MOVABLE STATIONERY March 1995
Volume 3 Number 2
Special Issue: Artists' Books
This special issue is devoted to limited edition, artists' books. Each of the artists/columnists is a member of The Movable Book Society
Book Artist Carol Barton
production, I chose to sell two versions of the edition, one assembled and one unassembled with "instructions for assembly" obviously in keeping with the theme. -
I have been producing artists' books for the past twelve years. Most of my books are based on historical "novelty" or "mechanical" book formats. Two of my most recent books, Loom and Instructions for assembly, are good examples of the way I use traditional formats as the basis for a more sculptural approach to my work. Loom is a variation on the traditional "tunnel" or "peepshow" book which first appeared in the mid 1700's. Based on large-scale traveling peepshows, these books have pages which are joined by accordion-fold pleats on two sides and are viewed through a hold in the front cover. A layered dimensional scene is revealed within. 18th-century book makers produced these small-scale theater-like books to commemorate special events like the Queen's coronation, or as souvenirs of tourist attractions such as the Rhine Valley in Germany.
In Loom I have pushed this format to a new level by incorporating landscape scenes along the accordion binders and combining astronomical views with oriental rug patterns in the book's interior. The viewer is encouraged to look not just at the scene inside, but to view the piece from all sides as one would a sculpture.
Instructions for assembly is a pop-up book which plays on the notion of "how-to" books. The book itself was a challenge to design. Instead of using the traditional accordion format which is the basis for most pop-up volumes, I wanted to incorporate overlying pop-ups which would build one-over-the-other as the pages are turned. This required some inventive binding. Each section has four page spreads bound on two tyvek tabs pulled through slits in the pages and attached to the spine of the book. With this binding method I achieved the desired affect. The projects appear to "construct themselves" as the viewer turns through the book. Also, to avoid some labor-intensive work which is often the norm in pop-up book
The book allows me to combine my background in painting and photography with interests in sculptural forms, printing, and serial images. I own a Chandler and Price letterpress on which I can print and die-cut sculptural books, and I enjoy producing both one-of-akind books and larger editions. The experimental nature of the bookmaking process allows for the occurrence of many "happy accidents" and spontaneous moments of expressing in my work. The challenge is to pull these elements into one strong, unified statement. I am constantly learning ways to better achieve the desired result. There is another appealing aspect to artistbookmaking: the interesting community of people involved in it. Editions of artists' books are much more accessible than one-of-a-kind artworks. They reach and unite a large audience. Moreover, the process of bookmaking can require sizeable and expensive equipment such as presses, paper cutters, and photo facilities. This equipment is often shared and used communally. Thus. bookmaking is not an isolated activity. It frequently involves an exchange of ideas, tools, and skills. No wonder there seems to be more contact between book artists than between lone sculptors or painters working in separate studios.
My own inspiration comes from varied sources: reading. historical references. functional objects (furniture, jewelry and kinetic toys). architecture. and other artists' books. The book is a flexible framework for these influences. It is a very mtimate art form in which the viewer becomes actively involved. This opportunity for personal communication with others is the most enjoyable element for me in making books.
Carol Barton is a book artist residing in Glen Echo, Maryland.
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