Scope and Contents

This catalogue defines, describes and illustrates, in an experiment graphic designed layout, mass produced editions of artists' books from the 1970's to the 1990's. This book is complementary to Johanna Drucker's book, "The Century of Artists' Books that dealt with unique and small editioned books. In an in-depth essay, Clive Phillpot analyzes the entire spectrum, including magazines, assemblings, manifestos, visual poetry, scores, documentation, sketchbooks, albums, graphic works, comic books, illustrated books, page art, mail art and bookworks. Martha Wilson is interviewed by Thomas Padon about the Franklin Furnace Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The event that was documented by this catalogue was organized by Ric Gadella and Florence Loewy. The catalogue included an annotated listing of the illustrated books by Henri Matisse and offerings by commercial art galleries and bookshops. Clive Phillpot wrote "Booktrek: The Next Frontier," in which he described the influence of the paperback book on artists books. May Castleberry provided an historic essay on children's books by American artists and mentioned Man Ray, Andy Warhol, and Faith Ringgold. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was curated by Martin Attwood. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Clive Phillpot contributed an essay, "Reading Artists' Books," in which he wrote that "Visual artists have explored and exploited the nature and structure of the book. both in former times and with renewed vigor more recently, with the result that the book has come to be appreciated widely as an extremely fruitful and subtle multidimensional means for the transmission of human experience. In addition, artists have come to demand of their readers that they develop their ability to utilize various forms of reading, whether retinal or tactile, whether linear, peripheral, oscillatory, or random, in order to be able to engage fully with the content embedded in each book." Books by Carothers, Ligorano, and Mabe were lent to this exhibition by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Review of Artists Books Conference in Boston, 1985. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Review of Artists Books Conference in Boston, 1985. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Phillpot mentions that he was initially dismissive of unique artist books because he was an advocate of mass produced books when he took a position as chief librarian at MOMA in NYC. But after living in the United States, he accepted them since he realizized that they were still books done by artists.In the Acknowledgement section at the end of this book, Phillpot lists Marvin Sackner among the people "who have invited me, assisted me, and encouraged me into print, with regard to artists' books." artbook.com: "Clive Phillpot has been a tireless advocate for the artist's book for more than 40 years"‰--"‰both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library's collection of artist's books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d'artiste. As he has delineated the genre: "Artists'...

Scope and Contents

Exhibition was curated by Norman Colp and sponsored by the Center For Book Arts. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Clive Phillpot asked 23 collectors of artist books in addition to himself to select mass produced, inexpensive artist books from 1950 onward to the present for this exhibition. He also asked each to write an essay explaining his choices. Each of the collectors is listed under contributors. Books by Dieter Roth, Tom Phillips and Ulises Carrion were the most popular cited by the collectors. Sackner's essay follows. When I received the request from Clive Phillpot to provide a list of artists' books - inexpensive books authored by artists that utilize mass-production printing technology - with examples from 1950 to date, I thought that the task would be simple. I would search my database under the classification Artist Book and be finished in a few hours. Here I am one week later writing the essay on the artists' books that I selected from our collection. This is because our database has a single entry for Artist Books that includes one of a kind to press runs of thousands. I had no...

Scope and Contents Clive Phillpot asked 23 collectors of artist books in addition to himself to select mass produced, inexpensive artists' books from 1950 onward to the present for this exhibition. He also asked each to write an essay explaining his choices. Each of the collectors is listed under contributors. Books by Dieter Roth, Tom Phillips and Ulises Carrion were the most popular cited by the collectors. Sackner's essay follows. When I received the request from Clive Phillpot to provide a list of artists' books - inexpensive books authored by artists that utilize mass-production printing technology - with examples from 1950 to date, I thought that the task would be simple. I would search my database under the classification Artist Book and be finished in a few hours. Here I am one week later writing the essay on the artists' books that I selected from our collection. This is because our database has a single entry for artists' books that includes one of a kind to press runs of thousands. I had...

Scope and Contents

This catalog is concerned with the various forms book of the future. The constantly changing exhibition will travel until 2000, including an opening at the Miami Book Fair in 1995. Kim MacQueen contributes an essay which examines the format of the book from manuscript to CD-ROM in the exhibition. -- Source of annotation: Marvin or Ruth Sackner.