10 × 8 in. closed 22 pages Binding: Drum leaf with hard covers HP Indigo Open edition
Postcards are a peculiar medium, evoking presence and absence simultaneously. The writer of a postcard says, “I am here” to someone who isn’t. Or they say, “I was there” to a future self who may have forgotten. Postcards are, therefore, a medium of imagination and memory. They are also readymade representations. Unlike the snapshot a tourist takes, a postcard has been carefully chosen to represent a place with commercial and political goals, or at least considerations. This was the case for the National Parks Service postcards that inspired the imagery in Visible Climate, made to promote “America’s best idea” to a nascent public of domestic tourists.
The pages of Lines and Simmons’ collaborative book are not literal postcards, or even facsimiles, but rather draw on the formal and conceptual foundations of the medium. Each pair of text and image relates a memory from a national park, the writing intimate and the imagery iconic. The text is present tense, which departs from a typical postcard but lends a more literary sensibility. A representative passage reads, “I hike back to the spot in the photograph but so much has changed. Gone are the old weathered Juniper trees and dense stands of Pinyon Pine. Dry grassland stretches for miles in every direction as I walk through a mostly silent landscape.” The postcards do not form a single narrative but accumulate to paint a worrisome picture of how climate change is impacting the unique lands that comprise the United States. The themes that emerge are well suited to the medium – changes and time, presence and absence (visibility and invisibility), memory and imagination. After all, landscape itself is a work of imagination, a human representation imposed on the reality of land. Visible Climate grapples with the perils and potential of this very human way to perceive the environment.
The book’s structure and materials do embody a bit of what one might expect from a postcard. Printed on demand through Blurb, the “Layflat Imagewrap” book is essentially a drum leaf binding, resulting in thick pages that open flat with no gutter. The book’s dimensions (20 × 8 inches open) and rather large text encourage the reader to take the book in at arm’s length – perhaps flat on a table – a visual rather than tactile experience. The large pages also leave room to solve the challenging layouts, balancing one image and one block of text without trapping awkward negative spaces. In some spreads one page contains the image with the text across the fold, but most pages pair both elements within their ample margins. The text and image never touch, the gutter is never crossed, and nothing bleeds off the edge. The compositions would be static, stale even, were it not for the organic, unpredictable sensibility provided by the handwritten text and liquid borders of each image. Likewise, the choice to compose both single pages and two-page spreads livens the straightforward text-image format and introduces an element of pacing that makes the bound book function as more than a pile of postcards.
This pacing is suggested on the book’s cover, which is patterned with thumbnail reproductions of the images inside. Neither the spine nor cover display the title, leaving the grid of images to operate free of context. The resulting preview, not unlike the images on the back of a wall calendar, emphasize the book’s affective use of color. In hand coloring Lines’ photographic images, Simmons pushes the warm and cool palettes to an extreme. Blue skies and glacial ice contrast sharply with the arid reds of riverbeds and desert bluffs. This limited color scheme makes the few appearances of green seem artificial, imaginary even. In one such image, a phthalo green swamp gives rise to a ghostly mangrove whose black and white rendering seems to suggest that the plant is already dead.
Just as Simmons’ hand is present in the hand-tinted photographs, Lines’ can be seen in the handwritten text. His rounded hand complements the organic outlines of the imagery and lends an authenticity which contrasts with the artifice of the colorized photographs in an interesting way. The handwriting also references the idea of a postcard, of course, and helps the reader connect more intimately with the narrators than the relatively short texts might otherwise allow. And while the consistent handwriting unifies the collection of vignettes, it also raises complex questions about authorship. The book’s colophon explains that the captions “imagine the voices of park visitors,” meaning each vignette is that of a different fictional narrator. But rather than embody each imagined narrator with a different hand, Lines layers his own identity onto the texts by way of penmanship. Thus the handwriting and hand-coloring point to the process-oriented practice behind the book.
That process included nearly two hundred hours of field work in the national parks featured in the book. Lines and Simmons’ collaborations are grounded in intensive research, and the handwritten text seems to recall a scientist’s field journal, positioning the fictional accounts as the results of research. The importance of process is even clearer in Simmons’ treatment of Lines’ photographs, which begin as conventional digital images. Simmons converts the images to black and white, transfers them to paper and hand-colors them before digitizing them again. The retreat from digital to analog (and from color to black and white) lays the conceptual groundwork beneath the nostalgic, vintage look that hand-coloring ultimately gives the imagery. The point is, after all, not just to reference the historical but to enact a sense of loss over time. As Simmons works, the images lose more and more data until the subjective workings of the artist’s hand supplant the objectivity of the digital photograph.
For all this emphasis on process, the final product remains impeccably crafted; not only the text and imagery but sequence and pacing of the book as well. With the familiar intimacy of the writing, it is easy to read oneself into the imagined correspondence. An inherent sense of temporal and geographic distance makes the suspension of disbelief central to the postcard as a medium. Whether reading a postcard immediately at the mailbox or years after from a shoebox, one is always already later and elsewhere. It is a medium of imagination grounded by the fact of really having been somewhere, not unlike the strange authenticity of Lines’ handwritten fiction. The premise of multiple writers also accommodates more repetition than a straightforward narrative. Visible Climate has no introduction or conclusion; all of the storytelling is accomplished through the fictional missives. Their major themes and motifs are far from subtle, but the book’s quick pace and the sheer variety of landscapes depicted keep the repetition from growing tiresome. On the contrary, Lines’ ruminations on time and change unify the human experience of those disparate geographies and demonstrate how pervasive the effects of climate change really are.
This larger message about the environment emerges not just from each vignette but from the careful sequencing of their accumulation. For while the book may lack an introduction, it does have a beginning, middle and end. Much of Visible Climate’s power comes from subverting the linearity of the codex form. The first postcard ends, “…we’re struck by the near total absence of young trees.” In other words, the beginning of the book is the beginning of the end. The next postcard reflects on ancient cliff dwellings, introducing the human timescale that will remain in tension with the geological throughout the book. It is then all the more shocking when the two timescales reverse: “Decades have passed since I last visited Nisqually Glacier. Most of my fellow climbers are gone, and the glacier is now hundreds of yards upstream.” Changes to the Earth have accelerated to the human scale, and the narrator is left to “recall the sound of the ice, bending and snapping in the distance.”
In the second half of the book, a turning point is signaled by three smokestacks sticking out above the horizon, releasing steam that disappears into the clouds above. On the following page, the narrator writes, “Our hike back to the road feels like we are leaving the scene of a crime.” The final image is the book’s only nocturne, but the linear progress from day to night is complicated by a reprise of the first passage. “The young Joshua trees are mostly gone, while the few remaining mature trees are like oases, providing shelter for dozens of animals in an otherwise harsh landscape.” It is hard not to project one’s own condition onto these trees, survivors of the beginning of the end, caring for others in the face of an improbable future.
Such anthropomorphism is, of course, part of the problem. Our ability to relate to a tree (but less so a blob of algae) speaks to the power of imagination in constructing our views of the natural world, in making landscape out of land. As one postcard notes, “The carbon flowing through those towers can’t be seen and makes no sound.” The climate crisis is, in part, an aesthetic problem, a matter of what can and cannot be seen. Visible Climate is an intervention in the aesthetic realm, a reminder that something is lost in our mediated perspective of the environment. Lines and Simmons acknowledge that some problems of perception are natural, like the inconceivable gap between human time and geologic time, while others are human-made. Visible Climate shows that our inability to see the world as it really is can be catastrophic, and yet any remaining hope lies in the very ability to imagine a world different from our own.
The following interview took place via email from May to July of 2020. It has been edited for clarity.
Sarah Nicholls is a visual artist who makes pictures with language, books with pictures, prints with type, and animations with words. She combines image, visual narrative, and time in prints, books, and ephemera that are often research-based. Sarah is interested in urbanization, local history, climate change, the history of science and technology, alternative economies, found language, and the history of publishing. She has written a collection of self-help aphorisms, published a series of informational pamphlets and printed a field guide to extinct birds. Her most recent book is Solastalgia, a book about islands, both real and imagined, that are in the process of disappearing. Sarah’s limited edition artist books are in the collections of the Brooklyn Museum, Stanford, UCLA, and the University of Pennsylvania, among others.
Levi Sherman:Artists should always consider their audience, but the fact that your publications are informational emphasizes that relationship. Who are you hoping to reach, and what change would you like to create by informing and entertaining them? I’m thinking especially of your Brainwashing From Phone Towers pamphlet series.
Sarah Nicholls: Audience should be the first thing you think about when planning a publication. It’s important to know both who you are trying to speak to and what you’d like to tell them. It helps to clarify things for myself. I have a list of people in mind when I write a pamphlet: people that I think will be interested in the content, people I’m excited to speak with, people I haven’t seen in a while but who I would like to keep in touch with. Also people who are interested in supporting the series in general, who have become part of my community. Some people I specifically send one issue to, because I think that person would be particularly interested in the subject matter. Some are close friends who get all of the pamphlets I make. Some of these people are people already interested in artist books or printmaking. Some of these people have nothing to do with the book world, some of them have nothing to do even with art in general. By coming up with this list of people, I try to expand the audience for an artist’s publication, and by focusing the work on subject matter outside the world of art I can bring in lots of different potential audiences.
Since I’m speaking to lots of different kinds of people, I make a point of writing in a very clear, explanatory kind of way; the audience shapes the writing style. I want people to understand what I’m trying to tell them, without having to jump through hoops, or wade through jargon, or know secret handshakes.
Most of the more recent ones that I have made have focused on different aspects of the particular urban environment that I live in, in New York City, including local history, the built environment, the natural environment, and how all three combine to form a particular kind of place, which is under threat due to climate change, among other things. But many of the people who receive these pamphlets do not live here, and many will never visit the particular parts of the city that I am interested in. What I would like them to do, really, is to take the same kind of approach to their own surroundings: to ask themselves, what kinds of plants and animals live here? How did they get here? What is in the process of changing around me, and why? Who are my neighbors and where have they come from? What is at risk of disappearing?
LS:That sounds like an excellent segue into the role of research in your practice. How do you go about answering those questions?
SN: Research is a large part of my process; I usually start with a general theme for the year so that the research process isn’t all over the place and so I can build knowledge around a subject over time. Last year was weeds; this year is mapmaking. Sometimes the theme is relatively loose, sometimes more specific, but I find it helpful to structure my time and plan in advance.
I start by spending time in the neighborhood I am interested in. I mostly travel by bike, so I ride around, walk around, over a period of time and take lots of photos. The images in the pamphlets are usually based on photos that I’ve taken. I read about the history of a place, and try to see how it fits into a larger picture of the city. There’s a good reference collection at the Brooklyn Public Library on Brooklyn history that I’ve used a lot. There’s also a good collection at the Brooklyn Historical Society. This year I’m spending a lot of time looking at the digitized collection of historical maps of the city that NYPL has in their map division. I read everything I can about the current problems in a specific community, and try to identify the people and organizations that are working on them. Last year when I was thinking about weeds and spontaneous urban plants a lot, I read about that: where weeds come from, how they spread, how they are used and defined. Then I try to synthesize it all.
LS: How much of that synthesis happens in the studio? Is everything planned out before you start setting type or carving linoleum?
SN: Yes, after research comes the design stage; I draw a bunch of pictures, usually based on photos I have taken, and come up with the visual elements I want to use. I write a series of drafts of the text, starting with an outline that covers all of the things I think I want to include, then filling out that outline, then editing it down, editing it again. I make a mock up, then another mock up; the format of the final piece can change depending on the content. I know what I want to do before I start carving lino or setting type. As I set the type the text usually goes through a final editing stage; I don’t really know how it sounds until I start setting it. So setting it in metal usually helps me finalize the text and I think of it as part of the writing process.
LS: The pamphlets employ a surprising variety of sizes and structures, which change the reading experience through revealing, concealing, turning and expanding. Is variety a goal in and of itself, or does the structure simply arise from the content?
SN: Both. Surprise is part of the goal; I like sending something out as a surprise, that takes a surprising form, and I think that the variety helps with that. I also try to match structure and content. I’ve been doing these publications for years now and it also helps keep it interesting for me.
LS: On the topic of serendipity, how did you come up with your subscription model where a friend receives a surprise copy? Do you have any anecdotes or feedback that speak to the sort of relationship that creates?
SN: When I first started making pamphlets in 2010 I just gave them to friends; I liked the surprise element of it, that I could send something to people as a gift. When you pull a print, you don’t really know what it will look like in advance, and that surprise is exciting. For the reader, when they receive a pamphlet in the mail, it mirrors that surprise.
When I started using the subscription model, I was worried I would lose some of the elements of the project that I loved: the surprise, the gift. But I also wanted to be able to circulate them more widely than I had been, and make the project more self-sustaining. So I gave subscribers the option to add a friend to the list for a year, in addition to themselves, which not only kept the surprise gift aspect but also meant that they circulated outside the group of people I already know. This means I get to be surprised, by who reads them, by where they end up, by having people come up to me at events and say, “My friend signed me up for this!”, by getting letters and zines in the mail from people who’ve gotten pamphlets and enjoyed them. I’ve especially enjoyed being at book fairs and having people come up and introduce themselves as readers who have gotten them through a friend. It’s one of the best aspects of it. This year, before everything blew up, I have been planning a series of events in conjunction with the series, and one of them was going to be a bird walk in Sunset Park, Brooklyn, with a NYC naturalist I met through the series, Bradley Klein, who became a subscriber himself after he was added to the list by a friend. There are people who subscribe every year, and have been receiving them for several years now, who I maintain a correspondence with. One of my goals was to build a community and I think it’s been successful at that beyond what I imagined.
LS:Tell me more about the community you want to build. What does it look like? Who participates? How does it differ from other communities within and beyond the art world?
SN: It’s a community that can shift and grow, that includes people who might not be interested in the art world, people who don’t feel comfortable in art institutions, people who would not come to an art event or talk or a gallery exhibition, though it also includes art audiences. I like to meet these audiences where they are at.
Since the pamphlets are nonfiction, information based publications, and since they are about specific places and the communities that live there, part of what I also want to do is build a community that thinks critically about the policies that build their environment. Who can afford to live in their neighborhood and who can’t? Is there pollution in their neighborhood and why was it allowed to be left there? Who is safe in their community? Who has access to green space and who doesn’t? By sharing information I would like to help people build more equitable communities, and ones that are more resilient to the challenges to come. This is particularly important in a time of climate crisis, because the communities who are most at risk are the ones with the fewest resources.
I would like it to be wide and diverse, but also engaged; I think it’s important for me that people read these things and think about them, and that a shift happens in how they think about the place where they live. Engagement isn’t always something that happens with artist books made in larger editions, even if they are intended to be widely distributed. There’s this point at the end of the New York Art Book Fair every year when people try to get rid of their copies of publications so they don’t have to cart them home, where it just seems like way too much paper that no one will bother to look at in a day or two. Sometimes books made in a large edition are purchased by someone, they take a photo for Instagram or whatever of their book fair haul, and then maybe the book never gets read, it just sits on a shelf. Ideally I want to have a relationship with my readers, where I can tell them a story one-on-one, in that reading voice inside their head, and they enjoy it enough that they send me something in response.
That happens often enough that I feel like the project is generally doing what I want it to do.
LS:One reason I started Artists’ Book Reviews is to get the books out of the tote bag and off the Instagram feed and actually read them. What kind of reception and support have you found in the art world? How important is institutional funding for a long-term, research-based project like this?
SN: I’m glad that artist books are finding readers outside the tote bag!
I think that I developed a way of working specifically so that I wouldn’t have to rely on institutional support. I can publish these pamphlets and distribute them without much in the way of infrastructure and the subscriptions cover the direct costs of production, so it’s a self-sustaining project. However, as time goes on, I’ve been surprised by the extent to which I’ve been given support and an audience within a larger art world. This is partly because I’ve expanded the project to include events and neighborhood walks, which are open to the general public, and partly because I think that nonprofits and local grantmakers are particularly excited to support projects that can reach audiences outside the context of a traditional gallery art world. Institutional support is important in widening the reach of these projects; though the pamphlets can be made without support, I think that it’s important that the people they circulate among changes over time, and that the subject matter changes, to keep it fresh. One other thing about institutional funding is that I have less pressure to make the pamphlets a commodity, which means I have more freedom to distribute them at will to any audience I choose, and still have the project be self-sustaining. Engaging with different versions of the art world are important both in terms of developing an audience, as well as helping me to grow and develop in my own work.
It also tends to snowball a bit I think? I think opportunities lead to more opportunities, and I think that I’ve been doing them for some time now, and it’s built up some momentum at this point. I have received new funding this year from the Brooklyn Arts Council. And I have been given an exciting studio residency this year through BRIC, a Brooklyn arts and media institution that should start, fingers crossed, sometime this summer, depending on how the timeline goes for opening up. So I’m very lucky. And both are directly tied to the pamphlet series, and I am very grateful for the support I’ve gotten this year especially.
I also think that times change, and tastemakers change. I remember very clearly that when I started working with books that there was a definite stigma attached to craft techniques like letterpress, and that the artists working at the Center for Book Arts operated in a completely separate, somehow lesser, version of the art world from the rest of the visual arts. I remember having arguments with my supervisor at the Center for Book Arts over the use of the word craft — he would insist on talking around the word on all official materials, we had to say “traditional artistic practices” instead of craft, because he didn’t want people to think we had craft cooties. There’s a significant gendered aspect to that. I don’t know how long this moment will go on, but being able to use serious craft techniques within a contemporary art context, and be welcomed, is something I am overjoyed to be able to do.
LS: For better or worse, I think we’re also at a particular moment in terms of expertise and authority. I consider your pamphlets as a positive result of that trend, along with citizen science, guerilla botany, oral history, etc. I can’t help but think of the very first photobook, Anna Atkins’ Photographs of British Algae: Cyanotype Impressions. Are we in another era of the amateur?
SN: This is an enormous subject.
When I teach letterpress, one of the things I try to communicate to students is the way this technology created a new kind of authority. I think I started printing as a way of being able to hijack that voice of authority, to use it for my own ends. It also brought knowledge and information and an audience to all kinds of new people, which made it possible for new kinds of writing, of political thought, of the development of science, in terrible ways and amazing ways. I think that pamphlets have been used to both create new fields of expertise, and to destabilize authority since the 17th century. I think that all science began as citizen science, as groups of amateurs experimenting on their own as a hobby. Citizen science was the only kind of science there was, and only later on became a profession. All expertise begins as an experiment.
I think that the new technology of print brought in an era of the amateur, just as the internet and social media has ushered in our current era of the amateur. There are enormous liabilities to this, as well as opportunities. I think that the overwhelming nature of current events is hard to process, and so when I print pamphlets now, I try to slow things down into something that is digestible, which is possible in this older technology. I communicate through pamphlets because I came of age in the 90’s (what my students might call the late nineteen hundreds) and have nostalgic feelings about DIY zine culture, about one person writing about their personal experience that they can share with a sympathetic community through the mail, but I am old now and have all these printing and binding skills. My 90’s experiments in zines have become expertise. I still think that people should make their own culture, outside of institutions.
One of the things that leaps out at me about 17th century European pamphlets is how many of them are about the end of the world. This wasn’t just superstition; people lived through plague and the Thirty Years War and all these new forms of thought and technology and religion and then the sudden realization that the world was much larger than they had imagined. The world that they knew did actually end, and apocalypse was a useful metaphor to describe this. We’re not only living through a new era of the amateur, we’re living through a new era of apocalyptic imaginings. Our movies and stories are full of zombies, CGI skyscrapers sinking under the ocean, and dystopia. I find this comforting, both because everything eventually comes to an end, but also because after that comes a new beginning.
LS: That’s a fascinating history! I hadn’t made the connection between those early printed pamphlets and your engagement with our own apocalyptic climate crisis.
This raises the question of timing and duration. Are your pamphlets a warning? A record? A blueprint? Where do you envision them in thirty years, or 300?
SN: I think they do serve as both a warning and a record; I hope that I am able to raise awareness of the immediate need for systemic change, but I don’t think I am even close to being expert enough to draw a blueprint of exactly what that means. I hope to point people in a direction, and to raise enough concern to motivate action.
I also want to document the particular version of the city that exists today. Things here in NYC change drastically in a matter of years; the city that existed when I was in high school is long gone. The version that was here when I moved to Brooklyn in 1998 is also gone, when I visit that neighborhood now it’s almost unrecognizable. If you lived here even ten years ago, and then left, the city that you knew is no longer here. So I know that the version I live in now will be gone soon too, and I want to document what is here now while I can.
This is how the city functions even before you take climate change into consideration. Neighborhoods will start to shrink in the coming decades, losing physical space to the water, and the city will become smaller for the first time in hundreds of years. The infrastructure we will build to try to shore things up will be a huge change to our coastlines; hard infrastructure like seawalls and barriers will change how waterways look and act. I can’t even imagine what the city will look like in thirty years.
And of course right now drastic shifts are happening, faster than I can even write about them, in how we are using our public space: in the streets, in our ways of relating to each other in public, in our transportation system. Overnight subway service is gone and might not come back, which means that city that never sleeps trope is no longer a thing. We’re using public streets to do all kinds of new things, at the same time that tons of traffic is coming back because people are afraid of the subway. I strongly believe that we’re at a turning point, and I look forward to finding out what the new version of the city that emerges from this moment of crisis will be like. I think we have badly needed a reset, so we’ll see what comes next.
I have no idea how many copies of these things will be around in thirty years. They will probably circulate in ways I can’t foresee, which is interesting to think about. I treat them as ephemeral, sending them out widely, but I want them to be a record. So hopefully some of them survive, and I hope in surprising places. 300 years is more dicey. Will we have libraries? Mail service? Will we have cities? Will we be on this planet? Who knows. Have you read New York 2140, the Kim Stanley Robinson book? It’s glorious; it’s a recognizable version of the New York City of the future, half drowned and transformed but still familiar. I found it comforting. I wouldn’t mind living there.
LS:Alas New York 2140 is languishing unread on my bookshelf, but I think we can all use a comforting view of the future right now.
Thank you so much for taking the time to talk about your work during this moment of crisis.