The Museum of Modern Art: A Century of Artists Books
The Museum of Modern Art: A Century of Artists Books
The Museum of Modern Art: A Century of Artists Books
11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART
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Featuring 140 titles by over 100 artists, A CEKTURY OF ARTISTS BOOKS is
organized around the themes of publishers of illustrated books, the complex
relationships between artists and writers, the various subjects and purposes
of artists' books, and the methods -- and evolving concepts --of bookmaking.
Examples from the Museum's outstanding collection of artists' books are
augmented by loans, Including numerous drawings, maquettes, and a selection of
fifteenth- and sixteenth-century illustrated books, offered as historical
models. In addition, four books are shown in their entirety in video
presentations in the galleries.
The exhibition begins with Henri de Toulouse-Lautrec's innovative Yvette
Guilbert, the first example of a modern book where text and image were dealt
with as a single, clearly conceived object, and Paul Gauguin's manuscript and
prints for his planned book Noa Noa, both of 1894. It continues with famous
volumes by Marc Chagall, Henri Matisse, and Pablo Picasso from the first half
of the twentieth century; avant-garde experiments from World War I through the
1960s by artists ranging from Sonia Delaunay-Terk and Kasimir Malevich to
Robert Rauschenberg and Edward Ruscha to recent books by other contemporary
artists, such as Louise Bourgeois, Francesco Clemente, Anselm Kiefer, and
Barbara Kruger.
By the end of the nineteenth century, when the audience for posters and
prints by painters began to grow, entrepreneurial publishers began to
commission artists to illustrate small editions of books. Some of the first
publishers of illustrated books were art dealers who felt that producing books
embellished by their artists would increase the audience for their paintings.
Foremost among these visionary publishers was Ambroise Vollard, whose
publication of Odilon Redon's haunting lithographs Illustrate Gustave
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Flaubert's La Tentation de Saint Antoine (begun in 1896, published in 1938).
Daniel-Henry Kahnweiler was known for collaborating with avant-garde artists
and writers, and his first publication, L'Enchanteur pourrissant (The Rotting
Magician, 1909), paired Andre Derain with the poet Guillaume Apollinaire.
Albert Skira published Matisse's first artist's book, Poesies (1932) by
Stephane Mallarme, a harmonious matching of seductive linear drawings with
Mallarme's poetry. More recently, Tatyana Grosman worked with American
artists to produce books with unusual formats, like Rauschenberg's Shades
(1964), a book without words printed on sheets of Plexiglas.
Often classical literature, fables, and folk tales have been the subject
of artists' books. The exhibition features Les Metamorphoses (1931) by Ovid
with Picasso's etchings, The Ecologues (1927) by Virgil with Aristide
Malllol's wood engravings, and Fables (1931) by Aesop with Alexander Calder's
wiry line drawings of animals.
Artists have also used the pages of the printed book to focus on
political and social issues. For example, George Rouault's Miserere (1948),
an album of fifty-eight black-and-white aquatints, mixes episodes from the
life of Christ with images recalling the brutal events of World War I.
Picasso produced Sueho y mentira de Franco (Dream and Lie of Franco, 1937),
Box, 1934) reproduces his notes for his masterpiece by the same name, produced
two decades earlier. Josef Albers' Formulations: Articulation (1972) is a
compendium of the artist's compositional repertoire, which includes 121 color
and six black screenprints.
In the decades since the end of World War II, when American art came to
the forefront, there was a similar flourishing of publications, both on art
and as art. In the early 1960s, artist's books -- inexpensive booklets and
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object books usually entirely composed by artists -- became major vehicles of
artistic creation. With Ruscha's Twentysix Gasoline Stations (1963), 1n which
all but one photograph faces a blank page, a new artistic attitude was
established.
In the catalogue accompanying the exhibition, Ms. Castleman writes
about this abundance of creative work on the part of so many modern artists as
evidence that "the book form has become a symbol of a turning point in our
culture. Just when electronics have called into question the privacy of
possession, these multidimensional creations reaffirm the human need to
embrace objects worthy of dedicated attention, admiration, and affection."
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Public Information, 212/708-9750.