.
The transparent vellum pages throughout the book contribute to this feeling, providing alternate ways to look at finished pieces and demonstrating both Kaplow’s thought and labor processes more directly even than the images and main text. Overlaying an installation of images on white canvases (which are themselves mounted on a white gallery wall) with notes on “the unconscious habits of racial privilege” and poetic lines considering color and transformation in the artist’s own hand demonstrate how research and concepts become works of art, mirroring the ways in which economic theories and furniture designs become physical objects and transactional relations.
Each piece powerfully conveys weight and physical presence, reflecting both the body and domestic spaces, but reimagined in new and often unsettling configurations. One common motif, a seemingly-impossible arrangement of chairs precariously balanced atop one another, speaks to both the fragility and complexity of the systems the artist interrogates.
The chairs’ chaotic arrangement suggests entropy and unsustainability, and also reveals some of Kaplow’s inspiration and personal history: as the child of a physicist, she is interested in revealing the potential energy of objects. She often arranges the chairs in a form that feels like a wave cresting, frozen in the moment just before it breaks. The fact they don’t immediately topple is remarkable, the understanding that they eventually will, ever-present.
In other works, the artist depicts these everyday objects from angles at which we’re not used to seeing them, providing a sharp counterpoint to their clean lines and seeming solidity. A detail from her archival print Other Things focuses on the dirty, damaged underside of a white IKEA chair. The rough texture of the unfinished wood beneath the seat, the visible glue holding the product together, and a missing screw rendering one of the chair’s brackets useless all draw the viewer’s attention. The small but prominent black and white label, “Made in Thailand,” invites audiences to imagine the life of the maker or makers and the systems of manufacture and transportation that led to the chair’s presence in a St. Paul studio or Minneapolis gallery; a meaningless-to-most collections of numbers and letters alongside the familiar IKEA logo hint at the intricacy, inhumanity, and ubiquity of those systems.
In conversation with Petersen, Kaplow discusses a factory worker who inserted a note into the pocket of a pair of jeans in hope of reaching their future owner; the same incident is recounted again in an excerpt from “Windows above a Luncheonette.” This small moment is framed in two ways: as a single, poignant reminder of shared humanity and as a “wailing,” a cry for recognition and against the brutality underlying globalized consumer capitalism. Object Objects reckons with the same duality with its juxtapositions of beauty and discomfort, permanence and fragility, creativity and futility. This complexity, rendered completely and intimately in both text and image, haunts the reader. As Kavass writes of a “knockoff modernist chair” in “Windows above a Luncheonette,”
The object becomes a representation of mourning, heartbreak, opportunity, depression, communication, illness, success, revelation. One person asks if he can sit in the chair. Some eyes go wide. Is the chair alive in some way? Or sacred?
This book distills Kaplow’s thought and creative output into a single object in much the same way that Kaplow shows us seemingly mundane objects hold so much: the dreams and fears of both an individual and the larger world, arranged in complex layers that are deeply rewarding to explore.
Copy, Tweak, Paste: Methods of Appropriation in Re-enacted Artists’ Books
Rob van Leijsen
5.5 × 7.875 in. closed
Plenty of artists’ book practitioners and scholars have a background in graphic design, but for Rob van Leijsen graphic design is not merely an entry point into artists’ books; it is a place to stay (and not the most comfortable place). That discomfort drives a compelling critique of artists’ book discourse and offers up a useful, transdisciplinary vocabulary for future scholarship and criticism. From a designer’s perspective, theories about authorship and the unity of form and content obscure the power relations at play in publishing and cover up the messy realities of production. Such questions cut to the core of the books Van Leijsen examines (those with origins in Conceptual Art), but they remain in the background of his main project – a study of bootlegs, facsimiles and appropriation in artists’ book publishing.
The book itself is bilingual, with a section of full-color figures dividing its English and French halves. The resulting codex doubles the heft of what is really a long essay, written in approachable prose free of frills and jargon. Van Leijsen explains his methodology in the introduction: compare two facsimile publishers (Éditions Zédélé and The Everyday Press) and two bootleggers (Michalis Pichler and Eric Doeringer). To make the most of these close readings, the introduction also does a large portion of the book’s theoretical work. Perhaps most importantly, Van Leijsen demonstrates what graphic designers bring to the topic: technical understanding of book design and production, and a nuanced understanding of how authorship is distributed among all the players who contribute to a book’s creation. Along with this perspective, Van Leijsen’s main innovation is importing a more refined vocabulary for appropriation. In a field fond of “self-reflexivity,” distinctions such as re-enactment, reproduction, bootleg, facsimile, transimile, homage, and so forth not only allow for greater precision but also point back to their fields of origin and bolster artists’ book discourse with interdisciplinary connections.
As time-based, interactive media, artists’ books are a challenge to document adequately, but the design of Copy, Tweak, Paste maximizes the specific arguments Van Leijsen puts forward. The figures that divide the English and French sections are arranged in before-and-after sets: first the original book, then the facsimile. The photographs themselves are shot and cropped almost identically to allow for a point-for-point comparison. A combination of single images, compound images, and detail shots highlight the salient features of each book under consideration. The books are presented at one of two scales: actual size or 30 percent of the original. Along with the hands that accompany many images, this gives the reader a good sense of the books’ size and allows for more meaningful comparisons among them. That said, it can be difficult to avoid mixing up the originals and the facsimiles (which are, of course, quite similar) since the figures are numbered but not captioned.
Like the book’s structure, the writing itself aims to advance relatively narrow and novel arguments, and therefore assumes some familiarity with the topic. The case studies, however, engage with diverse approaches to publishing as an art practice, whether or not the reader has encountered the specific books before. Van Leijsen occasionally errs too far on the side of brevity, making subjective assertions or leaving claims unsupported. His main arguments are always rigorous, but terms like “well-made” or “well-designed” warrant greater examination since the whole point is that each mode of re-enactment has its own goals and criteria. Another challenge is maintaining the level of detail necessary to discuss the differences between two things as similar as a book and its facsimile. The reader must trust that Van Leijsen has focused on the important differences when, for example, he scrutinizes a book’s paper more closely than its binding or printing. Nevertheless, his method is sound, and his writing is accessible and enjoyable. Anyone with a background in graphic design will appreciate the chip on his shoulder and find ready parallels regarding authorship and labor throughout the art world.
This examination of labor and authorship is one of the book’s key contributions, and Van Leijsen is especially sensitive to the particularities of artists’ book publishing. In analyzing the role of artists as publishers versus institutions with experts (such as historians) as editors, he grounds an abstract conversation about values and motivations with concrete examples. This approach is not only effective but replicable. The field needs more scholars who pay attention to the hidden design and production labor that goes into publishing, not to mention the financial and institutional pressures that shape the final products. Dealing with the details of disparate case studies adds much-needed texture to the usual discussions of self-reflexivity. Ironically, it is by delving into the specifics of bootlegs and facsimiles that artists’ books can speak to other contemporary art forms that use appropriation. Happily, those who take up this cause will have an easier time thanks to Copy, Tweak, Paste’s bibliography.
There are certainly questions left unanswered, especially regarding the role of digital facsimiles. Digitization may seem beyond the book’s scope given its emphasis on the specific materials and processes, but it represents a missed opportunity to examine the type of uncreative, unacknowledged labor that motivates Van Leijsen’s critique. Such debates have been essential in other fields, especially the digital humanities, which could serve as a useful model for artists’ books. Another missing perspective is that of the reader. Van Leijsen decenters the author but remains focused on production rather than reception. It will take an examination of libraries, collections, readers and critics to fully realize what he has begun.
Copy, Tweak, Paste is half history and half manifesto, and the field would do well to pursue both directions. A comprehensive bibliography or literature review of bootlegged artists’ books would serve future scholarship, just as a full-throated manifesto for appropriation and re-enactment would catalyze artistic production (and maybe even make artists’ books accessible to more readers). Copy, Tweak, Paste lays the groundwork with a solid methodology and a new vocabulary.
7 × 9.5 in. closed
Smyth-sewn, clothbound hardcover
Offset inside with screenprinted cover
Oriental Silk is a Los Angeles import and retail company, a film, and an ever-evolving installation project by self-described “visual poet and aesthetic researcher” Xiaowen Zhu. The book Oriental Silk is a bit of each of these things and more besides: a memoir, a biography, a company history, and a visual elegy.
The bilingual text of Oriental Silk begins with Zhu’s account of stumbling onto the eponymous store in Beverly Hills and, after meeting owner Ken Wong, making a documentary about the store’s history. The story quickly evolves, delving deep into Mr. Wong’s family’s past and his own psyche, while Zhu’s imagery, layout, and commentary raise questions about capitalism, Orientalism, nostalgia, and the nature of art and artisanship.
Covering such a wide variety of topics and jumping between time periods and perspectives as Oriental Silk does could easily leave the book feeling scrambled and scattershot, but both the design and the careful manner in which the images and text are crafted unify these disparate threads into a coherent and affecting whole.
The book’s organization is a major part of its aesthetic. Zhu separates sections of prose narrative with series of images rendered on colored paper, often in pastel tones: “bright but subtle too,” as a customer describes Mr. Wong’s selection of silk goods, and also reminiscent of the sort of carbonless copy paper found in business settings. Many of the images are printed in black and white, but the colored paper lends them a brighter feel and reflects the aesthetics of the hand-embroidered silk pieces mentioned throughout the text.
Images and text are also separated in a more tactile way: the white pages that make up the book’s narrative are cut shorter than the colored pages on which readers encounter most of the images.
Zhu uses the separation between text and image to guide the reader through the multiple perspectives present in the work. While we begin with Zhu relating her first encounter with Wong and his store, Wong’s voice actually makes up most of the text; the images often serve as Zhu’s documentation of and commentary on his story.
This division is not always so simple, though. While many of the book’s photographs are composed consciously and presented in a manner reminiscent of a gallery exhibition, we also get something much closer to Wong’s perspective in one section of images: a scrapbook-like collection of historic documents and family photographs. These pictures are more obviously intimate and almost solely focused on human subjects, providing an internal counterpoint to Zhu’s observation of the shop and the family from an artist’s perspective.
This push and pull between the book’s two primary characters, the artist and her subject, is what gives the book so much of its initial charm and its lasting emotional impact. We feel we get to know Wong and come to understand his store alongside Zhu: both as itself and as a reflection of its owner.
However, Oriental Silk is not solely a document of interpersonal relationships; it also raises political, economic, and philosophical questions. Wong’s accounts of family history often brush against the harshest and most well-known examples of anti-Asian legislation, action, and sentiment: his great-grandfather was one of the many Chinese laborers who risked life and limb building the Transcontinental Railroad and were immediately erased from that history; his father purchased another immigrant’s paperwork in order to make it to the U.S. in 1941 and subsequently witnessed the internment of people of Japanese descent during World War II.
Zhu also concerns herself with more subtle, complicated examples of Orientalism with references to Anna May Wong, the “first Chinese-American star” who was still consistently shut out of the best roles in American cinema: a paradoxical victory for representation and demonstration of overt racism. Anna May Wong’s story serves as a parallel for the similar complexity of Zhu’s understanding of Ken Wong’s romanticized view of Chinese culture: influenced by Orientalist American notions, but also a deeply personal reverence for his family and their legacy. The Chinese title of the film, Xiang Chou, literally translates as “silks from town” but has the same pronunciation as the word for nostalgia.
Finally, the work is deeply concerned with the nature of art and craft, of what it means to consciously make physical objects of beauty. Descriptions and photographs of the silks and Ken Wong’s affectionate, methodical ways of handling and altering them make up a huge portion of the book, and readers can clearly see that the same conscious care went into the construction of the book itself. While Zhu’s film conveys Ken Wong’s story and everyday reality just as successfully and beautifully as the book, the book’s tactility adds another essential layer: the form reflects and enhances the content. In her artist’s statement, Zhu tells us she wrote the book because:
I feel films are more fluid, but the written word is more profound. As the creator, to be able to use … different media to convey the same story allows me to come at it from different angles, and to keep finding new aspects of the story that move me.
Zhu’s book serves as both an enlightening companion piece to her film and a fascinating work in its own right: an object of beauty to be looked at and touched like the eponymous silk goods, a thorough examination of the relationship between history and the individual, and an honest, mournful look at the passage of time in its grandeur and its mundanity.
Inscription journal: 12 × 12 in. offset-printed perfect-bound codex, 134 pages
Sean Ashton, Living In A Land: 12 in. vinyl LP
Craig Dworkin, Clock: 6.625 × 6.625 in. offset-printed, saddle-stitched pamphlet in a slipcase, 12 pages
Jérémie Bennequin, An Erasure into the Maelström: 36 × 36 in. offset-printed, folded broadside
Craig Saper, Global Reading Supplement: Augmented reality app
As “the journal of material text,” Inscription is necessarily self-aware, so its inaugural issue is appropriately titled “Beginnings.” Each contributor grapples in some way with beginnings, endings, and time more generally. The journal’s organizing principle — and a recurrent visual motif — is the spiral. As a concept of time, the spiral is neither linear nor cyclical, but rather allows for new variations on familiar themes, think Mark Twain’s (probably apocryphal) observation that “history doesn’t repeat itself, but it often rhymes.” However, in the case of Inscription, the spiral organization is as much spatial as it is temporal. That is, the diverse contributions — from book history and literature to poetics and pedagogy — are connected by the universal impulse to inscribe and the inescapable influence of time.
Inscription’s self-awareness is no surprise as a project of Information as Material, a publisher whose mission is to create new meaning through reframing. A journal is such a framing device, and one that Inscription’s editors examine, exploit, and expand. This expansion, also symbolized through the centrifugal movement of the spiral, manifests most visibly in the various components that accompany the primary codex and its relatively conventional scholarly contributions. (I say relatively because many of the essays tend toward lyricism and self-reflection, and because reading them requires rotating the over-sized, perfect-bound codex in a spiral fashion and reading from both directions since the journal has two beginnings with two prefaces.)
These additional components comprise: an augmented reality poem by Craig Saper; an audio recording of poet Sean Ashton on a vinyl LP; what appears to be a 45 rpm record but is actually a printed poem-essay by Craig Dworkin; and a three-foot-square, two-sided erasure of Edgar Allen Poe’s A Descent into the Maelström by Jérémie Bennequin. The dimensions of the complete assembly are determined by the 12-inch record, and the journal’s editors plan to include a record with each issue. The square codex itself mirrors the record with a hole drilled through the middle. Indeed, the reader spins the codex like a record, but the hole is not the axis. Instead, it doubles upon opening, two eyes looking back at the reader.
For all of this eccentric and lavish production, the publishers do an admirable job of making the content available. A complete digital version is available open access, including the audio recordings and video documentation of Saper’s augmented reality piece. A downloadable PDF gives the reader some idea of the admittedly cumbersome reading experience of the printed codex, but thankfully the full text of the articles is also available in more conventional HTML. The journal strikes a similar balance between risk-taking and rigor in terms of process. The artist- and writer-in-residence roles may be somewhat unusual for a journal, but submissions are double-blind peer reviewed, and the editorial board is stacked with big names in artists’ books and related fields.
Although I cannot manage a review of individual articles and contributions here (many deserve such attention), together they show the promise of Inscription’s interdisciplinary approach. The wide-ranging perspectives and methods are effectively bound together by themes of materiality and mediation, and each contribution seemed of comparable quality. The articles that seemed furthest outside my areas of interest or expertise were unexpectedly engaging, and those that were closer found fresh approaches to familiar topics. Two standouts were “On Stone,” Serena Smith’s rhizomatic reflection on lithography stones, and “Writing the Birds: Barrawarn,” Australia-based Catherine Clover’s attempt to notate birdsong and imagine a decolonized, vernacular poetics. It is easy to imagine many of the articles in other journals, but in Inscription they resonate with one another in an exciting way and will reach readers who might otherwise stay within their disciplinary borders.
With submissions of this caliber, the success of the journal hinges on its ability to add value to its content. The exceptional production value alone does so, from the high quality of conventional figures and illustrations to the execution of the ancillary artworks. The editors must also continue to balance the strength and flexibility of each issue’s theme. “Beginnings” was a natural fit for the first issue, so “Issue 2: Holes” may ultimately prove whether Inscription can forge a community of contributors and readers from so many different disciplines. The innovative, interactive format of the journal certainly gives readers a reason to subscribe and may even convince writers that their work is better off with Inscription than a more conventional publication.
The emphasis on material production does leave a nagging question about the practicality of the printed version and the authenticity of its online cousin. There is a case to be made about the materiality of digital inscription, one that might inspire an unconventional website or digital publication of some sort. However, for the sake of accessibility, I am glad that Inscription’s digital presence is thoughtful but conventional. There are real limits to the hard copy journal — I happen to own a record player, but I had to abandon reading on the couch when rotating the 24-inch-wide codex became impractical and ultimately finished the issue at a table in my studio. As a celebration of “material text,” Inscription pushes at the limits of a physical publication, but ultimately retains its thesis by documenting its materiality online rather than attempting to re-mediate it digitally. I truly hope the journal’s impressive production will attract more readers than it excludes, and if the popularity of artists’ books is any indication, I think it will.
The Marathon Poet
Translated by Fia Backström
Edited by Kira Josefsson
Ugly Duckling Presse
5.25 × 8.25 in. closed
Åke Hodell (1919–2000) was many things: poet, pacifist, anarchist, visual artist, composer, razor-sharp satirist, and one-time fighter pilot. In The Marathon Poet (Maratonpoeten in the original Swedish), first published in 1981 and newly translated into English by Fia Backström, Hodell presents every side of himself in a heady blend of self-mythologizing and self-deprecation.
The Marathon Poet is a difficult book to describe or categorize because it steadfastly refuses to do only one thing. It could be called autofiction in verse or an artists’ book focused on photography and collage, but it also offers up various pseudo-historical accounts, a dinner menu, and an opera composed primarily of the names of cars. With this crush of ever-changing forms, Hodell presents us with both an unconventionally intimate self-portrait and a vicious dissection of cultural myths: this book is the overflowing stream of his funny, inventive, and righteously angry consciousness.
Fia Backström’s facsimile translation provides not only the text, but also the original imagery and layout of Hodell’s book, and gives some context for the English-language audience with a thoughtful introduction and a glossary explaining Hodell’s intertextual references. Her contextualization also makes apparent her reasons for translating an obscure avant-garde Swedish art-poetry volume from the early eighties today: the poet’s “lifelong militant commitment against white supremacy in all its forms, whether it be the Nazi[s] … or Nixon’s ‘law and order’ administration.” The resurgence of overtly fascist ideology creates an unfortunate parallel between the world Hodell lampooned in 1981 and the one we’re currently living in.
Publisher Ugly Duckling Presse’s Lost Literature Series, of which The Marathon Poet is the thirtieth publication, was created to bring the out-of-print, forgotten, and never-before-translated to a wider audience. Between Hodell’s status as a relative unknown in the English-speaking world, his frequent allusions to the Swedish experimental poetry scene and the country’s history and culture more generally, and his penchant for blending fact and fiction, Backström’s remarks are essential to making the work as accessible as it is. She does not overexplain or heavily annotate, which might go against the confrontational spirit of the work; she gives readers only what they need to experience The Marathon Poet for themselves.
The main narrative of The Marathon Poet centers on a fictional foot race between Swedish poets, in which Hodell finds himself the sole competitor after a sobriety test disqualifies all of his fellows. During the race, the poet forgets to breathe, undergoes several hallucinatory out-of-body experiences, visits a couple doctors and restaurants, and encounters figures from throughout history and myth: Virgil, Aphrodite, a stuffy politician named Napoleon, and several of Hodell’s friends and contemporaries.
This absurd story, presented in nine “episodes,” is intercut with brief, apocryphal creation myths for some of Hodell’s earlier works. In “From the Memoirs of Cerberus,” Hodell’s earlier poetry/“verbal brainwash” book presentarms is said to have been written while Hodell was in hell. He only returned to our world because his fellow sufferers “begged Cerberus to throw me out of hell and never again let me back in” (59). By the end, the eponymous mythological beast not only releases Hodell from damnation, but agrees to become his publisher.
While Hodell’s ideas and delivery are funny, heavily influenced by vaudeville theater and often possessing the same raucous energy as the best Monty Python sketches, he is interested in more than making the reader laugh. A major throughline of The Marathon Poet, and his body of work as a whole, is a radically anti-militarist and anti-nationalist stance. While the stories, poems, collages, and photographs that make up the book vary in content and composition, they almost all attack the military, imperialism, and conformity more generally.
This near-constant focus on war, violence, and the greed and social structures that cause them drives drastic tonal shifts throughout the work. “Carl Jonas Love Almqvist’s Military Hat,” the partially-true tale of another Swedish poet living briefly in the United States, begins with a fantastical and relatively cheerful letter from Almqvist to his wife back home and gradually devolves into a cruel, frenetic argument between Almqvist and the owner of the boarding house where he resides, interspersed with brutal depictions of the violence upon which America was built:
Eighty bloodied heads
were displayed as a spectacle
on the streets of New Amsterdam
where the governor’s mother kicked them like footballs.
These events will recur. Go home, stranger.
There is no hope for this country.
Like much effective satire, Hodell’s pieces sometimes make for difficult reading: just behind or beside each witty observation is a more fundamentally disturbing truth. Even the comparatively lighter sections of verse on the fictional marathon confront existential dread, the limits of the human body, and the influence of militarism and violence in everyday culture. It is in the uncertain space between the joke and the tragedy that Hodell is most at home.
Just as he balances a variety of tones and uses them to create meaning in conjunction with and in opposition to each other, he juxtaposes and blends the visual and textual elements of each piece. Hodell regularly worked in collage both before and during The Marathon Poet, irreverently and effectively mashing up not only disparate images, but various art forms. In one section, a musical score calling for ever-increasing amounts of human snoring runs alongside a prose narrative which is itself frequently interrupted and incomplete.
Hodell also uses the text itself as a sort of collage-space. He keeps the reader off-balance by deviating from the left margin in poems and standard paragraph structures in prose pieces, utilizing found text and pseudo-documentary, writing in a variety of languages and dialects, and constantly shifting his diction from formal to informal and back again.
This impulse toward collage allows him to directly comment on the ways in which a conformist, militaristic ideology has come to influence so many disparate areas of art and everyday life. Revealing the various building blocks and cast-off pieces of European and American culture, sometimes bluntly and sometimes hyperbolically, he forces us to think about the unconscious assumptions and desires underlying many social norms.
On another level, his approach toward structure and genre simply reflect his personality and beliefs: why would an artist who so despises authority and convention confine himself to any traditional notion of what a book should be?
This wild creative impulse, along with Hodell’s ever-present humor, lend the volume an air of hopefulness despite its bleak subject matter: it is not only an account of the various destructive forces extant in the world, but a creative one in its own right.
When the fictional Hodell is taken to a doctor after the first few miles of his race nearly kill him, the diagnosis is bad: a pages-long list of the various maladies afflicting the poet’s body. When an observer offers to call an ambulance, the doctor responds:
“No, refrain from doing any such thing,”
says Dr. M.C. Retzius
with a quiet smile. “Humor is a state
where the four cardinal fluids of the body are well mixed.
In other words: The Poët is perfectly healthy.”