THE BRITISH LIBRARY

English and Drama blog

66 posts categorized "Contemporary Britain"

11 January 2019

Harold Pinter: A Line, A Word, An Image

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Today we launch a Harold Pinter retrospective in our Second Floor Gallery as part of the wider anniversary season of events marking ten years since his death. Focusing on Pinter’s creative process, this free display of manuscript reproductions from his Archive offers glimpses of some of his most famous plays at various stages in their development.

Antonia Fraser and The Pres and an Officer
Antonia Fraser and 'The Pres and an Officer', the Pinter sketch about a trigger-happy US president which she discovered in 2017. ‘The Pres and an Officer’ is © Fraser52 Limited.

In his Nobel Prize speech of 2005 Pinter noted that ‘most of the plays are engendered by a line, a word, or an image’. It was usually, in fact, a word or phrase – ‘What have you done with the scissors?’ in the case of The Homecoming - that was the starting point, closely followed by an image, typically of a configuration of characters in a room. Inspiration having struck, Pinter would put pen to paper in pursuit of the fleeting figures, working out who they were through the circuitous evasions and revelations of quotidian dialogue though always resisting too deep a probe into their backstories. These adventures on paper are what is on show in this new display.

Seeing Pinter’s large, energetic handwriting filling the pages of his yellow legal pads transports us back to the moment of creation. There are intriguing false starts and changes of mind in evidence, such as a deliberation over where to set the opening scene of Betrayal (a tea shop, flat or a pub) and a diagram suggesting a third presence in the enigmatic two-hander Landscape. The naming of characters (always a secondary act for Pinter) is revealed on the page as initially anonymous As and Bs are christened in later annotations. And there are, of course, many pauses peppering the manuscript pages, always denoted by a lower case ‘p’. According to Pinter in his 1962 speech to the National Student Drama Festival it was in these silences that his characters became most evident to him.

Taking the structure of Pinter’s great play Betrayal as a model, the display offers a selective reverse chronology of Pinter’s playwriting career, taking in the last lines of his final stage play Celebration (written in 1999) as well as early prose pieces that influenced his theatre writing. For those who’ve seen any of the ongoing Pinter at the Pinter season by the Jamie Lloyd Company there are numerous resonances with our selections: we have reproduced the notecard on which Pinter scribbled the threatening lines from One For The Road, performed so memorably by Anthony Sher in the recent 'Pinter One', as well as a number of other drafts which will be familiar to fans of the season. My favourite inclusions, though, are perhaps the early prose pieces which contain the seeds of Pinter’s playwriting career. The pieces in question are a 1955 short story called ‘The Examination’ in which the menacing figure ‘Kullus’ can be seen as a prototype of the threatening interlopers of later plays, and a first draft of Pinter’s biographical novel of competitive male friendship The Dwarfs begun in 1952. Both offer crucial clues to the dramatist that Pinter became and both deserve to be better known.

Although it has been ten years since Pinter’s death on Christmas Eve 2008, his plays continue to speak to us about today’s world, sometimes in astonishingly prescient ways. Pictured above is Antonia Fraser who came to the Library this week for a preview of the exhibition. She stands alongside a dramatic sketch she discovered in 2017 when turning the page of one of Pinter’s old legal pads kept by the phone for messages. There to her astonishment was ‘The Pres and an Officer’, a short piece in which a trigger-happy President of the United States is eager to ‘nuke London’. Donald Trump was entirely unknown to Pinter, but now we know what Pinter would have made of him, so to speak. It seemed fitting to include ‘The Pres’ in our display as a ‘first last look’ (to quote Samuel Beckett’s words about Betrayal) among the other drafts and photographs now on show.

Harold Pinter: A Line, A Word, An Image is on display in the British Library Second Floor Gallery until 17 March 2019.

Join Antonia Fraser and Michael Billington in conversation for Remembering Harold Pinter on Monday 4 March 2019.

04 January 2019

The Sun-Artist, the Typewriter and Bridge of the Ford

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A guest blog by Susan Connolly, whose poetry pamphlet, The Sun-Artist, was published by Shearsman Books in 2013, and was shortlisted for the Michael Marks Awards for Poetry Pamphlets. The Sun-Artist will be on display in the Treasures Gallery until the end of February as part of an exhibition which celebrates the 10 year anniversary of the Michael Marks Awards.

Sunlight, a big window, ruler, pencil, compass and tracing paper were the tools I used to write my first visual poems on sheets of white A4 paper – cutting and pasting, not on the computer, but with scissors and Prittstick. Written in 2005, these were freehand word-drawings of poems called ‘Mirrors’, ‘Many Selves’ and ‘Like Leaves on a Tree’.

Some of these early visual poems were published in Shearsman magazine in 2008. In early 2009 Shearsman Books published Forest Music, my second full-length collection of poetry. The collection is in two sections: Forest Music and Walking the Seawall. Walking the Seawall contains twenty-three visual poems.

In October 2009 a friend showed me the Olympia portable typewriter which she had bought in a charity shop. I looked at this object and a whole range of possibilities opened up in my mind. I borrowed her typewriter and set to work. The first poem I typed was ‘The Sun-Artist’. It required a huge amount of concentration not to make a mistake and have to start all over again. Later I copiedThe Sun-Artist’ onto my computer.

The idea for this poem came from a visit to the Cross of Muiredach in Monasterboice, near Drogheda, one July evening in 2009. This is an elaborately carved High Cross made of sandstone, dating to the 10th century. Its sides are covered with panels of interlace reminiscent of the Book of Kells. The interlace usually looks faded, but the way the sun shone on it that evening made it look new again. I wanted to depict this interlace in a poem. I wrote the line ‘deepshadowed sunset renews fading patterns’. Then I used these words re-creating how the interlace appeared,  renewed by the evening sun.  

My poetry moved increasingly from word-drawings to poetry which could be made on the typewriter and copied from there to computer. The best font for my work is Courier New, a font which gives equal space to each letter of the alphabet, just like the typewriter. I also realised that there were other possibilities on the computer: changing the size of the letters, line spacing, colour. Nowadays I use only the computer. However, my visual poems have been greatly influenced by my earlier engagement with the typewriter.               

In 2013 Tony Frazer of Shearsman Books asked me if I had enough visual poems for a chapbook. I had and so I concentrated on gathering individual poems into a collection. The Sun-Artist was the title I gave to the chapbook. Several poems had already been published in poetry journals, which was great, but sometimes they were printed too small so that the reader could barely see the letters. The chapbook was my chance to put things right, to have the poems on the page exactly as I wanted them. I made a mock-up of the book and went in search of the right order for the eighteen poems I had chosen.

The manuscript became proofs which were emailed back and forth until everything had settled into place. The cover image is from a poem which was originally in red and black. About six weeks later the first copies of The Sun-Artist arrived in the post. It was an incredible feeling to turn the pages of this very slim book and read the poems again.

 

Susan Connoly Blog

 

Cover page of The Sun-Artist.

With thanks to Susan Connolly for permission to use this image.

The Sun-Artist eventually led to the publication in 2016 of a full-length collection of visual poetry; eighty pages complete with introduction and notes. The main dilemma for me when approaching my third collection was whether it should contain visual poetry only or whether it should also include lyric poems many of which had been published in poetry journals. In the end I decided that Bridge of the Ford would consist entirely of visual poetry.

Bridge of the Ford has thirty-three visual poems. The book is in a larger than usual format to give the poems plenty of space. There are two sections: Bridge of the Ford and The Dream-Clock. The poems in the first part are arranged so that the reader can imagine drifting down the river Boyne in a boat, past the Neolithic tumulus of Dowth, past the mediaeval town of Drogheda (Droichead Átha / bridge of the ford) and out towards the sea. These sites are in my blood as I grew up and still live in this area.

And what happened to those lyric poems? Shearsman Books published them separately in a chapbook called The Orchard Keeper in 2017.

15 December 2018

Michael Marks Awards for Poetry Pamphlets Announce 2018 Winners

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By Imogen Durant, PhD Placement Student working on the library’s contemporary British poetry pamphlets and artists’ books.

On Tuesday 11th December the British Library hosted the 10th Awards Ceremony of the Michael Marks Awards.


Luke Thompson of Guillemot Press won the Michael Marks Publishers Award. Andrew Forster, who introduced the award, highlighted the meticulous craftsmanship and innovate design of Guillemot’s publications, which particularly impressed the judges.

 

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Luke Thompson giving his acceptance speech for the Publisher’s Award


Thompson highlighted the multisensory nature of the pamphlets that he produces when he explained that in addition to the unique look and rich texture, several of his pamphlets also have a distinctive smell, as their covers are made from the spent grain from a brewery.

Of And small  O at the Edge small
Of And, by Keith Waldrop, and O. At the Edge of the Gorge, by Martyn Crucefix, both published by Luke Thompson at Guillemot Press

PR won the illustration award for her artwork in Zi-Zi Taah Taah Taah: The Song of the Willow Tit, published by Wild West Press, with poems by Steve Ely. The illustration award was introduced and presented by Sir Nicholas Penny, who gave a convincing imitation of a willow tit when announcing the pamphlet’s title.

Carol Rumens won the Poetry Award for her pamphlet Bezdelki, published by The Emma Press. The poetry award was introduced by Sasha Dugdale, one of this year’s judges.
 

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Carol Rumens giving her acceptance speech for the Poetry Award

Bezdelki contains a series of elegies for Rumens’ late partner, Yuri Drobyshev. Rumens said that the pamphlet provided her with means of remembering Yuri, and allowed her to explore her own identity after his death.


In a poem entitled ‘Vidua’ (on p. 19), she says:

I wasn’t a bride
I wasn’t a wife.
I’m not a widow.

Rumens explained that the size of the pamphlet form provided a vehicle for her to capture the ‘Bezdelki’, or ‘small things’, such as a hat and an overcoat, which appear in these poems. Dugdale highlighted the strength of Rumens’ imagination and the breadth of the allusions in her poems, which Rumens demonstrates in this pamphlet by including poems inspired by Osip Mandelstam and one which is narrated in the voice of the Nubian Pharaoh Taharqa.
 

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Bezdelki by Carol Rumens

The awards were presented by Lady Marks, who gave a warm personal introduction to the evening. She outlined the Michael Marks Charitable Trust’s aims of preserving art and the environment in the UK, and emphasized her belief in the poetry pamphlet as being vital form in the creative force of the country. Lady Marks also began the evening’s readings with some sonnets by her late husband, Lord Marks of Broughton, the founder of the Michael Marks Charitable Trust. 
Congratulations to Luke Thompson, Carol Rumens and PR, and to all of those shortlisted for the 10th Michael Marks Awards.

10 December 2018

‘Some little language of their own’: English and Scottish dialects, and the desire for a private language

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by Rahul Bery, Translator in Residence at the British Library for 2018-19. The British Library’s Translator in Residence scheme, supported by the Arts and Humanities Research Council (AHRC), offers a translator the opportunity to become part of the British Library’s multilingual community of staff, readers and visitors for one year.

Earlier this year, I found myself vigorously agreeing with a Guardian Long Read article which effectively argued that the English language was not so much a liberating lingua franca as a highly successful virus, an invasive species; the linguistic equivalent of a grey squirrel or cane toad. Around the same time, I was reading Olga Tocarczuk’s Booker-winning Flights, and reacted even more strongly to this passage:

“There are countries out there where people speak English…It’s hard to imagine, but English is their real language. Oftentimes, their only language…How lost they must feel in the world, where all instructions…all the menus, all the excruciating pamphlets and brochures ­– even the buttons in the lift! – are in their private language. They may be understood by anyone at any moment, whenever they open their mouths. They must have to write things down in special codes. Wherever they are, people have unlimited access to them…I heard there are plans in the works to get them some little language of their own…so that for once they can have something just for themselves.”

This is something I’d been feeling for a while, but I’d never seen it expressed so clearly before.  It encompassed so many of my frustrations: the experience (probably shared by many first language English speakers who speak another language) of being spoken back to in English when abroad, even when you’ve clearly demonstrated your competency or fluency; having to convince writers whose work you’re translating that, however good their English is, your choice of words *is* the best one; even my occasional sense of doubt that literary translation into English is something I should be doing. After all, does the world really need more English?

And yet, I’ve spent the vast majority of life in the UK, speaking English. I love the way the language looks and sounds, its idiosyncrasies, the way it sounds in Cardiff, Derbyshire, Birmingham, not to mention the wider Anglophone world. Given its status as an international language, as Tocarczuk suggests, it is easy to forget that English is just another West Germanic language, and the (only) private language of hundreds of millions of people. As translator-in-residence here at the BL, I’m interested in exploring not only linguistic diversity in general, but diversity within languages, especially as spoken in different areas of modern Britain. Additionally, my selfish desire to have a truly private language has got me wondering about forms of English that cannot be easily understood by non-natives, or even other English speakers.

So I was delighted to read first line in Liz Berry’s poem ‘Birmingham Roller’, written in Black Country dialect - ‘Wench, yorwm the colour of ower town’ – or a line in another of her poems simply listing words: ‘bibble, fettle, tay, wum’. I had a similar feeling looking at the first line of Hugh McDiarmid’s Braid Scots epic A drunk man looks at the thistle: ‘I amna fou' sae muckle as tired - deid dune.’

 

Bery Translation Blog Photo

Before I start getting complaints, I’m aware that Scots is not so much a version of English as a sister West Germanic language, which evolved alongside, rather than from, its southern neighbour. All the same, it comes as a relief to know that there are utterances that look and sound like English, but which the Polish narrator of Flights—with their privileged access into the private lives of hundreds of millions of Anglophones—would struggle to comprehend. In fact, many native speakers may struggle to comprehend them; think of initial reactions to Trainspotting or the Gallagher brothers having to be subtitled on US TV. The BL’s Head of Contemporary British Collections and Scottish Poet, Richard Price, recommended another great example of this kind of writing to me. Ian Hamilton Finlay’s Glasgow Beasts an a Burd, as well as being a beautiful artefact, with papercut images by John Picking and Pete McGinn (due to its small print run I also had to make my first trip into the Rare Books Reading Room to see it), is a gloriously irreverent journey written in a tongue that is certainly not the international language of airports and lift instructions. It documents the poet’s transmogrification into various animal forms, all the while retaining a strong grasp of Glaswegian:

syne

ah wis a midgie

neist a stank

foon that kin o

thankless

I love not only the sounds, but also the spellings he uses, like ‘Didjye’, which could be Somali word, or ‘hail simmer’, which could be so many things (in this instance, it’s ‘whole summer’).

English has become dominant partly due to its incredible ability to evolve over time, and absorb the syntax and vocabulary of the languages it supplants, from Welsh to Urdu. Maybe those of us who wish to regain some sense of ‘privacy’ in our speech will have to harness this power and create new Englishes, at least until some other language replaces it on the international stage, and we can go back to merely being speakers of an obscure West Germanic tongue.

30 November 2018

Judges Announce Shortlist for 10th Michael Marks Awards for Poetry Pamphlets: Library Celebrates Awards’ Anniversary

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by Imogen Durant, PhD Placement Student working on the Library’s Contemporary British collections of poetry pamphlets and artists’ books. The Library will be holding a poetry reading on the 10th December in celebration of the 10 year anniversary of the awards.  Poets include Christine de Luca, Omikemi Natacha Bryan, Charlotte Gann, Richard Scott and Phoebe Stuckes. You can read more about the event here.

The judging panel for the 2018 Michael Marks Awards have shortlisted five pamphlets and four publishers for the 10th anniversary of the awards. The judges were:

  • Sasha Dugdale, poet, translator and editor
  • Rachel Foss, head of Contemporary Archives and Manuscripts at the British Library
  • Declan Ryan, poet and critic
  • Sir Nicholas Penny, art historian

Marks Awards Blog

Pamphlets shortlisted for the 2018 Michael Marks Awards for Poetry Pamphlets

The judges commented on the diversity of the submissions they received, and shortlisted the following pamphlets:

  • Gina Wilson, It Was and It Wasn’t (Mariscat Press)
  • Rakhshan Rizwan, Paisley (The Emma Press)
  • Ian Parks, If Possible (Cavafy Poems) (Calder Valley Poetry)
  • Liz Berry, The Republic of Motherhood (Chatto & Windus)
  • Carol Rumens, Bezdelki (The Emma Press)

The judges highlighted the calibre of this year’s shortlist, praising Wilson’s “dry wit”, Rizwan’s “tonal sharpness” and Parks’ “musicality”. They felt that Berry’s poems had an “electric charge”, and commended Rumens’ “savage and wild but beautifully cadenced” work.

 Four publishers were also shortlisted for this year’s publishing award:

  • Bad Betty Press – Amy Acre
  • The Emma Press – Emma Wright
  • Guillemot Press – Luke Thompson
  • Tapsalteerie – Duncan Lockerbie

This shortlist includes both new publishers, such as Bad Betty Press, which was founded last year, and more established publishers, such as The Emma Press, which won the award in 2016.

Luke Thompson’s Guillemot Press is an example of a publisher which plays with the possibilities of the pamphlet form, while Duncan Lockerbie’s Tapsalteerie Press shows a commitment to eclecticism, highlighting the crucial space the pamphlet offers to new and emerging writers.

The winners of the poetry, publisher and illustration prizes will be announced at the awards ceremony at the British Library on 11th December. The winning poet and publisher will each receive £5000, and the winning illustrator will receive £1000.

The winning poet will also be invited on a residency at the Harvard Centre for Hellenic Studies in Greece in the spring of 2019.

The Contemporary British Publications team at the British Library have created a new pamphlet to celebrate the 10 year anniversary of the Michael Marks Awards.This pamphlet features poems from each of the previous winners of the award, many of which were written during the poet’s residency in Greece. The winners of the illustration award have produced artwork in response to three of the poems in this pamphlet.The Michael Marks Charitable Trust and The Eccles Centre for American Studies have generously supported the production of this pamphlet.

Please join us in what promises to be an exciting evening of poetry and reflections on the success of the first 10 years of the Michael Marks Awards.

07 November 2018

Celebrating Poetry Pamphlets

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By Imogen Durant, PhD Placement Student working on the Library’s Contemporary British collection of poetry pamphlets and artists’ books. More information about the upcoming event,  Poetry Pamphlets Celebration, can be found here

Pamphlets are a crucial site for poetic innovation, allowing writers to experiment and offering readers cheap access to new work. Often small enough to fit into your pocket, pamphlets are the ideal way to sample new poetry from an unfamiliar writer. This frequently overlooked form has provided a platform for almost all of our established poets, from Ted Hughes to Carol Ann Duffy, at different stages in their career.

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A selection of poetry pamphlets from the British Library’s collections.

To celebrate the poetry pamphlet and the important role that it plays in the UK poetry scene, The Michael Marks Award is hosted annually by The British Library, in partnership with the Michael Marks Charitable Trust, The Wordsworth Trust, the TLS and Harvard University’s Center for Hellenic Studies (CHS). Since it was founded in 2009, the awards have grown to include prizes for publishers and illustrators as well as for poetry. Despite the ease with which poetry can now be accessed online, the pamphlet form has flourished over the last decade, and the quality of the submissions to the awards each year attest to this. To mark the 10 year anniversary of the Michael Marks Awards, we will be hosting a poetry reading on the 10th December, featuring shortlisted poets from previous years. Join us in hearing poems and reflections by Charlotte Gann, Christine De Luca, Richard Scott, Phoebe Stuckes, and Omikemi Natacha Bryan.  

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Charlotte Gann is a writer and editor from Sussex. Poems have appeared in The Rialto, The North and Magma, among many others, and her pamphlet, The Long Woman (Pighog Press), was shortlisted for the Michael Marks Award in 2012. Since then, she published a full collection, Noir, with HappenStance – in 2016. This book – which grew from the seed of the pamphlet – asks: what are we to do with the darkness? The things, and people, often left silent and invisible. Originally, Charlotte studied English at UCL; much later, an MA in Creative Writing and Personal Development at the University of Sussex. By day, she works as an editor – currently, editing a monthly magazine based in her hometown, where she lives with her husband and two teenage sons.


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Christine De Luca lives in Edinburgh where her working life was spent in education.  She writes in English and Shetlandic, her mother tongue.  She was appointed Edinburgh's Makar (laureate) for 2014-2017.  Besides several children’s stories and one novel, she has had seven poetry collections and four bi-lingual volumes published (French, Italian, Icelandic and Norwegian).  She’s participated in many festivals here and abroad.  Her poems have been selected four times for the Best Scottish Poems of the Year (2006, 2010, 2013 and 2015) for the Scottish Poetry Library online anthologies.  She has been a member of Edinburgh’s Shore Poets for 25 years. Christine is a linguistic activist, visiting schools, writing articles and taking part in conferences on mother tongue issues.  She is a member of Hansel Cooperative Press which publishes poetry and other literary writings in Shetland and Orkney.  She also enjoys translating children’s classics from Roald Dahl and Julia Donaldson into Shetlandic. 

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Richard Scott was born in London in 1981. His poems have appeared widely in magazines and anthologies including Poetry Review, Poetry London, PN Review, Swimmers, The Poetry of Sex (Penguin) and Butt Magazine. He has been a winner of the Wasafiri New Writing Prize, a Jerwood/Arvon Poetry Mentee and a member of the Aldeburgh 8. His pamphlet 'Wound' (Rialto) won the Michael Marks Poetry Award 2016 and his poem 'crocodile' won the 2017 Poetry London Competition. Soho (Faber & Faber) is his first book. 

 
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Phoebe Stuckes is a writer and performer from West Somerset. She has been a winner of the Foyle Young Poets award four times and is a Barbican Young Poet. She has performed at the Southbank Centre, Wenlock Poetry Festival and was the Ledbury Festival young poet in residence in 2015. Her writing has appeared in the Morning Star, The Rialto, The North and Ambit. Her debut pamphlet, Gin & Tonic is available from Smith|Doorstop books and was shortlisted for The Michael Marks Award 2017.

 

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Omikemi Natacha Bryan is a writer, poet based in London. Her work has been published in numerous magazines including Ambit and Rialto and featured in Bloodaxe's Ten: poets of the New Generation. Her debut pamphlet poetry collection, If I talked everything my eyes saw, was shortlisted for the 2017 Michael Marks Award. She currently works as an associate writer for Vital Xposure theatre. 

 

02 November 2018

Introducing the Artists of Artists Books Now

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by Jerry Jenkins, Curator of Contemporary British Publications and Emerging Media. ARTIST’S BOOKS NOW is curated by the book artists and researchers Egidija Čiricaitė and Sophie Loss and the librarians Jeremy Jenkins and Richard Price. Each event explores an aspect of the contemporary through a selection of books, presented in an accessible and enjoyable style by artists and commentators. For tickets click here.  For more information please contact jerry.jenkins@bl.uk.

The Artists Books Now event series is nothing without the artists and their works. This post offers brief introductions to those taking part in next Artists Books Now evening, on the 5th of November.  We have programmed the event around the theme of ‘Place’, asking the artists and other contributors to interpret that as they wished.

First, the  writer and UK Canal Laureate 2018 Nancy Campbell:

    'Since 2010, a series of residencies at museums and galleries in the Arctic has resulted in artist’s books on language and landscape including How to     Say ‘I Love You’ In Greenlandic, which received the Birgit Skiöld Award in 2013. Collaboration is an important part of her practice; her work with     the New York based artist Roni Gross is demonstrated here by two books, The Night Hunter and Tikilluarit. Nancy’s other publications include     Disko Bay (shortlisted for the Forward Prize for Best First Collection 2016 and the Michael Murphy Memorial Prize) and a cultural history of books     and the environment, The Library of Ice, published this month by Simon & Schuster. Nancy is currently the UK’s Canal Laureate, a collaboration     between The Poetry Society and the Canal & River Trust, part of the Arts on the Waterways programme.'

 

 

1Image used with kind permission of Nancy Campbell

 

Véronique Chance, artist and Senior Lecturer at the Cambridge School of Art, explores:

    ‘[t]he representation of the body in contemporary art practice, and its relationship to performance, technology, documentation and the embodied     dynamics of spectatorship. The cross-disciplinary, cultural and creative dynamics of running as a mode of artistic enquiry and expression.     The impact of technology on contemporary art practice/s, especially developments in reproductive media and their role within the ‘expanded’ field     of printmaking.’

 

2Image used with Kind Permission of Véronique Chance.

 

The work of Artist Edmund Clark links issues of history, politics and representation through a range of references and forms including photography, video, documents, found images and installation:

    ‘A recurring theme is engaging with state censorship to represent unseen experiences, spaces and processes of control in contemporary conflict     and other contexts’.

3Image used with kind permission of Edmund Clark. 

Recent MA graduate of Royal College of Art Leonie Lachlan 'is concerned with the ever-evolving relationship between two and three dimensions. She is interested in material and linguistic utterances of spatial concepts. These often find themselves embedded in and performed by the printed page [...] propositions hover on the border between spaces; actual, represented or analytical, ideas of that which is both everywhere and nowhere; they interact with the different modes she encounters with her practice. Her works traverse many materials but she always return to the book. An obsession with flatness and illusion is ever-present; in many cases planes might suppress or compel a sculptural urge.'

An insight in to the text of her 2017 Meeting Point with the opening stanzas of Municipal Kid (MK):               

    'Journey from the middle

    of no consequence as

    there is no beginning or end,

    these do not matter anyway.

    Departure is delayed

    a couple of minutes

    we pull away from Euston

    into the blue April morning.

    Train so new

    seats so very green,

    my disappointment

    reflected around the carriage.

    Opposite

    the man doesn’t finish his Innocent smoothie,

    discards his sandwich packet

    alights at Hemel Hempstead…'

4Image used with kind permission of Leonie Lachlan.

The evening's host is Professor Chris Taylor from the Department of Fine Art at the University of Leeds. He is a practicing artist, curator and publisher working in the field of contemporary printmaking and artists’ books, with a particular interest in the role of the book as primary medium within contemporary art practice. He is co-editor of the Wild Pansy Press, a collective art practice and small publishing house based in the School of Fine Art, History of Art & Cultural Studies.In addition Taylor is co-director of PAGES, an ongoing initiative which provides the structure and impetus for wide ranging activities promoting the development of the medium of the artist’s book, and its dissemination and reception to a growing and diverse audience. PAGES’ annual programme includes the International Contemporary Artists’ Book Fair and a curated projects series, held in partnership with The Tetley centre for contemporary art in Leeds. The evening will have a discussion between Taylor and Clive Phillpot to explore the concept of ‘Place’ within the framework of an artists’ book.

19 October 2018

About Artists Books Now

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by Jerry Jenkins, Curator of Contemporary British Publications and Emerging Media. ARTIST’S BOOKS NOW is curated by the book artists and researchers Egidija Čiricaitė and Sophie Loss and the librarians Jeremy Jenkins and Richard Price. Each event explores an aspect of the contemporary through a selection of books, presented in an accessible and enjoyable style by artists and commentators. For tickets click here.  For more information please contact jerry.jenkins@bl.uk.

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One of the purposes of Artists’ Book Now is to introduce our visitors to the rich collections of artists’ books within the British Library and to widen the use of artists’ books across the research community beyond the Library.

From the outset, the project was concerned with how to get the audience engaging with the material in manner which could inspire debate, discussion and greater interaction. Traditional Library mechanisms of dissemination such as the Reading Room, exhibition, digitisation or even show and tell present various limitations to what is possible, particularly when dealing with artists’ books. Hence, we hit upon the concept of a host conversing with the artist themselves while presenting their work. Presenting the work in this manner heightens intimacy between the work and its viewer, as well as allowing the maker's thoughts about the work, and its creation, to emerge more fully.  

A key question for a national library, or any cultural institution for that matter, is how best to preserve the collection while ensuring maximum possible access and engagement. By negotiating this interchange between the audience and artists’ books, with the help of the artist, it is hoped that  a richer and fuller experience will be possible.  By using baggy themes as frames for the individual events, the co-curators hope that types of work not normally seen or discussed together will suddenly find common ground. It should be noted that this is all seen through a “Contemporary” lens, demonstrating that, while artists’ books certainly do offer up the pleasures of visual and physical artworks, and can and do use contemporary artistic techniques and aesthetics, they are also important witnesses to the the present, allowing myriad issues, concerns, and interests to surface for contemporary audiences.

 

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