Jane Simon considers the book form’s juncture with photography as a place for looking differently at domestic detail. Her essay explores the effects of Anna Fox’s use of the [very] small book form upon the viewer’s mode of looking at the domestic.
Ampersand Duck in Canberra, Australia provides a showcase of letterpress printing activity in her local geographic area, in relation to the wider national and international transformation of letterpress printing from a bibliographic by-product of commercial output to an art and design genre that is gaining a new following and a new audience.
Adam Murray on ‘Preston is my Paris,’ co-founded by Murray and Robert Parkinson in June 2009. The project originally began as a photocopied zine specifically focusing on the city of Preston in the UK, but has since developed into a multi-faceted photographic archive consisting of 40 self-published works that address themes relating to everyday life and social consciousness.
Tim Mosely seeks to contribute to the emerging critical discourse on artists’ books by locating the “haptic” within the making and reading of books by artists. Gilles Deleuze and Félix Guattari in their seminal text A Thousand Plateaus bind the haptic to “smooth space” within creative practices. Their theoretical framework and critical terminology of the haptic warrants an application to artist’s book practices.
A Williams proposes an argument for Artists’ Publishing as a theoretical vehicle to move toward a terminology/taxonomy reconciling artists’ books practices with new media developments and shifting attitudes to the ‘Book’ in the digital age.
Artists’ pages by: Alexandra Czinczel, Jon Dunning, Cath Fairgrieve, Nicolas Frespech and Christa Harris.
Cover design: Tom Sowden