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Lifestream

Recent content from my activities on the web, from the following sources:

  •  → LibraryThing (recent reading)  
  •  → Twitter (tweets tagged '#stu')   
  •  → Flickr (photos tagged 'studiolog') 
  •  → Delicious(bookmarks tagged 'bookart') 
  •  → Adminicle   

aesop posted a photo:

Source: Uploads from aesop | 21 Oct 2016 | 4:27 am


aesop posted a photo:

Source: Uploads from aesop | 21 Oct 2016 | 4:24 am


aesop posted a photo:

Source: Uploads from aesop | 24 Feb 2016 | 2:30 am


aesop posted a photo:

Source: Uploads from aesop | 28 Dec 2015 | 4:33 pm


aesop posted a photo:

Source: Uploads from aesop | 28 Dec 2015 | 4:33 pm


aesop posted a photo:

Source: Uploads from aesop | 28 Dec 2015 | 4:33 pm


aesop posted a photo:

Source: Uploads from aesop | 27 Dec 2015 | 1:50 am


aesop posted a photo:

Source: Uploads from aesop | 27 Dec 2015 | 1:44 am


aesop posted a photo:

Source: Uploads from aesop | 27 Dec 2015 | 1:42 am


aesop posted a photo:

Source: Uploads from aesop | 27 Dec 2015 | 1:41 am


Octavo Fika/Narrative

 

Part of Book Week Scotland, Octavo Fika is an open-submission book exhibition that will probably be of interest to book artists. Kalopsia embrace textile as a form of artistic practice, and thieir interpretation of this apparently includes the 'textile' of expression over the passage of a book work. The cross-over isn't unusual - Helen Douglas' practice is strongly rooted in her knowledge of and experience of textile working, and the practice of integrating interpenetrating strands of material over a continuous surface fairly begs for textile metaphors, (even though the same sentence just as usefully describes the narrative endeavour). The 'narrative' theme here might pull some of those threads together. I'm particularly fond of the fact that this is taking place as part of a larger nationwide event where people can celebrate a lot of different facets of books. )I think the influence of Alistair McLeary's Book History approach might be informing the multifaceted approach...)

Anyway - open entry, part of a big event. I haven't been able to find out exactly where it's happening yet, though it's presumably in Edinburgh where Kalopsia Collective are based. Excerpt from their info below:

"We are looking for textiles, art, graphic design, photography, illustration and written words etc.

The only rules are: It has to be your work, and it have contain a narrative.
The book can be 2 pages, hand-made, mass-produced, a publication, 5000 pages and so on.

The exhibition will take place between November 25th and December 2nd as part of ‘Book Week Scotland’ 2013.

DEADLINE for submissions: Friday September 27th

All submissions are FREE,however, successful submissions will pay a one off charge of £25 (a discount will be given to all past successful submitters, please contact us for further details)  which will help go towards the transporting of the books, the renting of the event space.

This is a great opportunity to show your work to a much wider audience and raise your exposure as a creator without having to worry about the any of the difficulties of putting on an exhibition, or of making and transport large scale pieces. All you need to do is send us a book."

Kalopsia contact: info@kalopsia.co.uk

Source: adminicle | 9 Sep 2013 | 10:02 pm


ADMINICLE HAS MOVED to http://www.andreweason.com/wpress

Adminicle has moved!

It's March 2013: I've been a member of Typepad since Ocober 2003, and the time has come to move the blog to a new platform. Typepad are great, but I am paying money for it, when I can host the blog perfectly well on my own domain.

Therefore I'm exporting the whole blog, archives and all, to the new URL/site of www.andreweason.com/wpress.

I will be leaving the typepad archive up for a while to help redirect viewers to the new site, but I will eventually be closing down the typepad blog and continuing with the self-hosted one above. [UPDATE - the old blog is still available in Typepad's micro version as seen]

I hope you will look for archived content and new posts there. (I won't be making any new posts to the Typepad version of this site).

Thank you for stopping by,

Andrew Eason.

Source: adminicle | 7 Mar 2013 | 11:45 pm


Ampersand Duck

"Ampersand Duck is a strange nebulous creature. Ostensibly it is a private press, but it is also an umbrella name for an artist who likes to play with books in many ways, from wayward bibliographical musings through to altering found and newly-printed pages." Source: Delicious/aesop/bookart | 31 Mar 2012 | 11:02 am


Hiatus

On a break from all this sort of thing for a bit while I am analysing material I'm collecting for an MSc dissertation around the disruptive effects of artists' books in libraries, how they break open affordances for serendipity, disruption of the filter bubble, etc. Some of my recent entries on 'Trickster', liminal flexibility, etc will be relevant.

Using a nifty bit of Qual & Mixed Methods software, www.dedoose.com. Still to get to grips with all its features (first recording to excerpt from is up today), but it's pretty nicely featured.

Source: adminicle | 12 Mar 2012 | 2:51 pm


Tiercel 01 'The power of character', Cover design and colophon

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Cover design for the original version of Tiercel. (Click on the images to embiggen). It uses a bit of patterning from a Saxon artefact alongside textures and patterns built up in drawings and on the computer. The image was printed out large, so that I could use it as a doubled-over wrap, to create a softback cover.

I'm also including the colophon below, which gives my source for the book.

Ever since I worked on this book, I've been aware of the power of character to help us to inhabit a topic differently. While I haven't always explicitly used narrative characters in my artists' books, even those that simply posit a different point of view end up inhabiting 'another self' -  even if at its most basic that self is the 'drawing self' as opposed to the 'printmaking self'. Though I have always found that books gave me a chance to assemble events and outlooks more 'in the round' that expressing myself through single images. I think it is the sense of cntext books can provide; sometimes this ends up, as here, being worked out into a narrative situation, but elsewhere it seems that there is an opportunity simply to present, as ironic or as pastiche or as investigation, or as satire or as reliquary. All these notions encapsulate a  point of view, and books make this process, for me at any rate, a very easy and attractive proposition.

30
If you are impatient to see the rest of Tiercel, you can view it straightaway, here.

Source: adminicle | 31 Aug 2011 | 10:02 am


Radio 48

Radio 48

In this, the final page, I reach out towards the air and grasp it.

Am I reaching for the voice, for the implied contact of the communication? Am I touching, holding the messenger and connecting with its message? Or am I crushing it? Is the annihilation of the message/lacewing the completion of its journey?

This plays out some of the same tensions we saw in the transmission of the message 'swallowed by birds', or the notion of the message/lacewing annihilated by (head)light (which might itself be the form the message takes).

But its the end of the book, and you'll henceforth have to find your own bugs to crush.

I will return shortly with a serialised version of Tiercel, my book about a hunting falcon who watches a battle between danes and Anglo Saxons. I wrote a poetic text that is based on a fragment from a well know Anglo-Saxon piece 'The Battle of Maldon', but I retell it from the bird's point of view.

Thanks for reading along, and don't forget that if you are interested in having a nice, high-resolution copy of Radio for yourself, you can get one (among several others) at my Blurb pages.

Source: adminicle | 30 Aug 2011 | 9:42 am


Radio 47

Radio 47

I really did hear a show about lacewings which crystallised a lot of other material for me and helped me begin this book. I have no idea whether any of the 'journeying' significance I've ascribed to them has any basis in fact, but it was convenient to look at them that way. I think that their winged stage is basically a breeding vector though, so there's that.

They make a comeback here, identified with the wandering line of data that comes in and touches my radio, inspiring this book and, perhaps, completing their journey.

Source: adminicle | 29 Aug 2011 | 9:42 am


Radio 46

Radio 46

Approaching the lit window.

I based this on my window when I was living at Upton Road in Bristol, and a radio that I subsequently gave away to someone who needed one. (it's represented by that dim shape to the bottom right of the window frame). I never could get the bugger reliably tuned in, so I hope they had better luck than I.

Source: adminicle | 28 Aug 2011 | 9:42 am


Radio 45

Radio 45

Back in the initial scale/scenario, moving towards the lighted window at night where the listener is waiting for the message that proves he is not alone.

I'm not sure about the text at this point. It seems to me that the collapse back into a more mundane scale has brough with it an over reliance on the available 'Radio' references. I'm not sure now how I would connote a real listening experience. Certainly the sense of company-desite-loneliness can be a real experience of radio, but I'm not sure that, given the foregoing metaphysical shenanigans, that I would choose to frame it quite as 'loneliness' where I doing this book today.

Source: adminicle | 27 Aug 2011 | 9:42 am


Radio 44

Radio 44

We're switching back to our intitial scale at the beginning of the book, with the stream of information being seemingly drawn out of the night towards the listener.

I now cringe at the pun here 'the light programme' - but you know what I meant.

Source: adminicle | 26 Aug 2011 | 9:42 am


Radio 43

Radio 43

At this level, there's enough quiet for the information to once again be perceptible...

Source: adminicle | 25 Aug 2011 | 9:41 am


Page for a conference on 'diagramming interpretation'

The 'digital paratextual apparatus' inflect our experiences of reading and constructing meaning. How does this fit in with the construction of informational structures (as in narrative works, or libraries)? Includes links to several essays by J. Drucker. Source: Delicious/aesop/bookart | 21 May 2011 | 12:01 pm


Codex Foundation

Site for the Codex foundation which "exists to preserve and promote the art and craft of the book." Archives of conference materials. Source: Delicious/aesop/bookart | 21 May 2011 | 10:13 am


Circle Press - Artist's Books & Prints

"Originally formed by Ron King in 1967 for a group of artists print makers interested in publishing limited editions of fine books and prints. The press, since that time, has produced artist's editions of both classic and contemporary texts, poetry posters, first edition books of modern verse and a number of pamphlets." Source: Delicious/aesop/bookart | 21 May 2011 | 10:08 am


http://www.moma.org/exhibitions/2008/bookshelf/

Bookshelf - Museum of Modern art exhibition of 2008 Source: Delicious/aesop/bookart | 20 May 2011 | 5:44 pm


The book and beyond catalogue index:electronic publishing and the art of the book

online catalogue for a 1995 exhibition on electronic forms of the artists' book. Now something of an historical journey itself, the page considers lots of artists whose books were 'electronic' inasmuch as computer programs were used to help create them. Also lots of material on CD Rom books, etc. Source: Delicious/aesop/bookart | 20 May 2011 | 5:39 pm


Blood on Paper - the Art of the Book | V&A

Archive page for artists' book exhibition at the Victoria and Albert museum in 2008. Includes images of books included, and link to an essay by Dr Rowan Watson, senior curator ant the National Art Library. Source: Delicious/aesop/bookart | 20 May 2011 | 12:08 pm


The Artist Turns to the Book (Getty Exhibitions)

Exhibition of artists' books at the J. Paul Getty museum in 2005: "This exhibition features works from the Research Library at the Getty Research Institute, which holds over 5,000 artists' books and several artists' archives." Includes images of pages and short video pieces on some books. Source: Delicious/aesop/bookart | 20 May 2011 | 12:01 pm


The 1000 Journal Project

1000 journals are on their way around the world and artists everywhere are contributing. This site tracks their progress and showcases the work of contributors. Source: Delicious/aesop/bookart | 20 May 2011 | 11:57 am


Sponsored: The 3 Week Diet

8 Rules of Fat Loss. Warning: Fast Results! Click Here to Watch Video... Source: Delicious/aesop/bookart |



book of the month



Turndust

A wind-miller has the duty to grind the meal so that the people living nearby can sell the produce they give him to grind and, indeed, so that they can earn their daily bread. Having had no wind to work with for weeks, and suddenly having some chance to do his work, he is tempted, even though he fears a storm. Should he risk the powerful machinery he is in charge of against the unknown? It may destroy him and the mill in the process.

In Turndust, I was able to use the windmill as a complex metaphor to discuss this in depth. Linguistically, wind-milling offers a range of interesting terminology that help give the writing texture and a specificity that helps me to distance the explicit description of visual events, cloaking them in language. Visually, the structure of the windmill itself is full of wood, beams, gears and a sense of a structure built to withstand enormous forces. A windmill is “built like a tank”. But the windmill also contains the means of its own destruction.





reviewing opportunity

Every month I will feature an artists' book in this column. At the moment I am featuring my own. If you would like me to feature one of yours, with a very brief review/description, please get in touch.



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I have decided to speak from the book, the place of my making”

Helen Douglas