Guardare, raccontare, pensare conservare. Quattro percorsi del libro d’artista dagli anni ’60 ad oggi

This is a collection of seminal artists’ books examined through four different avenues–looking, telling, thinking, and collecting. The “Looking” section is devoted to books that are not intended to be read, and so the shapes, colors, and subjects–sensual, austere, abstract, or realist–mainly address sight. In the “Telling” section, we look at the different ways in which a book can tell a story–both in literary genres and in animated pictures. “Thinking” includes conceptual artists’ books, but is not confined to them: we also look at artists who use their books to criticize society, or imagine a different world. Lastly, “Collecting” illustrates the close affinity between the book and collecting, and shows how the artists’ book has been indispensable in preserving many works-as events. These sections are united by essays that examine the current position of artists’ books, as well as their genesis, and their future.

Text: Moeglin-Delcroix Anne, Rimmaudo Annalisa et al. cm 17×24; pp. 320; COL and BW; paperback. Publisher: Corradini editore, Mantova, 2004.

ISBN: 9788887942811| 8887942811

 70,00

ID: AM-9275

Product Description

This is a collection of seminal artists’ books examined through four different avenues–looking, telling, thinking, and collecting. The “Looking” section is devoted to books that are not intended to be read, and so the shapes, colors, and subjects–sensual, austere, abstract, or realist–mainly address sight. In the “Telling” section, we look at the different ways in which a book can tell a story–both in literary genres and in animated pictures. “Thinking” includes conceptual artists’ books, but is not confined to them: we also look at artists who use their books to criticize society, or imagine a different world. Lastly, “Collecting” illustrates the close affinity between the book and collecting, and shows how the artists’ book has been indispensable in preserving many works-as events. These sections are united by essays that examine the current position of artists’ books, as well as their genesis, and their future.

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