THE BRITISH LIBRARY

English and Drama blog

21 posts categorized "Artists' books"

24 May 2018

Artists’ Books Now: Here and Now

Add comment

By Jerry Jenkins, Curator of Contemporary British Publications and Emerging Media. Artists’ Books Now is curated by Egidija Čiricaitė, Sophie Loss, Jeremy Jenkins and Richard Price. The next Artists’ Books Now evening will be held on 5th November at the British Library, with tickets available in the Autumn.

April saw the launch of Artists’ Books Now, a series of events to explore the artists’ book and its place in contemporary culture. The British Library has a significant collection of artists’ books and, in the nature of a national library, has not only many examples of its ‘brother’ and ‘sister’ forms – children’s books, poetry pamphlets, zines – it has centuries of examples of its ancestors (bestiaries, herbals, illuminated books, and so on).

 

IMG_5526.jpgcrop

From the outset the term ‘artists’ book’ seems to stimulate a range of questions and contradictions. Is it art or is it a book?  When is a book art, when a literary object, or a work of new information?  Can it be handled, thumbed through or should it be admired (even revered) from behind glass? 

In the first evening, entitled “Here and Now”, the aim was to bring the artists’ book and the audience closer to each other, leaving the glass case behind. Indeed a central goal was to introduce the artists and their books directly to the public, bringing the artists’ own works to a live audience. It seemed to the curators of the event that this was one of the best ways to demystify the artists’ book.

Beyond the theatre-style ‘proscenium’ presentation of traditional events, the first Artists’ Books Now placed the books and artists at the centre of the audience, seated on three sides around two central book tables. This inevitably lead to some Brechtian craning of necks and audience members balancing in on window sills in order to view the proceedings, but the atmosphere was quite unlike conventional events, and we think all the better for it. 

Following a welcome from the Head of Contemporary British Collections, Richard Price, who emphasised the continuities between artists’ books and other book forms held within the Library, the series host for the evening, producer of books and builder of publishing spaces Eleanor Vonne Brown, began introductions.

Artists- book-event (7 of 33)

Visual artist and graphic designer Danny Aldred speaks on contemporary practice in Artist’ Books.

First to be welcomed was the visual artist and graphic designer Danny Aldred whose talk offered a whistle-stop tour of creative practice in artists’ books, noting, for example, the rise of the distinctive productions of the risoprinter in the contemporary practice of making artists’ books. 

Eleanor then moved on to the first of the artists’ books tables, inviting us to share the work of maker of zines Holly Casio. Holly exhibited and discussed her passion for Bruce Springsteen with her series of zines, Me and Bruce Springsteen.

Artists- book-event (10 of 33)

 Eleanor Vonne Brown and Holly Casio

Under the surface of artists’ books there is a radical tornado of creativity, practice, vision, and rebellion, all of which feeds in to creating published works which many, including their makers, would not identify as artists’ books. The idea of Artists’ Books Now is not to worry too much about classification where there is clearly enough in common to share ideas and enthusiasm. Zines fully fit that bill: this was a presentation which reflected on class, sexuality, daughters and fathers, and of course, the Boss – all through the prism of the zine, with its own graphic traditions.

Artists- book-event (4 of 33)

Holly Casio’s zines Me and Bruce Springsteen &  Me and Bruce (and my Dad).]

Visual artist and performer Lydia Julien talked us through her largely autobiographical works including Super Hero Washing Line in her artists’ book table. In her conversation with Eleanor, Lydia explained her use of sequences to grow a narrative based on lived experience. Following Lydia and Holly the evening adjourned to allow the audience the opportunity to more closely examine their work and talk to the artists themselves, again a break from conventional events and deliberately designed to get people closer to books.

Artists- book-event (11 of 33)

Lydia Julien explaining her work  during her section

Following the interlude Eleanor was in discussion with Gustavo Grandal Montero, from the library of the Chelsea College of Art, as well as an authority on artists’ books and concrete poetry. The ranging discussion came back to focus on the work An Anecdoted Topography of Chance which Grandal Montero  highlighted, for him, as a central work in speaking about artists’ books.   

Artists- book-event (16 of 33) crop

Eleanor Vonne Brown in discussion with Gustavo Grandal Montero

 

First in the final set of artists’ tables which Vonne Brown introduced were the works of Amanda Crouch. Amanda’s works cut across media in her journey to research and reimagine the digestive systems. This is far more spectacular than such a description might indicate: as Amanda talked through her extraordinary works, she also held them up, with the scale of the unfurling of one particular concertina’d work surely astonishing the audience, watching frankly in awe and wonder.  

IMG_5552 crop Artists- book-event (25 of 33) crop
Amanda Crouch unfurls her work to Eleanor Vonne Brown and the audience

The final artists’ books table was that of artist and researcher John McDowall. John talked about making his work Atramentum (2012), a work which pools the inky contents (theoretically) of Robert Burton’s The Anatomy of Melancholy. Perhaps the result is a kind of dark almost overwhelming teardrop. For our event it was a fitting full stop, bringing the sessions neatly to an end.

IMG_5560 crop

John McDowall displays an opening from Atramentum during his segment

Not a complete end, however, just a pause: the next Artists’ Books Now evening will be on the 5th November at the British Library.

Images are reproduced with the kind permission of Lydia Julien and Sophie Loss

23 November 2017

Artist and Poet collaboration: Carolyn Trant and James Simpson

Add comment

A guest post by Carolyn Trant.

James and I met at Schumacher College, at a week-long event combining poetry and bookbinding workshops, and soon realised our creative inspiration came from similar sources. We enjoyed discussing our ideas from a position of intuitive understanding. This was quite special, enabling us to get down to the nitty-gritty and fine-tune our arguments without time-consuming explanations, to push ideas forward without tedious back-stories.

Since I was a small child I had always loved poetry but was forced to choose between writing and painting by the tenor of the times (art school in late 60’s/early 70’s); James also makes wood engravings and pots. We respect each other’s judgments and feel free to criticise constructively. Our discussions inspire us each in our own medium, passing images and words between us.

We see the books as parallel texts, word and image, which we develop in tandem; neither ‘illustrates’ the other and a book is gradually extruded, together with the physical processes of its’ making, like red white and blue striped toothpaste from a tube. For me the physicality of the finished book is a major consideration from the start.

As an artist I have always been inspired by words, music, storytelling and the natural world; gradually the Artists Book seemed the natural gesamtkunstwerk I had dreamed of as a child. Although single-minded in pursuing the vision of my books, collaboration urges one to push oneself even further, with the benefits, if one finds the right person, of moral support – creativity can also be a tough and lonely business. I do also continue to make my own personal books, sometimes using texts of my own.

  IMG_6438

My first book Gawain was inspired by Harrison Birtwistle’s music, the operatic production premiered at Covent Garden and the libretto by poet David Harsent – a fait accompli but very much chiming in with my own preoccupations of links between medieval and contemporary concerns. Similarly my book Winterreise used Schubert’s music and Wilhem Mueller’s words, in both English and German, plus my own text, all layered on top of each other with images underneath. I’ve also made a dual language edition of Llorca’s Sonnets of Dark Love with both texts and images cut in wood. Cutting texts by hand gives them a new dimension.

New Winter 12-1280x1024

  Lorca rosas sp text brighten-800

Working closely with a contemporary poet was an exciting step forward. To date James and I have made Hunting the Wren and Love Poems and Curses; The Untenanted Room – published by Agenda Editions and soon to be re-thought and hand-made as The Ruin; The Rhyme of the Reddleman’s Daughter (2015) and Some Light Remains (2017). Some of these books have also later been developed into more three dimensional forms, cut-out leporellos, peepshows etc.

Hunting Wren boxes 2  3 002-1280x1024

  URcoverBcream

29 october 2011 CR and UT 040-800

29 october 2011 CR and UT 002

For a poet, editions are regrettably small as they are very ‘hand-made’ but they find their way to important public collections here and abroad, where there is the potential to be looked read by a large number of people. We also show them at book fairs where many people come by to look, handle and often stand to read them. James also has the poems published in magazines such as the London Magazine, and Agenda, often with an image included. It all feels a worthwhile enough way to get them out into the world.

In terms of art practice, an Artists Book is for me like a little time capsule when deposited in a collection like the British Library. At the same time, when displayed, however briefly, or seen by a ‘reader’, it contrastingly becomes a transitory event – fugitive and volatile - and like a piece of land-art or a theatrical experience it can live on in the mind afterwards, with a variety of meanings for the possibly wider and more varied audience than the regular gallery-goer; a poetic event in itself which the text concentrates and refines even further.

I prefer this idea to the fixed image on a gallery wall. Book Fairs, with a democratic marketplace of tables and stands (and hopefully without curated interventions) leave room for varying kinds of interactions with the ‘the public’ by both poet and image maker, including informal conversations, talks and readings.

Innovation exists in the ways the art takes place whilst embracing longstanding methods of human communication - narrative and storytelling, aesthetic appreciation and emotional response; emotion being not merely a wash of sentiment but something that takes one from one place to another, whether comfortable or not, in a situation where the audience can talk back, critique, discuss. Working with another artist/poet places feedback at the centre of the creative process from the start, keeps one grounded and provides a sounding board at every stage.

 Any halfway attempt to reproduce our work digitally always leaves us dissatisfied. For Hunting the Wren we used silk-screened text printed by a local expert; many people thought it looked it like letterpress, which is hugely costly and time-consuming and although lovely, irrevocably linked to a historic aesthetic. Although meticulous within our parameters, we prefer to try to work fast, so that new ideas don’t go ‘off the boil’, and we can move on. I made a point of being trained by a wonderful ‘trade’ bookbinder when the need arose. Sometimes pragmatism is a virtue.

 Print runs, like the measure of the ‘acre’, are contingent on how many images for each page can be printed in a day. For Gawain I actually set myself the same task as in the story of the Green Knight, of finishing the whole project within a year and a day. The next impending important book fair often has some bearing on the case, or at least on how many hours sleep I allow myself.

  IMG_6064 crop

  IMG_6070 crop

Latterly, the use of magnesium line-blocks, made by a helpful company called Metallic Elephant, has opened up new possibilities for texts; they are tricky to handle on my etching press, which is what I use for the woodcuts, but any imperfections are part of the process – something I always love about medieval technologies which are often working right up to the edge of possibilities.

In other words materiality, ‘words made flesh’ as it were, seems exciting and important alongside the digital world, a sort of ‘slow bookmaking’ for a fast age, within which James and I can keep up the pace of excitement about further collaborations, and battle to get things done with heads full of ideas stretching into the future. The Ruin, with hand-cut texts, is to be finished for the Oxford Fine Press Book Fair in spring 2018.

 

Further information:

http://carolyntrant.co.uk/  

http://carolyntrantparvenu.blogspot.com

 

James Simpson

https://jamessimpsonactaeon.wordpress.com

 

 

09 June 2017

New Acquisition: Three Works by Natalie d’Arbeloff

Add comment

Jerry Jenkins, Curator of Contemporary British Published Collections writes:

Recently, I was transported far away from my open plan office, by the vivid work of the renowned book artist Natalie d’Arbeloff.

D’Arbeloff was born in Paris of Russo-French parentage. Since settling in London her career has spanned five decades during which she has worked as a painter, printmaker, book-artist, cartoonist and teacher.

Being a novice in the area of artist’s books it is was a great pleasure to meet the artist and to be introduced personally to Natalie’s work. Something extra is added to the interaction when it occurs in person. This was very evident in March when Natalie visited us in the British Library. During her visit she outlined some of the techniques in her printing processes that went into her work. As she presented her works to myself and fellow curators the books seemed to come alive. There was a growing air of excitement in the room.

NA3 For a Song opening -seven

Seventh of seven poems and etchings from  For a Song.

Everything about the work entitled For a Song intimates accessibility. The texture of the book and its size, being a compact sixteen and a half centimetres square nestles comfortably in your palms. The finely honed poetry all draws you closer and closer into this work. Often inner spaces are so firmly shut away for fear of having those delicate feelings trampled and crushed. Between the soft tactile boards of the full leather binding we are confronted with the raw courage, though gentle language of seven love poems.  These are accompanied by the soft flowing lines of etchings printed in intaglio and relief. The verse is set in juxtaposition with the technique. The text was engraved with a power tool on metal plates before being printed in relief.

NA 4 for a Song Cover

Full leather binding of For a Song with blind–embossed panels in a velvet–lined  box.NA2 enochtitle

The title page  of  The Creation from the Book of Enoch (Five and a Half Hours in Paradise)

Published in 1992, The Creation from the Book of Enoch (Five and a Half Hours in Paradise) (copy 9 of 12) consists of twenty loose double leaves printed black from sugar–lift and aquatint plates. This technique enhances the letter press giving it a commanding presence on the page drawing the eye into the starkness.

NA5 Enoch Adam and Eve

Double leaf from The Creation from  the Book of Enoch (five and a half  hours in Paradise)  the Garden of Eden. 

Fungus & Curmudgeonly, a title which I cannot say without a chuckle, excites me on a number of levels.  Pointedly a mix of media, the clear comparison for me is with works such as Heuristic Media’s app version of Shakespeare’s Tempest, where it is possible to follow the text while actors, including Sir Ian McKellen, perform the play.  This offers an aural immersion into the play along with the performance.

Fungus and Curmudgeonly is a play by Simon Meyerson illustrated by Natalie d'Arbeloff. It was first performed at the Edinburgh Fringe Festival in 1976 then following that in Stratford-upon-Avon at the Macbeth Room of the Shakespeare Hotel in 1977. Our copy is presented in a maroon cloth-covered double slipcase which incorporates the cassette with a recording of the play with Charles Turner reading the role of Fungus, ageing Shakespearian super-star, and Jack LeWhite as Curmudgeonly, his understudy. 

NA1 fungus-regular_ed

Fungus & Curmudgeonly with its maroon cloth-covered double slipcase incorporating the cassette.

The ingenuity of the slip case brings two mediums together in one object providing a practical yet pleasingly simple way to present the work.  

 These and other works of Natalie d’Arbeloff are accessible through Explore the British Library. The internet provides an additional rabbit hole of exploration of d’Arbeloff’s work through her comprehensive collection of web pages which explore many aspects of her work.  

Images are reproduced with the kind permission of  Natalie d’Arbeloff.

Bibliography

For a Song: General Reference Collection RF.2017.a.10

Fungus & Curmudgeonly General Reference Collection EMD.2017.b.8

 

17 February 2017

Ken Campbell: 4 poems

Add comment

Earlier this year, the British Library completed its collection of the published works of the British artist Ken Campbell, with his most recent work You All Know The Words (2016). The British Library is the only Library in UK to hold all the works. At the end of October, the Library held a celebration of the work of Ken Campbell. The texts of presentations from Cathy Courtney and Richard Price can be found on this blog. Reprinted here, with kind permission, are four poems by Ken Campbell.  

 

He is now so close Death

that is, to speak of him is crude,

as remarking on another in the room.

Blackness around the vision

marks the card; prelude

to black ink of songs flow

through windows and door fattening

cushions of dark fill the room

leaving only the space of the client.

 

Terror, Terror 1977

 

KC A Knife Romance

A Knife Romance (1988). Image used by kind permission of Ken Campbell

 

Widow’s Song

Is that you; chance being,

a fine thing; is that you.

The stair creaks, money kept

under carpet, particular tread

now not long dead; is that you.

 

Hovers in the glass of door

your needle, my thread; dog stares,

our garden’s grown too big

with pints of sweetened tea gone cold;

time to leave: is that you.

 

A Knife Romance, 1988

 

KC Fathers Romance

Father’s Garden (1989). Image used by kind permission of Ken Campbell

 

Father’s garden ran his ship:

no waves outraged his wailing walls:

no pitching keel beneath his feet

– nor claycrumb shift in his cold helm.

 

One vision, his, stood stack stock still:

his cargoes all the displaced knew,

& how they all could kill; thus twine

& baling; thus stolen, lying sleepers

 

stacked-in-law, & ordered buckets of fill

made fit. Garden ship shape never could

set sail: I so felt myself & missing went

overboard, awol. Breadcast. Fatherwater.

 

Round the chairdecks made windbreak

his hull horizon sat down stare for me:

a row of planted beanstakes breaking leaf

– our father’s juice flows everywhere.

 

Time water drowns all our fetch,

in reach of unsung dunes: - unless,

land-locked, life-tides work and move: so

ere it remembers you, remember home.

 

KC fathers Garden2

Father’s Garden (1989). Image used by kind permission of Ken Campbell

 

Unlaced in springtime

stepping beneath a golden monastery

a buck in a bush

leapt to his morning furrow.

 

Such a day brought such a boy

from golden morning hoof

to the hammered dead of the afternoon:

history rang on the boiler of his engine.

 

Father’s Garden, 1989

31 January 2017

A few ways through the window: welcoming Ken Campbell’s work to the British Library

Add comment

Richard Price, Head of Contemporary British Collections, reflects on the Library’s recent acquisition of Ken Campbell’s artist’s books.

KenCampbell1

Pantheon (2000). Image used by kind permission of Ken Campbell

I was first in touch with Ken Campbell at the end of the millennium. I can’t now remember the circumstances of our introduction but it was probably through the art librarian Stephen Bury when he was a colleague here, or via the artist Ronald King, who I had been recently working with in my semi-secret life as a poet.

I don’t think we’d actually met until 2004, when I went over to the east end to see Ken at his home, just beyond Brick Lane. We then visited a separate studio space, a short walk away.

Looking back, that morning seems altogether a perfect window into Ken Campbell’s artistry, its darknesses and its considerable areas of light. Impressions include the metallic traffic of Bethnal Green, particulates in the air – Ken’s books don’t dodge politics at the level of the industrialisation of the individual – the rich, argued-over layers of Brick Lane’s history. And then that crossing from the main road near Ken’s home into a vital backstreet. You stepped past pools of blood from halal meat, witnessing scuffed grey-silver shutters half-closed, half-open, all-hours business of some kind or another, openings and closings. Finally, as you walked, Ken was himself telling the stories of the poems and ideas and the making of his books.

That thick blood on the ground, moving at the speed of deliberation, and the strong working frames for those shutters– for a door, for a window the length of a building – these contrasting images, these sensations, rise to the surface of my mind when I think about Ken Campbell’s books.

Ken Campbell Firedogs

Firedogs (1991). Image used by kind permission of Ken Campbell

Kinds of argument and kinds of agreement - collision, scrap, conversation, conference, colloquium, tango – all kinds of interlocution are central to Ken Campbell’s books. He forces the hard components of printing to meet the soft ones, ink layered to a viscosity. Ken Campbell’s books are forensics in reverse, a crime scene de-enactment, with elegy and so love at their heart.

Another part of this is Campbell’s probing of limits. Erasure, superimposition, borders, a window / a black mirror / a printer’s forme / an enclosed garden; fire grate; the aperture of a camera, aperture of the eye; the case-hardened skull; the simple Pantheon, the complicated window frame. His work is always a tribute to, because a transgression of, defining restraints.

Ken Campbell Execution

EXECUTION (1990). Image used by kind permission of Ken Campbell

And these are very visceral books. At first they can seem austere, ‘pure’, but it soon dawns on the reader how hybrid and fluid – technically and thematically – they are, and of course how the books flow into each other.

For researchers and other pleasure-seekers at the British Library they will be the focus of hours and hours of immersion, of discussion, of I hope a kind of readerly joy.

They are perfect for us in so many ways. One is to do with their embodiment of an intensely self-reflexive book art – these are books which press a range of traditional printing methods up against modern ones, sometimes to destruction (warped zinc plates), but always physically, a material sub-text in each. Here are printerly zones where the physicality of letter press meets the surface sophistication of contemporary laser printing -- layering and replying to each other. In a way, centuries of book history are made metaphorical in Ken’s work.

Ken Campbell Dominion

Dominion (2002). Image used by kind permission of Ken Campbell

The voice of the prophet, of a driven messenger, a voice which I believe is strong in Ken’s poetry, is in one of the earliest traditions of the artist’s book – The Lindisfarne Gospels, Blake’s poems, are testament – and I stress testament – to an urgency of creativity within the English artist’s book tradition.

Ken’s big, sculptural books and their compelling texts are the sort of events in space that this muscular part of the tradition recognises, delicate though they also are, and of course the British Library is a very good place to ground yourself in the tap-root tradition of artist’s books in these islands.

Even so, I don’t want to limit Ken’s work to the artist’s book tradition, or even to book history. Artist’s books are seldom ‘just’ about art or books and that’s the same for Ken Campbell’s work. Look here for the resonances of an old old Sanskrit song of the horse, of a fire god, of Halley’s comet from tapestry to our contemporary times; of Rodchenko as creator and, under extreme duress, censor; of Gaelic psalms of exile; British military history, British shipping history, Judaica, black flag anarchy, Shiva, show trials and trick photography, native American narrative and moving personal testimony. Ken Campbell’s books brim with the riches and questions of culture, of civilisation. In so being they are a perfect addition to a Library whose mission is to be a question-mark resonator, to safeguard information and text-based creativity in the cause of thought-provocation and particular kinds of book-related pleasure, particular kinds of reflection and even joy.

by Richard Price, Head of Contemporary British Collections.

13 January 2017

A New Acquisition: Celebrating 50 years of the Graphic Studio Dublin

Add comment

Jerry Jenkins, Curator of Emerging Media, Contemporary British Published Collections writes:

In November 2016 I had the pleasure to attend “From Yeats to Heaney: Discovering 140 Years of Literature at the National Library of Ireland” hosted by Embassy of Ireland. After the introduction from the Cultural Attaché and opening remarks from Dr Sandra Collins, Director of the National Library of Ireland, the assembled guests were treated to insightful, often humorous talks on both William Butler Yeats and Seamus Heaney given by Katherine McSharry, NLI Head of Outreach and Professor Geraldine Higgins, NLI Heaney Exhibition Curator respectively. The lectures illustrated the measurable contribution to, and healthy involvement both men had with the National Library of Ireland.  It is worth noting that the archives of both Heaney and Yeats rest within its walls. 

The British Library has also been fishing in those culturally rich waters which are Dublin. Earlier this year the Library acquired a set of six Sponsors’ Portfolios from the Graphic Studio Dublin.

Between 1962-1979 Graphic Studio Dublin produced a collection of work entitled Sponsors' Portfolios, containing art and literature by writers and artists from Ireland and internationally. In conjunction with their 50th anniversary in 2010 the Graphics Studio re-launched the Sponsors’ Portfolios in 2010.

Each portfolio contains a work commissioned by an acclaimed contemporary Irish writer, and four visual artists. A list of contributors can be found on the  Graphic Studio Dublin's website.  These showcase the printmaker’s art and the skills which are employed in producing fine press items. Each year a limited edition of 75 imprints are produced.  The project will continue to produce folios until 2019 thereby capturing a snap shot of some of the finest work of contemporary Irish writers and artists over the decade. The formula of inviting artists and a writer to work together presents a fresh and vibrant perspective to the interception where visual arts and the written word meet.

GSDHeaney

Seamus Heaney, 'The Owl'. Translated from the Italian of Giovanni Pascoli. Letterpress. Used with the kind permission of the Graphic Studio Dublin

Poignantly Seamus Heaney contributed to the Sponsors’ Portfolio in 2013, in what turned out to be the year of his death. Entitled Translation, his subject was a translation from the Italian of Giovanni Pascoli poem “The Owl” or “L’assiolo” in the original. The acquisition of this late and rare Heaney work to the British Library is an important addition to the rich collection of Heaney’s writing the Library’s has garnered over the last forty years.  My colleague, Dr Richard Price has highlighted some of these in a previous post.

“The Owl” is accompanied by four prints: Pamela Leonard’s “For Sheer Joy ... Took Flight”, Liam Ó Broin’s “Death of Orpheus”, with Jane O’Malley’s “Still Life” and finally Robert Russell’s “Lost in Translation”. These works are beautifully illustrative of how the printmaker’s art can transfer the depth of emotion conveyed in the written word to colour and form of the artist’s reimagining.

GSDPLeonard

Pamela Leonard, 'For sheer joy... took flight'. Etching. Used with the kind permission of the Graphic Studio Dublin

 

GSDLOBroin

Liam Ó Broin, 'Death of Orpheus'. Lithograph. Used with the kind permission of the Graphic Studio Dublin

If there was any doubt about the truly individual nature these works, when measuring the individual portfolios for their protective phase boxing it was noted  that the was a slight  discrepancy  of millimetres between the size of each of the portfolios. A sure sign of a distinctive and hand crafted nature of these artist’s books.      

  GSDGOMalley

Jane O'Malley, 'Still Life, La Geria'. Carborundum. Used with the kind permission of the Graphic Studio Dublin

 

GSDRRussell

Robert Russell, 'Lost in Translation'. Etching. Used with the kind permission of the Graphic Studio Dublin.

To return to where I started, a thought-provoking question was raised at the “From Yeats to Heaney” event at the Embassy: who will inherit the mantle which seemed so mysteriously to pass from Yeats to Heaney in 1939, (the year of Yeats’s death and of Heaney’s birth)? Within the folios of the Sponsors’ Portfolio might be a good place to start looking for the answer to that question.  

In closing, I would urge readers to explore the rest of the series the British Library’s copies of the Sponsors’ Portfolio. 1/10-7/10 are orderable at pressmarks:

 

Ultramarine, Jean Bardon, Carmel Benson, Roddy Doyle, Kelvin Mann and Donald Teskey RHA., 2010, British Library Shelfmark: HS.74/2280;

Journey, Caroline Donohue, Theo Dorgan, Martin Gale, Stephen Lawlor and Louise Leonard, 2011, British Library Shelfmark: HS.74/2281;

Thoughts, Jennifer Lane, Seán McSweeney, Niall Naessens, Marta Wakula-Mac & Thomas Kinsella, 2012, British Library Shelfmark: HS.75/2282;

Translation, Pamela Leonard, Liam Ó Broin, Jane O'Malley, Robert Russell & Seamus Heaney, 2013, British Library Shelfmark: HS.74/2283;

Thief’s Journal, Yoko Akino, Diana Copperwhite, Ruth O'Donnell, Michael Timmins & John Banville, 2014, British Library Shelfmark: HS.74/2284;

Naming the stars, Colin Davidson, Niamh Flanagan, David Lunney, James McCreary and Jennifer Johnston, 2015, British Library Shelfmark: HS.74/2285;

Pax, Mary Lohan, Tom Phelan, Grainne Cuffe, Sharon Lee and Paula Meehan, 2016, British Library Shelfmark HS.74/2286.

Furthermore, The National Library of Ireland, Trinity College Dublin and Queens University Belfast have also acquired sets of the Sponsors’ Portfolio series.     

07 December 2016

Cathy Courtney talks about Ken Campbell at the British Library

Add comment

Earlier this year, the British Library completed its collection of the published works of the British artist Ken Campbell, with his most recent work You All Know The Words (2016). The British Library is the only Library in UK to hold all the works. At the end of October, the Library held a celebration of the work of Ken Campbell. Reprinted here is the text from Cathy Courtney’s introduction to the evening.

KenCampbell

You All Know The Words (2016). Image used by kind permission of Ken Campbell

I speak as one of the first beneficiaries of the British Library’s decision to augment its collection of Ken’s books, and was lucky enough to spend some time with a selection of them last week in preparation for tonight, and to re-encounter works I hadn’t seen for at least a decade as well as to meet more recent books for the first time.   I’m not a member of the British Library staff so I feel I can also pay tribute to the curators here for their commitment to Ken’s collection and their sensitive and excited response to it.

Beginning in 1983 I wrote a column on Artists’ Books for Jack Wendler and Peter Townsend’s magazine, Art Monthly, and it was Peter who led to my meeting Ken. The world of artists’ books is a hotly disputed one, full of splits and factions about what does and does not count as an artists’ book. At one extreme are the de luxe livres d’artistes, limited editions usually printed on fine paper, often images supporting texts and the two separated on different pages with masses of white space on the deckle edged sheet. At the other extreme are the much cheaper multiples, making use of new technology, often deliberately cocking a snook at the livres d’artistes, rejecting high spec values, usually costing little and often given away. In Britain, at least, the supporters of one school were always anxious to knock down the supporters of the other.

There were ten issues of Art Monthly a year, not much space therefore to cover the field, and I was determined to use the column for a broad range of work. The years writing for Art Monthly were ones in which I was heavily pursued by the book artists, not least by belligerent phone calls before 8 o’clock in the morning from Ken and from another artist who used to ring me at 11 pm and talk for an hour minimum. It’s not unconnected to this that I bought my first telephone answering machine.

Ken Campbell’s books are an outstanding achievement and his is one of the strongest voices we have in the field. His works are a compelling amalgam of erudition and violence, raw pain and refinement, anger and joy. In many ways he has created a place in the spectrum between livres d’artistes and multiples that is his ground alone.  

His books are remarkable for a number of reasons and I have only time to refer to a few.   One aspect is his professionalism. Ken trained as a printer and is rare in having come to make books with a deep intellectual and hands-on knowledge of the materials and how to control them. Skilled in how to manipulate the letterpress perfectly, nevertheless he chose instead to instigate a fierce and warlike dance with the process, courting accident and breakage, and this vitality is wonderfully captured in the results. You can feel the energy burning off the pages. The massive scale and solemnity of some of the works makes this even more of an accomplishment. Whilst there has been plenty of prior planning, many of his decisions were made in the heat of action on the printing bed and with relish at the semi-accidental richness thereby achieved.   He’s a risk taker backed by proficiency, too restless a soul to take the safer route.  

Knife15 copy

A Knife Romance (1988). Image used by kind permission of Ken Campbell

He’s also an ad-libber with a learned tongue. Although some of the works are collaborations, another characteristic not shared by many other book artists is Ken’s repeated taking responsibility for both text and image, these two elements being distilled into a single entity, the content inseparable from the form.   His texts are an extraordinary synthesis of the personal and the learnt, the historical and the now. When he quotes from religious or historical texts he does so as if these are deeply felt, avoiding the tripwire of bathos, which is no easy feat. He is a poet with a natural and muscular brimming over of language from which to edit. Anger at injustice is a theme which runs through several of the texts, whether political in the wider sense or closer to home, and his engagement, conflict with and love of his family – his parents, his wife and daughters – bleeds into the works without veering into sentimentality.

Wearing another hat, I am speaking as Project Director for an oral history project, Artists’ Lives which National Life Stories, an independent charity based here at the British Library, runs with Tate.   Ken was recorded for Artists’ Lives in 2005 and his recording will go online shortly.   As with most National Life Stories recordings, it’s an in-depth life story, made over several sessions, covering biographical material as well as professional experience.   It was a perfect platform for Ken, and draws together the elements of his personal life which consume him alongside much detail about his work and how it has been made, and will be very useful for anyone wanting to know more about how the books in the British Library’s and about his sculpture and painting.

National Life Stories has to raise funds for all its recordings. Ken’s was supported by Yale Center for British Art, and I would like to include a message from Elisabeth Fairman, Chief Curator of Rare Books and Manuscripts at the Center. She emailed me to say

“how pleased the Center is to also have a complete collection of Ken’s work, someone whom we consider one of the greatest book artists of his time”.

       ******************************

Following on from the event in October, many of the Artists’ Lives recordings have now been made available on the British Library’s website. These can be heard at http://sounds.bl.uk/Arts-literature-and-performance/Art 

 

15 June 2016

P is for Printess: New Acquisition

Add comment

 IMG_1570(a)

Christine Tacq’s latest artist’s book Printess & the p is a reimagining of the timeless Hans Christian Andersen fairy tale about a young woman who proves her nobility to her suitor prince, by detecting a pea through twenty feather mattresses. Only a princess would be so sensitive to be awakened by a pea. In this version, it is a woman printer, or ‘printess’, who is the person of discernment.

IMG_1594

The first thing that is striking about Tacq’s latest work is the interspersed monotone plates sit in sharp contrast to the vibrant rich imagery of the colour spreads illustrating the narrative. This contrast is beautifully underpinned by using different paper. The colour reliefs are printed on Zerkall paper, while, intaglio collagraphs are on Fabriano paper. By cleverly changing the medium it reinforces the initial contrast at the physical as well as on a visual level.

IMG_1574

The theme of contrast extends to the depictions. The seven richly coloured double-page spreads juxtaposed with the far more vulnerable black and white which offers an intimate glimpse into an inner darker world. Some of these prints spill out from the confines of the frame with hard edged intaglio  printing as if attempting to burst out from the page and ape the freedom a vibrancy depicted in the colour plates.   

IMG_1575

Tacq’s skill as a book artist are illustrated in the way this volume unravels and draws in a complex range of themes and concepts, techniques; - and then presents them in such an appealing way. Her use of Optima for the text balances with the rich relief collagraphs

The Printess &the p was published in July 2014, it is a first edition of twenty five copies. The volume was printed by p’s &q’s Press, Thame in Oxfordshire and bound at the Fine Book Bindery.  

The covers are bound in hand-printed linen designed with relief-blocks and comes in a linen slipcase.

IMG_1573

The images are created using the collagraphy technique in which the plate is constructed of adhered elements and inked with a roller or brush to produce in both relief and intaglio, and an embossed impression can be obtained by printing the plate dry without inking.

IMG_1576

The way the imagery and the narrative intertwine to create this volume weighted with powerful subtexts which engage with concepts of feminism and identity. In some respects it offers a self-portrait of a printer.  

On returning the volume to its slipcase one evening after working with it I noticed a small piece of paper squashed in to the back of the slip case. On retrieving and unfolding it, it read:

“18 Excellent Copy, British Library? Excellent”

Because of the way the creases appear it was possibly placed on the spine as part of the quality assurance process. Nevertheless, to come across such a note adds to an authenticity of the artistic process and speaks to the huge range of skills and processes it takes to create a tome of such outstanding quality.

 

The Library’s copy of the Printess &the p will be accessible at British Library shelfmark RF.2016.b.35. in the near future.

Images reproduced with the kind permission of Christine Tacq.

Blog by Jerry Jenkins, Curator, Emerging Media, Contemporary British Published Collections