PAGES: Future Potentials/Future Legacies
- Submitting institution
-
The University of Leeds
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- UOA32-4426
- Type
- B - Edited book
- DOI
-
-
- Publisher
- Wild Pansy Press
- ISBN
- 9781900687676
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2017
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
1
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- A curated programme of artist’s book-related initiatives (A-C), consolidated as a published collection of texts and artists’ pages (A). Situated within local, national and international contexts, the project underpins my ‘curation as practice’ and ‘publishing as practice’ history and research through:
• the development and awareness of the book as primary medium in art practice (D-F, J)
• opening up dialogues specific to the genre on issues of production and distribution, acquisition and access (A, K-Q).
In PAGES: Future Present/Future Legacies (A/B), I asked curators and writers to consider the current status which artists’ books hold within the contemporary art canon; its potentials as a modus operandi for visual communication, as artefact, score, commodity or pedagogy. Curated exhibitions, Future Present (D–Taylor/McDowall) and Dora Garcia: “These books are alive: they spoke to me!” (E) at The Tetley, Leeds, and the touring paperscissorsbook (I/J–Taylor/Babayan) asked:
• what challenges can this analogue medium offer a twenty-first century ‘digital’ audience?
• what aspects of the artist’s book/book format remain to be creatively and critically examined?
In collaboration with Highlights Rural Touring, paperscissorsbook introduced UK and international artists working innovatively with paper, text and the book format to audiences in rural communities of Cumbria, Co. Durham and Northumberland, at non-gallery, public venues including libraries, churches and community centres (J). At three institutions across Leeds, I co-curated/facilitated satellite exhibitions (F-H) and symposium (K-Q) exploring relationships generated between historic book material housed in internationally significant collections and work being produced by contemporary artists, illustrating:
• how established modes of archiving, typologies, and systems of dissemination within institutional collections can provide potentials for contemporary practice through artefact association, and vice versa (F, G)
• how contemporary practitioners and curators can collaborate via the archive and collection to open up access and encourage public interaction (D, E, H).
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -