Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Sunday, October 14, 2012

Book Review Pt. 2: Air Guitar, by Dave Hickey

This is the second half of my review of Dave Hickey's Air Guitar. See part one here.

Probably the biggest insight your correspondent owes to this work is a plausible definition for art/explanation for why art matters, in "Frivolity and Unction." Answer: it doesn't. Art is a luxurious waste of time through which extremely important issues get worked out. Hickey's analysis is, again, gorgeous, so I'll quote it here at length:


So here's my suggestion: At this moment, with public patronage receding like the spring tide anyway and democracy supposedly proliferating throughout the art world, why don't all of us art-types summon up the moral courage to admit that what we do has no intrinsic value or virtue--that it has its moments and it has its functions, but otherwise, all things considered, in its ordinary state, unredeemed by courage and talent, it is a bad, silly, frivolous thing to do. We could do this, you know...


...We could just say: "Okay! You're right! Art is bad, silly, and frivolous. Movies are bad, silly, and frivolous. Basketball is bad, silly, and frivolous. Next question?"...


...What if works of art were considered to be what they actually are--frivolous objects or entities with no intrinsic value that only acquire value through a complex process of socialization during which some are empowered by an ongoing sequence of private, mercantile, journalistic, and institutional investments that are irrevocably extrinsic to them and to any intention they might embody?...


...Because the art world is no more about art than the sports world is about sport. The sports world conducts an ongoing referendum on the manner in which we should cooperate and compete. The art world conducts an ongoing referendum on how things should look and the way in which we should look at things--or it would, if art were regarded as sports are, as a wasteful, privileged endeavor through which very serious issues are worked out.


Because art doesn't matter. What matters is how things look and how we look at them in a democracy...

Why I think this is valuable: if you're anything like me, you've wasted countless hours and cigarettes agonizing over whether and how art is valuable. This is a serious problem: the value of art is in no way self-evident. What is self evident is how it relates to other stuff. Like class: GED-graduates are not the major demographic for reprints of Shakespeare or Dostoevsky, poor people don't flock to the theater, and loudly-played classical music is used to discourage homeless people from hanging out in public areas. Great art tends to be friendly toward the upper classes, while pro-wrestling and MTV and the Twilight books score with lower classes. (I'm not saying always, and I'm not endorsing this fact; I'm just acknowledging a broad demographic trend.)

Plus, in a world full of injustice and scarcity, why spend time on art? Why not use that energy for activism? Children die every day from starvation, and you're going to spend your time reading the thoughts of Tristam Shandy? I don't know about you, but for me, it seems that spending one's time teasing out the significance of narrative voice in Joyce's Dubliners while my neighbors suffer and die is, to be precise, vulgar. To rephrase this point as an argument: Art is a luxury activity, and it's wrong to luxuriate while others lack necessities, and others do lack necessities. Thus, it's wrong to spend time and energy on art.

So two excellent reasons to turn your back on art are 1) it's classist and 2) it's a waste of precious resources.

What I love about Hickey's analysis is that it wholeheartedly accepts both of these facts, yet still finds value in art: to wit, as an ongoing referendum on how to look at things in our society. If you see that 'How we look at things' is powerful and important, then you'll see how art has an indirect but fundamental influence on our society (and thus on class, justice, ecological awareness, etc.). Hickey is right that art does not promote virtue in the way that grant-seeking museum curators say that it does--exposure to high art does not, by and large, make people better or smarter or more empathetic. Art has no intrinsic value. What art does have is influence on how we live together, influence on the shape and texture of our society. Art, like role models and traumatic experiences, teaches us how to see. And since we're social animals, how we look at things influences pretty much everything else that we do care about (justice etc.). Art is a wasteful luxury through which important issues get worked out.

So by this point, whether you read Air Guitar or not, you've gotten a heavy taste of Hickey's writing and a summary of (what is in my view) the most important point in the whole book: art is not intrinsically valuable, but it is a social activity, and social activities have important effects.

In summary, your correspondent can report that Hickey's anthology is smart, funny, and extremely insightful. and the questions he asks guarantee interesting answers.

Thursday, October 11, 2012

Book Review Pt. 1: Air Guitar, by Dave Hickey

One of the really big, basic questions that pops up in pretty much every arena of human activity is, How hard should I think about this stuff? When do I loose my critical thinking upon a subject, and when do I rein it back in? Let me give you an example: if you've ever taken a class outside of your field of expertise, you'll recall how most of your "introduction" to the subject consisted of learning what questions not to ask. For me, learning about special-relativity physics mostly involved learning to ignore questions like "What do we mean by an 'object'?" and "How can causality make sense vis-a-vis non-linear time?" Part of an education means learning what questions to ask, but most of it is learning what to take for granted.

This seems to be a basic epistemic (not to mention neurological) principle: in order to think about some subject, you have to ignore everything else. And by the process of concentrating on X and ignoring everything else, you end up defining X before you've even begun to consider it. It's a real pickle: you want to think about something in order to understand it, but in order to think about it at all, you sort of need to already understand it. (Incidentally, Plato formulates this problem in Meno's Paradox, and getting around it is one reason why Socrates posited that all learning is really just remembering.)

Another problem is part of the problem is existential--that is, the "Why Bother?" which occupied mid-twentieth-century French intellectuals and depressives of all stripes. Camus's The Myth of Sisyphus is the definitive investigation into correlation between 1) thinking too much and 2) suicide: "Beginning to think is beginning to be undermined." We'll only skirt the issue here by noting that, in fact, being well-adjusted involves avoiding lines of thought which lead to bad outcomes (or in other words: pragmatists are healthier than ruthless seekers of truth). As DFW puts it, healthy people "get to consciously decide what has meaning and what doesn't."

But so okay: there are excellent reasons to be suspicious of careful thinking. To wit: it's epistemically impossible, practically inefficient, and emotionally dangerous.

Still, the opposite doesn't look too promising, either. One of the boons of human storytelling is that we get to see how stupid other people are, how oblivious they are to their own stupidity, and how directly their stupidity leads to woe. You've surely got your own favorite examples; mine are 1) reality television and 2) Anna Karenina. Through effective portrayals of human thought and behavior, I get to see how Anna's history, hopes, habits, etc. lead her to act in particular ways, and how these actions lead to particular outcomes. Anna is oblivious to all this: indeed, it's her profound mis-understanding of what she wants and how to get it which determines her tragic destiny. Were she more aware, she'd likely meet a better end. So the absence of critical thought is also not a promising avenue.

All that being said, here's why I love Dave Hickey: Hickey excels at ignoring the unhelpful and invading the productive. Half of good thinking is asking the right questions, and that's what he does in this anthology of his art criticism:

-How are hope and social hierarchy related to the mystique of Las Vegas?
-What is the connection between desire, community, art, and social norms?
-"What we did not grasp was just exactly why the blazing spectacle of lawn-mowered cats, exploding puppies, talking ducks, and plummeting coyotes was so important to us."
-In what sense was Liberace in the closet, or not? And what about his fans?
-How was American car-culture born? And what does us tell us about the business of art?
-Why would Chet Baker walk away from the chance to become the next James Dean, for a life of heroin and jazz shows?
-Wadda'ya mean, masculine culture vs. everything else?
-How the hell could M. Foucalt make it all the way through the Sixties without once dropping acid?
-How do boredom and stimulation work in cinema and art? Why bother with limits?
-Wait, wait: you're telling me that people who sell art aren't just craven vultures?
-What did Perry Mason and Mission: Impossible tell us about their audience?
-What's the relationship between officious museums vs. art as a social practice? Wait: how is art a 'social practice'?"
-How did Julius Erving re-invent basketball, and what does that tell us about art?
-Why the hell would anyone write art criticism?
-Seigried and Roy?

You get the picture. Hickey's investigations are gorgeous, but one suspects that a trained monkey or even a bureaucrat could have carried them out, once Hickey'd framed the issue and formulated the questions for them.

Check back Sunday for part two of this review, where I'll discuss the most important insight in Hickey's book.

Friday, August 10, 2012

Fore-Edge Paintings: Beauty on the Edge

Original Article at ABE Books
by Beth Carswell 

Lyrics of the Heart: With Other Poems by Alaric Watts
Lyrics of the Heart: With Other Poems 


fore-edge painting is decoration painted on the edges of a book’s pages for beautification. The fore-edge of a book is the fourth edge - not the spine, the top, or the bottom edge, but the outside edge that a reader would use to thumb through the pages. Originally, this edge was only used for identification, to more easily spot a book when the edges faced outward.

Around the 16th century, an Italian artist named Cesare Vecellio (cousin of celebrated Renaissance painter Titian) began to use the fore-edge of books as a canvas, and took the opportunity to make books more beautiful. The first instances of decorative fore-edge paintings were applied outright on the edges of the leaves, easily visible to anyone who cared to look when the book was closed.

In the 17th century, one of the Queen’s Binders (a group of highly skilled English bookbinders during the Restoration period)  took the skill one step further by discovering that if one painted on the slight inner edges of the pages, then gilded or marbled the outside page edges, the scene would be undetectable when the book was closed, and only reveal itself when the pages were fanned slightly, creating a disappearing, re-appearing masterpiece.
Debrett's Book of the Royal Wedding, fanned to show the hidden painting on the page edges
Debrett's Book of the Royal Wedding,
fanned to show the hidden fore-edge painting 
These types of fore-edge paintings, only visible when the pages are fanned in a certain way, often require a special stand or press for display that keeps the pages held at the right angle to show the art. Otherwise, when the book is closed, the painting remains undetectable. 
While it’s amazing enough hiding one painting this way (a single fore-edge painting), some artists created the astonishing technique of the double fore-edge painting, in which a book’s fore-edge shows two different scenes when the pages are fanned back to front or front to back. And some artists forgo the usual gilt or marbling on the very edges of the eaves, opting instead to include a third depiction (triple fore-edge-painting), visible when the book is closed.  Most fantastically of all, some painters also embellish the top and bottom edges of the book pages, for an effect known as a panoramic fore-edge painting.

Believed to have originated as long ago as the 10th century, fore-edge paintings first often depicted shields, coats of arms or other insignia. As artists became more interested in beautification, they began to include landscapes, battle scenes, religious iconography, floral designs, and more, sometimes related to the book's subject and sometimes not.

Many of the books sold today with fore-edge paintings are antiquarian volumes to which the edge paintings have been added much later. One of the most widely seen modern-day fore-edge painting artists is Martin Frost, based in the UK, who since 1970 has produced countless fore-edge paintings, including many offered for sale on AbeBooks.

Please see Bromer Booksellers at http://www.bromer.com/books_foreedge.html and The Boston Public Library at http://foreedge.bpl.org/articles

Related Video


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Fore-edge Painted Books


The Book of Common Prayer and Administration of the Sacraments and Other RitesThe Book of Common Prayer and the Administrations of The Sacraments

1864. This is a fabulously old book with a beautiful hidden split fore-edge. When the book is open in half, the edges display beautifully.
The Art of England by John RuskinThe Art of England by John Ruskin

1887. Scene with hunters on horseback chasing a fox. On the top edge you can see the artist's sense of humor as the man is falling off the horse.

Life on the Mississippi by Mark TwainLife on the Mississippi by Mark Twain


1883. Under the gilt is a fore-edge by Martin Frost of a Mark Twain in the center, and in the background are the paddle boats on the Mississippi.
The Poetical Works of Lord Byron The Poetical Works of Lord Byron 


1883. Under the gilt is a fabulous fore-edge painting done by Martin Frost, which is signed. It is of "The Time Machine".

Select Orations of M. T. Cicero by Sir Charles WhitworthSelect Orations of M. T. Cicero by Sir Charles Whitworth


1777. Rare two-volume set of Duncan & Whitworth “Cicero” with original Edward of Halifax bindings. Also, each book has a fore-edge scene, likely contemporary to the book itself.
The Works of the British Poets Volume IIThe Works of the British Poets, Vol II 


1856. Hidden under the gilt is a fore-edge painting of the “Elephant Man” painted and signed by Martin Frost. Volume two.

Works of Alfred Lord Tennyson
Works of Alfred Lord Tennyson



1901. Magnificent fore-edge painting executed by Martin Frost after famous Edward Burne-Jones painting, "Songs of Praise".
The Holy BibleThe Holy Bible

1883. Hidden under the gold gilt is a fabulous fore-edge painting by Martin Frost depicting a barber's shop with monkeys as the barbers and customers.

Lectures on Painting by Esquire John OpieLectures on Painting by Esquire John Opie


1809. The lovely fore-edge painting is of "The Death of Procris" after Piero di Cosimo and is in excellent condition.
Watership Down by Richard Adams Watership Down by Richard Adams 


1976. This fore-edge painting was one of 10 specially commissioned for Chas. J. Sawyer in 1976 by Don Noble - a contemporary of Martin Frost.

The Faerie Queen: The Shepheard's Calendar by Edmund SpenserThe Faerie Queen: The Shepheard's Calendar by Edmund Spenser

1617. John T. Beer, a successful clothier and avid book collector, turned to fore-edge painting in his retirement; his paintings were produced 1884-1900.
Caesar - A Sketch by James Anthony Froude, M.A.Caesar - A Sketch by James Anthony Froude, M.A. 


1879. Has a hidden fore-edge painting of Julius Caesar with Roman warriors, in full uniform, with weapons on foot, going to battle.

Divozione Pratica Ai Santi Angeli Custodi Divozione Pratica Ai Santi Angeli Custodi 

1776. Devotional work on guardian angels; unusual fore-edge painting shows three scenes of guardian angels warding off the devil.
Glenfinlas, and Other Ballads Etc. A Poem by Walter ScottGlenfinlas, and Other Ballads Etc. by Walter Scott

1812. Lovely fore-edge painting, showing a London view with River Thames and Blackfriars' Bridge, with the cupola of St. Paul's towering in the background.

The Poems of Gray The Poems of Gray by Thomas Gray

1800. Rare original Edwards of Halifax binding and fore-edge painting. The scene shows an English country town.
Cardiphonia: or, the Utterance of the Heart by John NewtonCardiphonia: or, the Utterance of the Heart by John Newton 

1822. With an attractive and detailed contemporary fore-edge painting depicting Douglas, Isle of Man, the harbor ringed in hills, and more.

The Jerusalem Delivered of Torquato Tasso by J. H. WiffinThe Jerusalem Delivered of Torquato Tasso by J.H. Wiffin 

1869. Fore-edge painting done by and signed by Martin Frost. It is an edge of a Jerusalem scene with horses, soldiers in armor, and more.
The Giaour, A Fragment of a Turkish Tale by Lord ByronThe Giaour, Fragment of Turkish Tale by Lord Byron

1813. With an especially fine fore-edge painting of the Castle of Chillon and 11 works, including five firsts, by Byron.

Sense and Sensibility by Jane AustenSense and Sensibility by Jane Austen

1905. Handsomely bound in a fine signed leather binding by Bumpus Ltd., Oxford. Enhanced with a charming full color fore-edge painting.
The Works of the British PoetsThe Works of the British Poets, Vol. I 

1856. There is a full face portrait of Hare on the left and on the right is a full front portrait of Burke, and in the middle is a cemetery scene. Fantastic edge for any collector.

San cai tu hui (Illustrated encyclopedia of material) by Siyi Wang
San cai tu hui
Siyi Wang

No date. This book was sold to raise funds for Dr. William Pettus' Chinese language school in Beijing in the late 1930s to early 1940s.
The Pickwick Papers by Charles Dickens
The Pickwick Papers
Charles Dickens

1837. Chapman and Hall, London. First edition of this title. Lovely vertical fore-edge painting, all edges gilt.
Lady Chatterley's Lover by D.H. Lawrence
Lady Chatterley's Lover 
D.H. Lawrence

1928. Rebound in full morocco by Temple Bookbinders, this copy also has a fore edge painting by Martin Frost of Lady Chatterley and Mellors.
Stories for the Household by Hans Christian Andersen
Stories for the Household 
Hans Christian Andersen

No date. With an excellent vertical fore-edge painting, surrounded by a leafy border, of three children on a sled with dog romping along beside.
Chefs-d'oeuvres du roman contemporain
Chefs-d'oeuvres du roman contemporain

1900. Each of the volumes is in full morocco gilt extra in various colors, some with inlays to bindings and each has an original fore-edge painting.

Sunday, January 29, 2012

Scotland's Secret Book Artist

A graffiti artist called Banksy became famous around the globe in the 1990s after secretly leaving his art work on walls across London. Now Scotland has its own secret artist.
Keith Wallace reports from Edinburgh on the delicate sculptures made from books which have been appearing in cultural establishments across the city.

Wednesday, January 18, 2012

Postertext - A Full-Size Poster Created from the Text of Your Favorite Book

This one's from Peter Pan. What an awesome idea.

Wednesday, December 14, 2011

Best Sustainable Christmas Tree Ever

I liked this, simple, creative and aesthetically pleasing to my bookseller eyes.
"Book lovers can sidestep the eternal question of farmed versus PVC (they both suck) and opt for a holiday display that's a monument to reading ... or bibliophilia, anyway, since trying to actually read any of the books in this display would be a holiday Jenga nightmare.
You don't even have to celebrate Christmas to want one of these in your house. Heck, you can build one and still do your part for the illusory War on Christmas, provided you build it entirely out of copies of The God Delusion."

Monday, July 11, 2011

Graceful 3D Trees Cut into Discarded Books

Cleverly returning a hint of their paper based origins, artist Kylie Stillman takes old discarded books and carefully carves inverted bonzai tree reliefs in their pages. Her works come at a time when book art and carving are gaining in popularity, yet her works stand out as unique examples in the young trend. The Australian artist got her start at carving books in 2006 when she trimmed a bird into a discarded tome; she later gave her birds a place to sit, progressing to potted plants and now her current tree carvings. For her latest work featuring trees carved in stacks of boldly colored paper, see her website kyliestillman.com.









Thursday, June 9, 2011

Unusual Bindings from ABE Books




Animais Peconhentos by Flavio Da Fonseca
Animais Peconhentos
Flavio Da Fonseca
Snakeskin & Velvet

We all know the old adage, but never mind what they say. Sometimes it's okay to judge a book by its cover.

We love to read, but it's an extra pleasure when the book is an object of beauty, craft or art, as well. These editions have all been thoughtfully bound in atypical materials, some in direct correlation to the subject matter, some for the sake of beauty or functionality. They have become not only literature, but art.

Bookbinding has been a skilled and lovingly practiced craft for centuries. It's an astonishing treat to see the range of materials and methods that go into bookbinding. Ranging from absolutely affordable to extravagantly expensive, here are some of the most unusual bindings found on AbeBooks, from eelskin and ivory to copper and gold, to rubber and fur, and much more.

Go on. Judge.

30 Unusual Bookbindings

Arizona Highways Magazine 1965 Bound in Pony Hide
Pony Hide


Arizona Highways Magazine 1965

Gerald A. Bergin
$125

Sentiments and Similes of William Shakespeare
Papier Mache

Sentiments and Similes of William Shakespeare
William Shakespeare & Noel Humphreys
US$ 1800

Etrennes Mignonnes
Embroidered Silk

Etrennes Mignonnes
W.H. Hudson
$3825

Odilon Redon. Peintre, Dessinateur et Graveur
Different inlaid woods

Odilon Redon
Andre Mellerio
$2750

La Guirlande D'Aphrodite - Ferdinand Herold
Cloisonné

La Guirlande D'Aphrodite
Ferdinand Herold
US$ 2750

The Personal History of David Copperfield by Charles Dickens
Ivory

Personal History of David CopperfieldCharles Dickens
US$ 7651

Heads and Tales - Malvina Hoffman
Snakeskin

Heads and Tales
Malvina Hoffman

US$ 1400

The Sweet O' The Year: Thoughts From a Village Garden - Emily Ridgway
Mother of Pearl

The Sweet O' The Year
Emily Ridgway
US$ 2125

Enzo Cucchi Scultura 1982-1988
Latex

Enzo Cucchi Scultura 1982-1988
Martin Schwander & Enzo Cucchi
$750

Blood Brother - Elliott Arnold
Semi-Precious Gems

Blood Brother
Elliott Arnold

US$ 1800

Paa Langfart Med Snarken by Jack London
Handmade paper

Paa Langfart Med Snarken
Jack London
$75

La Route D'Emeraude - Demolder, Eugene.
Silver Filigree


La Route D'Emeraude

Demolder, Eugene.
US$ 1800

1611 King James 1st Edition Great He Bible
Copper

1611 King James Bible

US$ 119000

Batak Bark Book
Bark

Batak Bark Book

$2400

The Sermon on the Mount by Owen Jones
Silk Brocade

The Sermon on the Mount
Owen Jones

$1542

Subversive Crafts by Katy Kline
Perforated Rubber

Subversive Crafts
Katy Kline

$11

The Flounder by Gunter Grass
Eelskin

The Flounder
Günter Grass

US$ 600

Gospels of the New Testament Scriptures
Varnished Wood

The Lay of the Last Minstrel


Walter Scott

$400

La Voie du Salut ou Prieres Journalieres by Baron de Zaiguelius
Velvet with Metal Crucifix

La Voie du Salut ou Prieres Journalieres
Baron de Zaiguelius
$150

The American Coast Pilot by Edmund M. Blunt
Burlap

The American Coast Pilot
Edmund M. Blunt

US$ 450

Little Fur Family - Brown, Margaret Wise; Williams, Garth
Real Fur


Little Fur Family

Brown, Margaret Wise; Williams, Garth
$45 - $2200

The King James Holy Bible
Olive Wood

The Holy Bible
King James Version
$88

Andy Warhol's Index by Andy Warhol
Plastic

Andy Warhol's Index
Andy Warhol
US$ 1500

The Song of Hiawatha by Henry Wadsworth Longfellow
Inlaid Jewels

The Song of Hiawatha
Henry Wadsworth Longfellow
$28,500