![]() For example, British conceptualist John Latham introduced old law books, encyclopaedias and popular periodicals into his practice in the late 1950s, combining them with other found objects to create collages and large wall reliefs. Across twentieth-century art practice, the use of books aimed to interrogate a then burgeoning print culture, while exploring the preservation and circulation of knowledge. Echoing and subverting the book format in multiple ways, It’s All About Books manifests the artist’s ongoing exploration of the ‘complexities of seeing’, inviting viewers to variously consider: What kind of seeing occurs when we read? How do books prompt reflection on the evolution of language? What is the role of printed matter in the digital age? In addressing some of these questions, it seems fitting to examine art historical and contemporary trajectories that foreground the physical and conceptual properties of books.įrom the early 1900s onwards, books began to feature prominently in the work of visual artists, both as a pictorial element (found in the paintings of artists like Salvador Dalí, who also worked as a book illustrator1) and as a material object, incorporated into the sculptures of conceptual artists including Marcel Duchamp. ![]() ![]() ![]() On the occasion of her solo exhibition at St Patrick’s Campus in Dublin City University, Irish artist Marie Hanlon presents a series of artworks exploring the materiality of books. Text Material Knowledge: The Book as Artistic Device Joanne Laws ( writer, Features Editor of VAI News Sheet ) ![]()
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