BOOKS.04 works of imagination

Paper by Maryke Stagg

First National Artists' Books Forum

Friday 6 February 2004

Artspace Mackay

In 1996 I’d never heard of an artists’ book. Desley Wain, a friend and local artist, introduced me to the medium and I must say I was immediately hooked. It had the effect on me which I’ve since seen in so many people.

Books, works of Imagination has evolved from a small Foyer display in 1997 with 8 Qld artists including Wim de Vos, Adele Outteridge and Joy Hutton, who continue to participate. It has grown to an exhibition program with about 100 exhibiting artists, taking all space in the Gallery.

The exhibition is the highlight and the outcome of a year of activity, collaborations and connections with people of extraordinary dedication and enthusiasm for the artists’ book medium.

Underpinned by a strong and growing group of local book artists, this program has strong participation by local, regional, interstate and international artists.

An extensive public program and collaborations with other galleries and organisations has given this program broad appeal and generated interest in the wider community.

Right from the start, the Books exhibition has generated terrific interest, with often passionate responses from book artists as well as art practitioners, who are new to the medium. This interest has also been enthusiastically embraced by the public at large.

It is its very accessibility what makes our annual exhibition work. The support of renowned book artists nationally and internationally gives an edge to the exhibition and provides inspiration for artists who have never addressed the book as object.

We include the participation of primary and high school students as well as TAFE and uni students. Work shop participants are also encouraged to submit work.

Cooloola Shire Public Gallery in Gympie has collaborated with the books program with concurrent exhibits and workshop programs

The artists’ book medium engages practitioners from diverse disciplines and many have made it the focus of their art practise. We have encouraged groups of book artists to participate resulting in interesting collaborations. The connection with the book arts community is for many an important reason for taking part.

We’ve been most fortunate to have the support from renowned artists in the medium. Several of these artists are in this room today and I thank them for their continued support.

An opportunity to exhibit as well as sell artists’ books has been rare for a lot of artists. Books, Works of Imagination has provided this opportunity, with an increasing market for these eminently desirable works of art.

Over the years we have invited participation from artists not familiar with the medium. Sculptors, print makers, painters, papermakers, fibre artists enthusiastically embrace book art and develop their own unique interpretation of the artists’ book.

Workshops, from introductory sessions to master classes give participants tools to explore the artists’ book to its wildest possibilities. These workshops have been most popular for some years now and have galvanised the interest and forged strong bonds between the participants.

We’ve had great workshops over the years with artists including Adele Outteridge, Penny Carey Wells, Katherine K and Judy Barrass. Last year Layering the Landscape, a week long workshop with Helen Sanderson, was enjoyed immensely by artists from all over.

Books, works of Imagination, the name says it all.

Books as object, books to eat, e books and we can now add performing books to the list.

The public at large is only just discovering the book as object and we have mostly a response of sheer delight and surprise with the exhibits. The viewer has an opportunity to engage with the total exhibit as an installation, but above all, to enjoy each work, individually.

The tactile nature, the evocative, the intimate, the sometimes delicate, sometimes robust, the whimsical, quirky, in your face, sometimes political, some tiny, some huge works, all accessible, allow the viewer a journey with the artist (or without).

The books program has also generated interest in The International Edible Book Festival, a yearly event on April 1 throughout the world. The edible books are exhibited and then consumed at afternoon tea. This is the third year Noosa has been involved and it has produced some amazing and tasty books!!

For the first time this year we will have a book by Corrie Wright with a performance element. Corrie, who’s always pushed the boundaries of the Book will no doubt again surprise us this year!

E books have been submitted in the last couple of years, however to date we’ve not had an inspiring entry. I’m hopeful we’ll have a very good entry this year by Linda Carroli who has explored this medium in the context of the artists’ book.

On the web site of the international conference on the future of the book (in Beijing) a speaker states that the future of the book will take shape through its interaction with other media. The future of the artists’ book may parallel this phenomenon.

We have found new technology has entered the artists’ book medium, linking digital imaging and traditional processes. Last year we had quite a few entries which used a digital medium.

Traditional processes with new technologies and materials come together to produce extraordinary works of imagination.

The use of computers has facilitated the rapidly growing interest in artists' books. Web sites dedicated to book art are found all over with links to artists all over the world. Strong net works have developed in the book art community with individuals sharing expertise and ideas.

My access to artists is mostly via email and I have developed terrific rapport with individual artists from all over Australia as well as overseas.

I envisage our web site developing into a virtual artists’ book gallery, with an archive of previous exhibitions.

The elusive character of the artists’ book and the unique representations of the artists’ stories have particular resonance with the audience.

The magic in the journey of discovery of these tactile works is in direct contrast to the no touch nature of most art works in Galleries.

Public programs facilitate the processes that not only link the community to the artworks but endorse the artists’ book as a valid and highly valued art form.

We have a lot of repeat visitation and comments to the effect of: "I need to see this exhibition at least several times to see it all" are common. In 2002 we had an attendance which rivalled the Boyd/ Whitely exhibition as the biggest attendance for the year. Last year, however, we trailed the Sex and Sexuality show and I guess I don’t need to tell you why!!!!!!

Apart from direct engagement with the artworks, the public is encouraged to become involved by participating in a variety of activities.

Introductory workshops, discussion sessions to define the artists’ book and artists’ talks all create awareness and enthusiasm for the medium.

Family Day activities are immensely popular and attract 100’s of people. Mums and dads enthusiastically join their children in activities such as book art demonstrations, origami, papermaking and workshops in simple book binding technique, all in an atmosphere of fun, performance and a free sausage sizzle for lunch.

School and TAFE student groups are actively involved in work shops, gallery visits and submit work as groups or individually.

The diversity of the works in the exhibition and the indefinable nature of the artists’ book lend themselves to endless discussion.

The indefinable nature is further blurred and confused with interaction of other media. Yet this very blurring and confusion gives the artists’ book its edge, its mystery. It is these very elements which promote debate, discussion argument, interest and passion.

I'm often challenged by the public and artists alike on this subject. We refer to our works as Books - works of imagination. No, we haven't played by the book as far as a definition for the book is concerned.

During Books 03 I was asked a series of questions by an artist doing her Master of Design thesis on the book as object. These questions really helped me to articulate my own vision and objectives for the Books program. One of the questions was:

"Is the book as object becoming more valued for its

"intrinsic art design and craft qualities".

I know some artists would balk at the mention of craft, which offcourse is an entirely different debate. I can most definitely answer in the affirmative.

The philosophical sessions have raised the ongoing question" what is a book".

In 2002 I launched the session by reading an extract from the Village Voice, a community paper. The editor said the following:

"I checked out the much vaunted book exhibition. There were books of corrugated iron and recycled mash. The book as a mere object, ignoring the new realities good books introduce us to………….. It was probably great fun to make these books, but did they add anything to our culture, which surely is what art’s about??"

This comment launched a terrific and passionate discussion with Dr Martin Cohen, a British philosopher who led the debate.

As custodians of the artworks the Gallery has a momentous task to maintain the pristine nature of the works.

There is a delicate balance between access and preservation. Encouraging engagement and at the same time instil respect for the artworks is a challenge.

The books exhibition attracts a large audience, including children, who all enjoy the tactile nature of the exhibits. The large visitation and the duration of the exhibition present a real risk of soiling, damage or even loss.

Objects may be moved from their display, which may then become difficult to identify. Dust, also, is a problem due to the lengthy exhibition period.

Roberta Lavadour’s 2003 entry was a kaleidoscope, a sturdy construction made from card board and hand made paper. Eminently touchable, it was a most popular exhibit and over the period of 6 weeks the work showed definite signs of soiling.

All aspects of preservation, display as well as general information are addressed in a Books information folder. Staff and volunteer briefings are held to ensure optimum care.

Public awareness is increased by additional information material. With signage we endeavour to communicate clearly and abundantly the message of:" you are privileged to enter into this world of wonder, please respect it".

Even though the tactility is compromised by the wearing of gloves, they are mandatory and appropriate signage to enforce this requirement is evident everywhere.

With adequate processes in place the balance of access and preservation can be achieved.

The books exhibition attracts entries from all over Australia and overseas. The entry form is posted on the web site and hard copies are sent to a big data base of book artists as well as art schools and other institutions.

The elusive character of what constitutes an artists’ book is a major challenge during our selection process. Basic selection guidelines are not always adhered to in Books.

All works are individual artworks and each has its own unique characteristics. Is it an artists’ book???????

Creativity, imagination and craftsmanship play a big part in the selection process. Traditional processes in the making of artists’ books are more clearly defined and are accepted for their craftsmanship as well as their imagination.

We’ve at times accepted entries which have not at all or only partly met the criteria in the strictest sense. But then you go back to what are the criteria in the strictest sense??????????

Until now we have opened parcels, selected works and designed the exhibition space all in one day, except for international entries.