Oriental Silk

Oriental Silk
Xiaowen Zhu
Design by Michael Mason, CHEVAL
2020
Hatje Cantz

7 × 9.5 in. closed
196 pages
Smyth-sewn, clothbound hardcover
Offset inside with screenprinted cover

Front cover of Oriental Silk with bilingual title text screenprinted white on gray bookcloth. Next to the book is a white bookmark printed with green text repeating the author and title in English and Chinese.

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.

Oriental Silk inside spread, pages 70-71. Chinese text on verso, English on recto. The white paper is cut shorter than other pages, revealing green, pink, black and yellow pages behind.

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.

Oriental Silk inside spread, pages 88-89. Verso and recto each have a black and white photo printed on the green paper. Silk jackets on the verso and labeled boxes of velcro on the recto.

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.

Oriental Silk inside spread, pages 100-101. Verso and recto each have two black and white Wong family photos printed on the green paper.

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.

Oriental Silk inside spread, pages 44-45. A single photo spans the gutter of the spread, printed black and white on yellow paper. The image is the shop's exterior sign: Oriental Silk Importers.

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.

Visible Climate

Visible Climate: Postcards from America’s Changing Landscapes
Lee Lines and Rachel Simmons
2020

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.

Inside spread of Visible Climate, showing two arid scenes with warm color schemes.

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.

Visible Climate, inside spread with text on verso and hand-colored illustration of a mangrove on the recto.

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.

Visible Climate, inside spread with text and glacier scenes on verso and recto.

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.”

Final spread of Visible Climate, with text on verso and nighttime scene of Joshua Tree on the recto.

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.

One Hundred Excellent Flowers

One Hundred Excellent Flowers
Clifton Meador
2019

8.5 × 11 × .375 in.
64 pages
Binding: Screw post with cover wrap
Offset lithography
Edition of 200

Front cover of "One Hundred Excellent Flowers" shows screw post binding and blue paper wrap

Referencing the writings of Mao Tse-tung, One Hundred Excellent Flowers pairs a text of acerbic aphorisms with photographs of supermarket shelves, vending machines – and, yes, flowers – to critique contemporary consumer capitalism. Beneath the deceptively austere cover, the reader is confronted by a cacophony of color separations, made all the more powerful by the book’s relatively large format. The creative and metaphorical use of pre-press and print processes are a signature of Meador’s work, and One Hundred Excellent Flowers uses fluorescent ink instead of true CMYK. His expressive use of offset as a medium enables a key aesthetic argument – a pop art sensibility that recalls the 1950s and ‘60s, at a time when global powers seem intent on rekindling the Cold War.

Inside spread with close-up of flowers. Text reads: "Often, correct and good things were first regarded"

The book’s minimal cover is noteworthy given the visual excess inside. It is a dark blue paper wrapper with a cut circle to reveal the printed title on the first bound page. Three smaller circles along the spine reveal a screw post binding reminiscent of Kevin Osborn’s Real Lush. Although the books share bold colors and richly overprinted imagery, perhaps One Hundred Excellent Flowers is better compared to Fortunato Depero’s “bolted book,” Depero Futurista, with its combination of art, advertising and manifestos. The photographs inside show flowers, but also junk food and candy with visible brand names and price tags.

But Italian Futurism (and Fascism) are not the politics at play. Rather, the colophon refers to a particular episode in the history of Chinese communism, when Chairman Mao encouraged dissenting opinions only to later crush the dissenters. He is quoted, “Let a hundred flowers bloom / Let a hundred schools of thought contend.” Meador’s own writing throughout the book adopts this style, editorializing in a sardonic combination of elevated and prosaic language. The narrative voice prevents the pointed commentary from seeming didactic.

Inside spread with close-up of flowers. Text reads: "What do a few flowers matter?"

The text begins with the original quotation above, and the first half of the book reflects on the role of dissent in a society. The text sticks to the original Maoist metaphors of flowers and snakes – ideas and dissidents – but the imagery opens other interpretations. After a few pages, junk food intersperses the Warhol-esque flowers, juxtaposing consumer capitalism with the communist system with which the text began. Then a reprise signals a new section: “Let a hundred brands blossom. / Let a hundred corporations contend.” In the second half of the book, the text addresses the system that the images have hinted at.

Inside spread with image of supermarket shelves. Text reads: "Let them bloom for people to look at"

The imagery produces meaning through form as much as content. The compositions of the photographs disorient the reader with extreme close-ups and dizzying, diagonal points of view. However, the images barely operate as photographs thanks to Meador’s pre-press interventions. Ben-Day dots the size of dimes collide with checkerboards and crosshatching – an inexhaustible variety of half-tone patterns, part Lichtenstein, part glitch art. One Hundred Excellent Flowers intensifies the visual strategies of pop art to make them relevant in today’s manifestation of the consumer capitalist media environment that informed Lichtenstein and Warhol. The compositions are also calibrated for the sequential medium of the book, different even than the serial approach of Warhol’s offset-printed Flowers. The half-tones defy their design; they fail to coalesce into smooth images. Instead they call attention to fabrication, artifice. The misaligned patterns render the four process colors hyper-visible, but elsewhere create muddy fields of richly overprinted blacks. These images unravel at the fore-edge margin on the recto, leaving white space for the text to occupy.

The text, placed in the small field of negative space, feels precarious. The images dominate visually, but the stark contrast of black text on white paper (plus the consistent positioning) ensure the reader’s attention returns to the text with each turn of the page. The even pacing of the text gives the book a steady rhythm and brings out the abstract potential of the imagery. The ragged fore-edge contrasts with the orderly margins that run along the top and bottom of each page and even gutter crosses, which facilitate full-spread images remarkably well considering the screw post binding. The margins are no afterthought; the fore-edge is the center of the folded sheet, and thus could have been printed on. Meador plays with this by fore-edge printing a flower, but doesn’t take the idea further. Nevertheless the folded sheet adds to the book’s heft and, more importantly, prevents the copious overprinting from showing through from one page to the next. The feel of the folded sheet, draw attention to the act of reading, already heightened by the text’s position in the fore-edge margin where the reader’s thumbs reside.

Inside spread with close-up of junk food on shelves. Text reads: "Fill the aisles with bags of pernicious slop"

Just as the binding and composition engage and implicate the reader, the book’s content is scaffolded to hook the reader and then pull them into deeper waters. “How could sugary breakfast cereals ever be bad?” gives way to “Feed the people disgusting swill and call it a feast / until no one can tell the difference between poison and antidote.” From media to politicians, it’s not hard to see how Meador’s critique extends beyond food. In fact, it is not Quotations from Chairman Mao Tse-tung that One Hundred Excellent Flowers channels, but another book of aphorisms – The Society of the Spectacle by Guy Debord. The two books, published within a few years of one another, form a dialectic that unlocks Meador’s project.

The central question is what (as noted in the colophon) Chairman Mao called “the correct handling of contradictions among the people.” For Debord, the spectacle is a means of deferring contradictions without resolving them, always offering something new as an alternative and distraction. Hence the ceaseless proliferation of “fragrant falsehoods” as Meador calls them. He renders the paralyzing freedom of endless choice in the grocery aisles and vending machines, hawking their wares with cheap prices and lurid colors. The various spectacles push and pull, intersect and overlap, but like the book’s half-tone patterns, never resolve into a seamless image. Following Debord, One Hundred Excellent Flowers suggests that freedom can be found no more in the poisonous decadence of US capitalism than the brutal repression of Chinese communism.

One Hundred Excellent Flowers is a model for thoughtful, historically-grounded political discourse at a time when hyperbolic soundbites are more fashionable. Meador elucidates contemporary social and economic problems by drawing on the visual and textual aesthetics of the 1960s – another era of conflict between China and the United States – at a time when counterculture movements once again push for structural change and challenge capitalist ideology around the world. Even with its pop art colors and strident writing, the book seems contemplative in the context of cable news commentary and social media. The medium lends itself to an individual experience without posturing, defensive or performative. Meador seizes that opportunity to weave together geopolitics and art history with familiar access points that help the reader place themselves in a system that is once again facing global resistance.

ERRATA

ERRATA
Nuno Moreira and David Soares
2020

5.5 × 8 in.
52 pages
Binding: Link-stitch with exposed spine
Laser inside and foil stamped slipcase.
Edition of 50

ERRATA is a cinematic, existentialist essay that explores mysticism and metaphysics through the metaphor of the book. Grainy, high-contrast images chronicle a cryptic encounter on the book’s rectos. The versos present a text, in both Portuguese and English, which questions humanity’s place in the universe, and whether we can ever come to know it through language. ERRATA is a collaboration between writer David Soares and artist Nuno Moreira, whose background in filmmaking informs the book’s style. The book grounds the arcane topic through jumps in scale, back and forth from the cosmological to the individual and embodied. The reader is further engaged, even implicated, by the book’s self-reflexive bibliographic content and the point-of-view photography. The artists remind the reader that language and books have long been fruitful yet frustrating tools with which to grapple with life’s big questions. ERRATA also demonstrates that artists’ books can be capable contributors to this age-old quest.

ERRATA inside spread; recto has a photo of a man handing a book to a woman, taken from her point of view

As readers of this review likely know, an erratum is a list of corrections accompanying a book with errors. So it is perhaps ironic that ERRATA is exquisitely crafted with great attention to detail. (The production value extends to all aspects of the project; my review copy arrived wrapped in black tissue paper, closed with a monogrammed seal.) The publication comprises a black paper slipcase and an uncovered, link-stitched text block with an exposed spine. The binding calls attention to the object’s book-ness, reinforcing the meta-commentary inside. Foil-stamped lettering on both sides of the slipcase spells out the title in circular configuration (perhaps recalling a mystical hexagram), removing any distinction between its front and back. The contrast of the white linen thread and paper with the black slipcase is a striking design feature that anticipates the visual style of the book’s content.

ERRATA back cover; photograph shows a chair at a table, with a small fire burning on the tabletop

Like the case, the book itself downplays the distinction of front and back. There are no covers per se, so the first and last pages stand in, and mirror each other’s compositions. A small, square, black and white photograph is centered on the page, depicting a table and chair in a room. One image shows the table empty, while the other shows a fire blazing on the tabletop. Both images have a surrealist quality, and their relationship hints at a chronological relationship. All of this supports a double reading – front to back and back to front. As Moreira hints in his project statement, “everything makes sense in reverse.” Indeed, the text is remarkably successful in either direction, and the photographic narrative fares almost as well. In one reading, a woman at an empty table is approached by a man who hands her a book, whose pages turn from blank to black as she reads. In the other, a book is burned but not consumed, as if by some Promethean fire, and then cleansed page by page by a woman who then gives the book to a man.

ERRATA inside spread; recto photo shows a woman seated at a table while a man walks away casting a shadow that does not move in sync with his body

Yet, to say it makes sense is an overstatement. The book is dense with symbolism and reference, requiring reflection as much as reading. Soares’ writing is elevated and sometimes overwrought (at least the translated English text), but suits the religious and mystical texts it references. It is the language of writing rather than speaking, further reinforcing the book’s focus on the constructed and incomplete nature of books and language. The bidirectional reading succeeds in large part due to the text’s use of parallelism. The repetition is more than another biblical reference; it helps anchor the reader and reinforce ideas that may be lost in the intricate, unfamiliar language. For example, the book’s final phrase – “We are all pages in a book: when we are turned, we die. All letters are mute to us.” – is mirrored by a passage earlier in the book, “All letters are mute to us. We are illiterate in the face of the proclitic and echoing speech of the cosmos.”

The aphoristic proclamations and questions add context and connotation to the image sequence, but neither text nor image directly illustrate one another. Nor do they interact visually. The text remains on the verso, and the square photographs land in the same position on each recto. This enables the reader to approach the visual narrative almost like a flip book, which further strengthens the its cinematic quality. More importantly, the moving image enhances the sense that the reader whose point of view ERRATA’s reader occupies is doing something other than reading. The photographs capture her hands turning the pages in such a way that she appears to be conjuring something magical. Palm down, her hand waves over the pages as they transition from light to dark (or dark to light). The noisy, chiaroscuro photographs sell the mystical mood, and add a surprising amount of interest to a sequence that largely depicts a pair of hands reading a book.

ERRATA inside spread; recto photo shows a woman reading a blackened book, taken from her point of view

ERRATA is at its best when the text and image support one another, letting the reader make meaning from the parallels and juxtapositions. The single image with text in it – in which the book’s title is revealed – is heavy-handed compared to the rest of the work, which is open to alternate interpretations and even simultaneous contradictions. The title, “Structure of Consciousness,” is unlikely to tell the reader anything they didn’t already know. ERRATA is explicit in its references to consciousness and cosmology. Its sense of mystery comes not from withholding information from the reader, but from engaging with topics that are truly mysterious.

ERRATA is about the quest/ions more than answers. Through its self-reflexivity, the book connects art to this fundamental human pursuit of understanding. It also uses the human-scaled intimacy of the book as a medium to powerfully play with the reader’s sense of scale. Voice, heart, hands and eyes are at once human and otherworldly in Soares’ prose. They also reinforce the inescapable role of language in forming our understanding of the cosmos. Letters, words and pages – the book is a shapeshifting metaphor in ERRATA, giving the reader not a sense of closure, but connection to a timeless inquiry. For all its connotations of truth and authority, the book reminds the reader that all is not as it seems. The photography places the reader in multiple points of view, both immanent and transcendent, just as the structure encourages more than one sequence. The final image, a book ablaze, is a fitting conclusion to a work that challenges the authority of the book even as it harnesses that power as a metaphor for existence itself.

Moreira and Soares understand that the book is effective both as a metaphor and as a medium. The strength of ERRATA is that it trades on the book as a symbol – creation, religion, authority, the body – even as it eschews the formulaic familiarity that makes such references possible. It exudes book-ness, but operates cinematically. It establishes a power dynamic with the reader, only to change that relationship repeatedly throughout the reading experience. It promises an exploration of the universe, and delivers a treatise on the book itself. The artists approach the book almost like tactical media, critiquing the form while harnessing its strength. ERRATA shows why the artists’ book continues to be a generative mode for collaboration, interdisciplinarity and unanswered questions.

Tiny Dino’s Grand Field Museum Adventure

Tiny Dino’s Grand Field Museum Adventure
Carley Gomez
2020

8 × 8 in.
20 pages
Binding: Perfect
Digital offset
Open edition

Tiny Dino's Grand Field Museum Adventure cover; plastic dinosaur overlooking the museum atrium with fossil skeletons

In the interest of full disclosure I should begin this review with the disclaimer that Carley Gomez is my partner, in art and in life. Nevertheless I assure you that this review is every bit as biased as all my others.

Tiny Dino’s Grand Field Museum Adventure appears at first glance to be a children’s book. If one were the type to judge a book by its cover, it might appear to be a self-published children’s book. The first few spreads seem to confirm this assessment. Large, friendly type narrates the travels of a small toy dinosaur in Chicago’s famed Field Museum of Natural History. The images are snapshot-like photographs of the bright red tyrannosaurus throughout the museum – on ledges, banisters, furniture and floors. Tiny Dino Bruce views fossils and dioramas and marvels at the architecture. Just as the reader begins to wonder if the book is, as it appears, a somewhat mediocre children’s book, the tone takes a turn.

Inside spread; toy dinosaur climbs the banister of a staircase and views an interactive diorama.

A wall display reads, “Did you know, an onion, apple and potato all have the same taste? The differences in flavor are caused by their smell.” The deadpan narration continues below: “Bruce calls bullshit during our break in the cafeteria.” So Tiny Dino’s Grand Field Museum Adventure is not what it appears to be, but the children’s book for adults is by now a familiar genre. Yet Gomez has created something different, something weirder. It is weird even for an artists’ book, although it does what artists’ books do best. It is a self-contained experience that would fail in another medium. Text and image are more than the sum of their parts. Structural elements work in concert with the content (for example, the pagination is crucial to the comic timing). The book subverts a familiar genre even as it appropriates the genre’s powers, such as the easy suspension of disbelief. In fact, the very familiarity of a square, perfect-bound book makes this otherwise unusual work of art seem approachable and unpretentious.

Inside spread; toy dinosaur in front of a live fish, and a questionable sign in the cafeteria

The frank tone of the writing operates similarly, albeit under the guise of short, kid-friendly sentences. There is a clear story arc with a beginning, middle and end. Conflict brews, romance blossoms and an existential crisis looms. The book’s narrator is the unseen, presumably human, companion of Tiny Dino Bruce. The dialogue is all Bruce’s, but the interiority is that of the narrator. The tension between reality and make-believe never fully resolves. Each image implies the agency of the human actor, but the written narrative is too absorbing to focus on the reality behind the book’s production – at least on the first read through the book. In this way, Tiny Dino’s Grand Field Museum Adventure perhaps shares the literary tradition of Calvin and Hobbes or The Indian in the Cupboard.

Inside spread; Tiny Dino Bruce meets another toy dinosaur

Subsequent readings, however, raise many questions about the book’s production, and these are where Tiny Dino’s Grand Field Museum Adventure really shines. (That a reader will indeed peruse the book more than once is all but guaranteed; it is short and quirky, and the photographs preserve a visual richness that is missing in more controlled, conventional illustrations.) This visual noise clues the reader into various productive interpretative frameworks, including institutional critique and performance documentation.

Like many conceptual artists, Gomez examines the cultural significance of the museum. The book’s postmodern mash-up of high and low culture is a fitting reflection of the institution. The dinosaur was purchased, indeed created, by the artist using the museum’s own Mold-A-Rama machine – those “automatic miniature plastic factories” that so epitomize mid-century American kitsch. Once created, the touristic dinosaur visits everything from live animals and ancient fossils to anthropological artifacts and other, more contemporary, tchotchkes. The gift shop and cafe figure as heavily into the plot as any of the more educational spaces.

Inside spread; toy dinosaur in the museum gift shop

The museum is also the stage, if one considers Gomez’s piece to be a performance. What does it mean for an adult visitor to roam the museum, photographing tableaus and dining with a dinosaur? Tiny Dino’s Grand Field Museum Adventure reveals the discomfort of creativity and imagination, even in spaces that exist to inspire it. I would also argue that it exemplifies my concept of “book thinking.” Just as an artist would experience the Field Museum differently with a sketchbook in hand than they would with a camera or audio recorder, so too does the mission of creating a book structure the encounter.

This leads to an inherent tension since a museum is really quite similar to a book. The Field Museum has its own agenda, and it uses audio, visual and tactile means to construct a specific spacial and temporal experience for its viewers. In today’s postmodern neoliberal culture, many museums blur the lines between production and consumption, author and audience. However, Gomez’s act of authorship goes beyond the prescribed bounds of even the most interactive museums. Having paid her admission and patronized the Mold-A-Rama, her act of subversion is complicated, but thought-provoking nonetheless.

Tiny Dino’s Grand Field Museum Adventure shows that artists’ books can be simultaneously silly and serious. Artists’ books can be improvisational and exploratory, especially with smartphone photography and on-demand printing. They need not require months of planning and production. Books of this sort represent an access point to the field for a broader contingent of artists and writers, those who consider the interrelation of content, form and structure without recourse to the typical studio equipment. Of course the aesthetics of commercial on-demand printing lend themselves to some books better than others, but any good artist will choose the process that is right for the project. Gomez has done that with Tiny Dino’s Grand Field Museum Adventure.

Seed Vault

Seed Vault
Tim Robertson
2017

Material Print Shop
8.5 × 5.5 in.
36 pages
Binding: Saddle stitch
Inkjet inside and blind-embossed cover
Edition of 49

Seed Vault, front cover. "Seed Vault" is blind embossed into green-gray paper. Below is smaller text reading "by Tim Robertson."

Seed Vault is inspired by the Svalbard Global Seed Vault in Norway, which exists to safeguard the genetic diversity of crops against natural and man-made disaster. Rather than food, artist Tim Robertson has imagined a vault of memories to “regenerate life in present and future times of trouble and loss.” The book itself could be the vault, but more likely each of its thirty-four images is a door into an infinitely larger, more complex collection. The photographs are accompanied by a single quote from a member of Crop Trust, the organization behind the Svalbard vault: “This vault is built for humanity to survive. It is like a holy place. Every time I come here I feel like I’m in a cathedral. This is a place to pause and to think.” Guided by this reverential tone, Robertson successfully weaves together the global and the intimate, seeds and memory.

Seed Vault, inside spread. Verso has a photo of a lamp above the word "HERE"; recto has a long-exposure photo a car's tail lights above the word "I."

The quote runs the entire length of the book, progressing essentially one word per page. This creates a powerful one-to-one relationship between the word and image on each page. Since the full quote is not readily apparent, the reader focuses on the text-image pair on each page and on the verso-recto relationship in each spread. Indeed, Robertson plays more with the possibilities of the spread as a space than as a sequence. Each page has the same composition – a vertical image inside white margins – which enhances the stability of the spread as a unit. Robertson deftly uses the formal elements of design in this arena. He contrasts warm and cool colors across the gutter. He compares textures, as in a spread with a tree bark verso and footprint recto. Illuminated by Robertson’s flash, the gold of a dead fern mirrors that of a faux-Corinthian capital. A shirt picks up on the pyramidal form of a bonfire.

The stability of each image pair would threaten the momentum of the book, but the unresolved text propels the reader forward. By setting the text entirely uppercase, Robertson further disconnects each word from its place within the sentence. The occasional period reminds the reader that they are reading a linear text and not just a cryptic caption below each image. The text and image have entirely different paces, creating an interesting temporal tension. As one reads, it is difficult to retain the unfolding meaning of the quote against the richness and sheer variety of the photographs.

Seed Vault, inside spread. Verso has a photo of an old car in a carport above the word "THIS"; recto has a photo of an open metal door in a graffitied brick building above the word "VAULT."

The images are Robertson’s personal photographs and outtakes from previous projects. They read convincingly like snapshots and memories without trying too hard to be gritty or authentic. They capture a broad albeit idiosyncratic slice of life. The effect is reminiscent of a B-roll montage in some documentary film meant to celebrate the endless variety of humankind – but not saccharine or preachy. In contrast to these busy, colorful images, the austere, blind-embossed cover centers the themes of memory and loss.

The images no doubt hold particular significance for the artist, but they have a relatable quality that allows the reader to join Robertson in his thought experiment. How might a photograph be regenerative? What moments would you keep in your vault? Is the photograph precious, or is it merely a way to enter a memory? And if so, how secure can we make our memories? The photographs are relatable not because they are generic, but because they are so specific. They exude the sense that they are important to someone, even if that person is not the reader. They seem to stand in for all the snapshots and memories that people turn to in times of turmoil.

Seed Vault, inside spread. Verso has a photo of a bright green palm frond against a red background above the word "LIKE"; recto has a close-up photo of water above the word "A."

Robertson plays up this emotional effect with a variety of approaches to the text-image pairs on each page. The first device is emphasizing key words: nouns laden with symbolic potential and active verbs like “think,” “feel” and “survive.” “Time” is paired with a kaleidoscopic self-portrait in a fractured reflection. “Place” accompanies an eerie scene with two empty chairs at a table, reflecting the red glow of a window. Other juxtapositions are more ironic: “survive” captions an image of a billboard advertising fireworks. A third category, perhaps the most interesting, takes a poetic, indirect approach – a candid portrait, the blown-out reflection of the moon on water, or brake lights from an invisible car trailing through a long exposure. These contemplative images are an elegant solution to the challenge of common, little words like “like” and “and.”

Seed Vault shows the power and possibilities of text in the book form. Text pulls the reader through the book, overcoming the static unity of each spread. It connects the personal with the existential, making the book as consequential as it is relatable. The quote creates stirring word-image relationships on each page and interesting pairs across the gutter in addition to the straightforward meaning it expresses. The text-image pairs work with and against the quote they belong to. In this way, a relatively simple book structure extends the four short sentences with an abundance of multiple meanings.

Seed Vault, inside spread. Verso has a close, candid photo of a woman above the word "FOR"; recto has a photo of blue glass fragments on concrete above the word "HUMANITY".

Of all the alternate readings and interpretations, a simple homonym may be the most important: Humanity. If the Svalbard Vault exists to preserve humanity in one sense of the word, then Seed Vault seeks to preserve the other. Robertson’s photographs remind us that empathy and understanding are never more important than in times like the present.

Attenti al Cane: Twentysix Dogs Found on Street View

Attenti al Cane: Twentysix Dogs Found on Street View
Lele Buonerba and Laurel Hauge
2019

Have a Nice Day Press
8.5 × 5.5 in.
36 pages
Binding: Single-section pamphlet
Laser inside and cover

Attenti al Cane, Front cover. Cover image is a photo of a dog laying in a doorway beneath the text "Attenti Al Cane twentysix dogs found on street view"

Despite the Ruscha-inflected title, Attenti al Cane has more in common with works by Mishka Henner and Penelope Umbrico. The subtitular twenty-six dogs are indeed found on Google Street View, situating this book within the growing body of art using found images from the internet. Buonerba and Hauge put their own twist on the genre with their collaborative approach and thoughtful layout decisions. The artists, from their respective computers on different continents, virtually walked the streets of Italy and collected the dogs they discovered. If flânerie characterized urban wandering at the dawn of photography, then Attenti al Cane represents a different walking tradition: la passeggiata. Buonerba and Hauge are out for a stroll, to see and be seen – or read, in this case. The artists are absent, but the reader is able to vicariously join their walk.

The book begins with an introductory statement, reflecting on how Google Street View helped bridge the distance between Buonerba and Hauge as they maintained their relationship from Milan and Brooklyn. Emphasizing the collaborative, performative aspect of the book is especially important since the process of trawling Street View for dogs might otherwise seem quite isolating compared to other studio practices. The book is as much about documenting this collaborative performance as the final product. After the foreword, the distorted snippets of street names embedded in the images are the only text.

Attenti al Cane, Spread 3. Composite images of a dog on a cobblestone street with Google Street View text .

The layouts of each spread are varied. In some, single images cross the gutter and bleed off all four edges. Others compose panels like a comic book or simply present single photos with white borders. This flexibility sets the book apart from projects that aggregate found images more instrumentally for conceptual effect. For Buonerba and Hauge, the found images are a generative constraint, a visual challenge to be solved by cropping, arranging and sequencing. Often, the resulting compositions (if not the resolution or focus) are strong even by conventional photographic standards. Nevertheless, the weird artifacts and distortions familiar to any Street View user are a prominent aspect of the book’s aesthetic.

Attenti al Cane, Spread 13. Street View image of a child walking two leashed dogs and carrying a plastic bag. The child's face is blurred.

The subject matter exerts a subtle, but powerful influence on the photographs’ form and content. With dogs come chair legs and people legs, footwear and shopping bags. The point of view is low. There are hardly any horizons. The book is an incidental inventory of paving materials and vernacular architecture. The experience is surprisingly unlike actually using Street View, in large part because the images focus on what is beside the street rather than down the middle. Furthermore, the reader isn’t privy to virtual walking that invisibly connects the images that were chosen for the book.

Attenti al Cane cleverly uses narrative, whereas many books of this sort make meaning through mere accumulation. In one such sequence, the reader watches a dog chase the Google car as it takes the photographs. Elsewhere, characters from earlier in the book reappear, complicating the book’s already-complex chronology. In what order did Google photograph these streets? And when? Does the book’s sequence follow the artists’ virtual walk or was it pieced together later? In this sense, the book does relate to Ruscha’s gas stations, which follow neither chronology nor geography. The reader is left to puzzle out these sorts of conceptual parameters – whether, for example, there are twenty-six images of dogs or twenty-six different dogs in some other number of images (I won’t spoil this for the reader).

Attenti al Cane, Spread 6. Verso and recto show sequential images of a dog chasing after the Google car from which the image was taken. Both photos are partly obscured by Street View text. overlays

Thankfully, the reader is left with bigger questions as well. Buonerba and Hauge interrogate how technology mediates our relationships, simultaneously alienating us and bringing us closer together. Considered alongside the ancient relationship between dogs and people, the newness of these technological anxieties is thrown into sharp relief. Yet, even our oldest companion has been changed by the internet, from the viral popularity of Corgis to an entirely new, meme-ready vocabulary of “doggos” and “puppers.” Attenti al Cane seems to say that nothing is too sacred, too fundamental to be changed by the internet.

Older aspects of the human-dog relationship remain interesting as well. Of the twenty-six dogs, some are leashed, some are behind fences and still others are free. There are purebreds and scruffy mutts. What the dogs have in common is that they are the only subjects with faces. Google has blurred out the features of their owners and passersby to protect peoples’ privacy. Ironically, by excluding dogs as subjects worthy of protection, Street View preserves their agency. Though some are indifferent, the dogs that return the camera’s gaze leave the reader with no doubt about their status as beings.

Attenti al Cane, Spread 16. A composite image of a dog resting in front of a door, tied to the door handle. On the recto, the dog stares directly at the viewer.

In fact, the uncanny affect of the dogs’ gaze is one of many ways that Attenti al Cane demonstrates the power of found photography. Buonerba and Hauge deftly shape compelling compositions from Street View, and show that artists’ books are an important access point for artists engaging with the proliferation of online images. The book operates through narrative and accumulation, creating meaning within each spread and between them. The artists maximize the individual image without losing sight of the sequence. This complex synthesis of disconnected locations and timelines is a fitting expression of their transatlantic relationship.

If you’d like a hard copy of this review, download this PDF to print and fold your own little book.

Attenti al Cane Printable Download

the THERE, THERE quarterly (Volume One, Issue One)

the THERE, THERE quarterly, Volume One, Issue One
Travis Shaffer
Featuring Zora J. Murff, Cian Oba-Smith, and Terrance Purdy
2019
theretherenow.
www.theretherenow.com

10 × 12.5 in.
18 sheets
Unbound, gathered in a belly band
Risograph

the THERE, THERE quarterly is a new photo publication from Travis Shaffer’s imprint, theretherenow. Volume One, Issue One establishes the format: work by three photographers is Risograph printed and gathered in loose sheets by a belly band that practically qualifies as a slipcase. It is published in a limited edition of one hundred copies. Drawing on photobook and portfolio traditions, the THERE, THERE quarterly argues for a re-evaluation of the status of the photo print and limited edition. Mediation supplants mimesis, challenging alike the photomechanical facticity of a darkroom print and the endless pursuit of higher resolution in digital photography. Shaffer makes his case through the publication’s structure, layout, and print production. Print production is especially important to this exploration, with the Risograph serving as a sort of lodestar – commercial and artistic, analog and digital, unique and multiple, not yet pigeonholed into a single art practice or academic discipline. In this interdisciplinary territory, the THERE, THERE quarterly poses exciting questions for photography.

The issue consists of seventeen prints with photos on the front and numbers on the back. The layout is such that the numbers aren’t needed to keep the prints in order, but they do let the reader match the images with their creator. Issue One features Zora J. Murff, Cian Oba-Smith, and Terrance Purdy. A bio of each artist is included on an eighteenth sheet with the image list and, on the reverse, a colophon and editorial statement from Shaffer. The belly band containing all this is boldly printed with the title, artists and ink colors (this text is fluorescent pink).

Though the prints are numbered, the photographs are laid out across two sheets each, challenging the status of the photographic print as a unit. Like any good artists’ book, the content and structure guide the reader toward a suitable approach – in this case viewing two prints side by side, with a discard pile off to the side. The reading experience is fresh but familiar, somewhere between a portfolio, a book, and a horizontal scrolling portfolio website. The images are split across each sheet differently, creating a set of unique and asymmetrical compositions. The result propels the reader forward since the next sheet must always be viewed in order to complete the image.

THERE THERE Quarterly, Issue 1, Inside spread 8

This amplifies both momentum and meaning, creating three relationships in each “spread” of two sheets. The central image, synthesized across the “gutter” of both sheets, relates to the image fragments on either side, which also relate to one another. This simple device provides a dynamism not available to a conventional portfolio with images viewed one at a time. It also requires that the sequence is considered temporally and spatially, like a bound book. The spread of sheets eight and nine illustrate the effect well: a man’s head, facing left, exits off the left while a horse’s head, looking the same direction, enters on the right. The interplay of these images frames the central scene: two figures in front of a brownstone seen from across a desolate intersection.

Like its structure, the publication’s print production exerts considerable influence on the meaning. Shaffer highlights the importance of Risography, placing the colors front and center on the belly band alongside the title and contributing artists’ names: “[R]isograph printed in metalic gold, black and fluorescent pink.” In the back matter, he writes: “The RISO is our campfire. Institutional by design but co-opted by artists. Absurdly analog method of digital printing. Subversively resisting the service to content inherent to the publishing paradigm.” Thus, the quarterly’s print production serves to further challenge and complexify the status of photography and the meaning of publishing.

In this case, the unusual color separation is particularly well-suited to the content. All three photographers deal with representations of blackness. Representing skin tones with metallic gold, black and fluorescent pink ink seems to speak to the constructedness of race through media, and the history of photographic processes erasing, or at least ignoring, marginal identities. Issue One strikes a good balance between the meta questions – the friction between Risography and photography – and the projects of each artist.

THERE THERE Quarterly, Issue 1, Inside spread

The artist bios stand in for an editorial statement, presenting broad lines of inquiry and leaving plenty of room for interpretation. Each artist is concerned with race and representation, but their individual approaches contribute something different to the quarterly. Zora J. Murff contributed photographs from his series At No Point In Between. His work examines the interrelationship between people and their environment, and this project looks at the lasting impact of redlining. He takes on the challenge of representing a catastrophe so slow people barely notice, a stark example of the aesthetic dimensions of politics. The images are melancholy, the tired boredom of a hot summer afternoon. His portraits are more expressionistic, intimate and closer cropped than Oba-Smith’s full bodies and sharp lines.

Cian Oba-Smith does share an interest in the relationship between people and their environment. His series Concrete Horsemen examines a subculture of black horsemen in urban Philadelphia. By delving deep into this little-known community, he challenges dominant narratives about black men in the US. His jarring juxtapositions show just how shallow are the monolithic racial identities rehearsed in media and political rhetoric. His compositions riff on art-historical equestrian poses, but include dilapidated buildings and telephone poles. Many images have a substantial depth of field to allow these incongruous urban background elements into the portrait. He emphasizes the dreamlike quality of these strange combinations with soft natural light, muted colors, and light exposures.

Oba-Smith takes a similar approach in Andover & Six Acres Estates, named for two housing complexes in London. In this case, he explicitly challenges a narrative of crime and poverty that has been constructed around a community. Yet, he does so with the same authentic curiosity, taking the time to immerse himself. Oba-Smith forges a connection with his subjects, and the images – candid, but never voyeuristic – benefit from this practice. The work presents an effective counter-narrative, but does so through open-minded observation.

Terrance Purdy takes a more active role in staging his subjects. He uses expressive lighting and a limited color range to construct moods and metaphors that distinguish the work from the more documentary modes of Murff and Oba-Smith. Skin and hair play a pivotal role in Purdy’s exploration of race and identity, and his visual style seems perfectly calculated to emphasize these elements. The influence of fashion photography is clear in his work, but he approaches fashion and consumption with a critical eye. While Murff and Oba-Smith seek to move beyond stereotypes, Purdy assaults them head on. One particularly arresting image shows the Christ-like figure of a young black man, crucified on a basketball hoop in a part. Purdy expertly draws the viewer’s eye to the point of highest contrast – the subject’s bright white shoes emblazoned with a black Nike swoosh. The image recalls Hank Willis Thomas’ works examining the commodification of black bodies in sport. However, Purdy rejects the stark, empty backgrounds of Thomas’ images and aligns his work with the rest of the quarterly by connecting the human subject to their environment.

This thematic through line is supported visually by the unifying effect of the Risography’s coarse halftone and limited color palette. The extent of this effect is easy to assess since the publication’s website features the same image sequence without the mediation of print production. The images are interwoven, with never more than two consecutive photos by the same artist. This integrates the various approaches taken by each photographer and contributes to the rhythm of the sequence. The combined work makes a powerful case for the role of the aesthetic in the politics of race and identity. Through their varying approaches to the broader context of social and economic factors, these three photographers show how artists can contribute meaningfully to conversations about race at this critical moment.

The tension between Shaffer’s vision and that of the photographers is productive and satisfying. There is enough content for the reader to encounter the images in their own right. The structure and print production eventually take a back seat, especially after the first reading. Nevertheless, the material object maintains a presence. Readers will likely look closely at the color separations, and reassembling the sheets with the belly band engages the reader in a way that stacking prints back into a portfolio or museum box doesn’t. As with any curatorial project, the success will be determined ultimately by the selection of photographers that benefit from a dialog with one another and with the material constraints of the print process. This first issue of the THERE, THERE quarterly sets a high bar.

Notes from Byzantium

Notes from Byzantium
Shelly Taylor and Eben Goff, ed. AB Gorham
2019
Black Rock Press
www.unr.edu/art/black-rock-press

7 × 9 × .25 in.
60 pages
Binding: Softcover codex with sewn signatures
Foil cover and HP Indigo inside

The combination of poetry by Shelly Taylor and art by Eben Goff is not an obvious choice, but then, the best books are often surprising. Both text and image benefit from this unlikely marriage in Notes from Byzantium, edited by AB Gorham of Black Rock Press. The two remain on their respective pages, integrated through juxtaposition and rhythm. Depending on the spread, text or image occupy either recto or verso or both. The unpredictable pattern influences the reader’s pace, though the effect only gradually becomes apparent. This dynamic reading experience, combined with the book’s size and materiality, make artists’ books a good framework for approaching the hybrid publication. Though the text is divided into discrete, titled poems, Notes from Byzantium is neither a typical poetry chapbook nor a fine press edition.

The book, as a physical object, is unusual. It feels simultaneously modest and luxurious in the reader’s hands. It is covered in a coral pink book cloth, which is folded over paper rather than board to create a pillowy, flexible codex. The text block is sewn in five slim signatures of three sheets each, so it lays flat with little resistance. Even the full-page images lose nothing in the gutter. The mechanics of the book afford it a sensuality that would be lacking had it been perfect bound or pamphlet-stitched. The relatively thick paper still drapes nicely as the page turns, thanks to the book’s nearly square proportion. Even the texture and opacity of the paper contribute to a deluxe feeling that is especially well suited to Goff’s photography.

The series of photos depict the artist’s own oil engravings in wax panels. However, they are not mere documentation or facsimile. As the book advances, the photographs progress from decontextualized close-ups of stratigraphic imagery to compositions that hint at the objects’ scale and materiality. The pieces appear as though thread was somehow embedded in marble. The restrained color palette and limited mark-making vocabulary heighten the impact of subtle changes. When the horizontal rows of filament give way to vertical columns, the relationship between text and image is radically reconfigured. Likewise, the switch back and forth between full-page photos-as-image and cropped photos-of-image repositions the reader in relation to the book’s themes of memory, time and place.

There is no literal, illustrative connection between the text and image. With their geological appearance, Goff’s images seem to speak to memory and environment. The oil engravings exude temporality and process – the slow deposit of sedimentary layers, or perhaps their erosion. This makes them ideal for reflecting on Taylor’s words, which are very much about place. Though her lexicon evokes the American South, and she references the desert southwest, each poem seems to transcend one region. They convey what it feels like to have a sense of place, where ever it may be rooted. Taylor establishes setting with only a few details, the way one might recall their childhood home. The reading experience is not unlike memory; what begin as grounded narratives accelerate into fragments of language. One gets the impression of Taylor’s hometown, but it’s glimpsed through the passenger window of a too-fast truck.

This momentum makes the pairing of text and image especially welcome. Once the poem begins, there is no place to pause. One must simply keep up with Taylor as she jumps between ideas until the theme emerges. “Every hinge gap apple please you,” for example, is a seventeen-line poem with a single period. The beautiful, intricate images provide an ideal place to reflect on the preceding poem. They are endlessly interpretable, receptive to the reader’s projections and associations. Both Goff and Taylor forge a pleasing gestalt from elements that are, upon closer examination, surprisingly rough. The tension between these fragments and the pieces they constitute remains compelling throughout the book.

Women are another important through line in the book – women and girls and the distance traveled between (in both directions, growing up and reminiscing). Taylor’s poems touch on the unspoken things women pass down, for better or worse, through the generations. It’s not that men, or more often boys, are absent. Rather, what is striking is how they are mediated through an intimate, intersubjective narration, a secret or a memory shared between sisters. Contributing to the momentum of Taylor’s writing, the women of Notes from Byzantium seem restless, in transition even as they shape the sense of place.

You moved all your stuff across town for love
hands in lap passenger seat shy shoulders
soot for later when the fires came through
we found new homes.

The speed, instability and fragmentation of the text all benefit from the book’s type treatment. With incredible economy, small changes in justification and word-spacing effectively alter the expression of each poem. A number of poems successfully use an unusual technique: the text is fully justified, with the word spacing selectively (not evenly) distributed throughout each line. Neither fully random, as with prose, nor predetermined as with verse, the line breaks and word spacing in poems like “Straight to the jawline bloody Igor” are the combined result of chance and choice. There is a resourcefulness, an ambivalence, in this approach that seems appropriate for the text. The impact of this design decision is demonstrated in contrast to poems that similarly use selective word spacing, but with a ragged right edge that leaves the line break to the poet’s discretion. Further variations, all with the same typeface, point size, and leading, show the power of typography. Even the titles benefit from the subtle handling.

Notes from Byzantium offers a nuanced presentation of challenging, rewarding text and imagery. In a digital world, it is fair to question whether a book warrants a printed existence. Notes from Byzantium will invite readers back again and again. The book’s engaging materiality and excellent print quality create the right reading experience for such potent content. That it achieves this elegance while celebrating the grounded, unfussy quality of Taylor and Goff’s work is an impressive achievement.