Photobooks that defined 2014

In 2014, photobook collecting continued to thrive with even more photographers than ever breaking traditional formats and leveling the hierarchy of traditional publishing platforms by taking on all aspects of controlling and presenting their own work via self publishing.

Volg het bord Photobooks that defined 2014 van Bint op Pinterest.

This year's contributor's are:

Laia Abril Andy Adams Blake Andrews Daniel Boetker Smith Adam Broomberg & Oliver Chanarin Sarah Bradley Marco Delogu Cristina de Middel John Gossage Christopher J. Johnson Manik Katyal Anne Kelly Jeffrey Ladd

Melanie McWhorter Eric Miles Colin Pantall Martin Parr Mark Power Ramon Pez Markus Schaden Takeki Sugiyama Sara Skorgan Teigen Ruth van Beek WassinkLundgren Alex F. Webb & Lewis Chalpin Roger Willems

See for photo-eye’s Best Books of 2014 ...

See for 

The 15 Best Dutch Photobooks 2014 De Volkskrant by MEREL BEM, ARNO HAIJTEMA EN MADELON MEESTER Photography

See also 

6 Lessons I’ve Learned from The Photobook: A History Volume III (3) by Martin Parr and Gerry Badger November 6, 2014 By Eric Kim

Artist Julie C. Fortier has taking Les Levine’s invitation literally House Quadrat-Print Graphic Design Company Photography

HOUSE

Quadrat-Print / Quadrat-Blatt / Feuilles-Cadrat / Kwadraat Blad

Les Levine

Les Levine: HOUSE [Quadrat-Print / Quadrat-Blatt / Feuilles-Cadrat / Kwadraat Blad]. Hilversum: Steendrukkerij De Jong & Co, 1971. First edition [limited to 1,000 copies]. Printed brown chipboard wrappers. Unpaginated. 26 black and white photographs. Publishers errata sheet laid in.   Designed by Pieter Brattinga. 

9.75 x 9.5 square octavo with 26 black and white photographs by Les Levine. “Each photograph in this book is a working plan for a sculpture or monument. The person who acquires this book should attempt to erect one of the monuments according to the scale of the space that he finds available. He may do this alone or in conjunction with a group. When he has finished his work on the monument or is tired of it, he should send photographs to Les Levine, 181 Mott Street, NYC, 10012 USA.”

"The main issue for me is the mind. The main aspect is what is going on in the mind when one is experiencing a work of art. It could be highly visual or highly conceptual, but it doesn't in the long run make any difference. I'm interested in how this is contributing to thinking." — Les Levine

Les Levine (b. 1935)   is a conceptual artist and one of the originators of media art. Early on, he recognized the potential of television as an art medium and a means of mass dissemination. He was one of the first artists to use videotape. Levine regards himself as a "media sculptor" and has used outdoor advertising, posters, television, radio, and telephone conversations in his work. He studied at the Central School of Arts and Crafts in London and exhibited and lived in Canada during the 1960s and early 1970s. In 1973 he was an artist-in-residence at the Nova Scotia College of Art and Design. He has been based in New York City since 1964.

At the beginning of his career, Levine introduced the idea of disposable art, earning the name "Plastic man." In 1966 he exhibited thousands of vacuum-formed plastic reliefs in various colours, selling them for between $3 and $6 each. This was considered a populist response to art world conceptions of art as unique and precious objects. Wiretap (1970), in the National Gallery of Canada collection, consists of 12 speakers on the wall, each playing a loop of 12 hours of recorded telephone conversations that Levine made on his home phone. The audience listens to the taped document of actual inquiries and conversations about the production of artwork over a period of one year. For its time, Wiretap was radical in proposing that the activity surrounding the process of making a work of art is as valid and interesting as the end product.

Like others of his generation, Levine addresses in his artwork issues of value and consumption in North American society. In the early 1980s, his first billboard campaigns in Los Angeles and Minneapolis followed on the heels of a successful mass media project that featured 4000 images along the NYC subway system. Levine has made over 200 videos and has had over 100 solo exhibitions. [national Gallery of Canada]

"The Quadrat-Prints are a series of experiments in printing ranging over the fields of graphic design, the plastic arts, literature, architecture and music. They are edited by Pieter Brattinga and are not for sale."

"The Quadrat-Prints appear at irregular intervals. They are published only after the most stringent requirements of intellectual and technical production have been met."

Steendrukkerij De Jong & Co. published 34 Quadrat-Prints between 1955 and 1974, with Brattinga serving as general editor and individual designers given free reign with their chosen subjects in the visual arts, literature, music, architecture, typography, etc. None of these publications were for sale -- they were distributed to friends and business associates by De Jong as elaborate self-promotions.

De Amerikaan Les Levine heeft als uitgangspunt dat kunst gebruikt moet kunnen worden. Hij wordt geïnspireerd door de technologie, de massaproduktie en de Amerikaanse 'consumer society'. Levine begon in 1965 met het maken van stoelen, strak gepakt in roze geschilderd vanvas en opgehangen aan de muur of het plafond. Hierna maakte hij 'disposable art' (wegwerpkunst): objecten in grote oplagen, die weggegooid kunnen worden, als ze gaan vervelen. Rond 1968 maakte hij zgn. star-machines, gemaakt van twee manshoge, doorzichtige, gebogen platen perspex, tegenover elkaar opgesteld in een raam van buizen. Wanneer men hierin staat, verandert het ruimtebesef en moet men zijn handen uitsteken om te voelen waar de begrenzing is. Levine heeft zich beziggehouden met het maken van enviroments, pneumatische kunst en televisieobjecten. Hij geldt als een pionier op het gebied van videokunst.

In zijn werk roept hij vragen op over de sociale en politieke reikwijdte van kunst en stelt hij het manipulatieve karakter van de media aan de kaak. De vraag welke rol de kunstenaar speelt binnen het sociale systeem komt in tal van concrete projecten aan de orde. Levine's Restaurant (New York 1968) en het Museum of Mott Art Inc. (New York 1970) zijn pogingen om de communicatie over kunst en haar functioneren te stimuleren.

Uit: Kunst van Nu. Encyclopedisch overzicht vanaf 1960, 1971 en Encyclopedisch overzicht vanaf 1970, Leiden 1995.

House (Kwadraat-Blad). Ontwerp Pier Brattinga, concept Les Levine.Uitgave: Steendrukkerij de Jong & Co, 1971, 25 x 25 cm. (referentie: Stephen Bury, Artists Books, The Book As a Work of Art 1963-1995, Scolar Press 1995).

Elke foto in dit boek is een werkplan voor een beeldhouwwerk of monument. Degene, die dit boek in zijn bezit krijgt, zou moeten trachten een van de monumenten te verwezenlijken op een schaal die in verhouding staat tot de ruimte die hij daarvoor ter beschikking krijgt. Hij kan dit alleen doen, of in samenwerking met een groep. Wanneer hij zijn werk aan het monument heeft voltooid of er genoeg van heeft, wordt hij verzocht foto's ervan te zenden aan Les Levine, 181 Mott Street, New York, New York 10012, U.S.A.

De Kwadraat-Bladen zijn een serie experimenten in druk op het gebied van de grafische vormgeving, beeldende kunst, literatuur, architektuur en muziek. Zij worden samengesteld door Pieter Brattinga en zijn niet te koop. De Kwadraat-Bladen zijn, zolang voorradig, kostenloos verkrijgbaar bij de uitgever.
Les Levine. Museum of Mott Art Inc. Catalogue of after art services 1974, 12 p. 21,5 x 14 cm. New York

A catalogue of 62 supposed services provided to artists by Levine's conceptual Museum of Mott Art Inc. Includes brief description of services and price, introduction, conditions of service and consultation such as: "Activity Selection Service for Artists (What should you do after art? Bring us your biography and a history of your previous work and we will outline a program of activities complete with variations for the next 6 years. Completely tailored to the needs of the individual. Fee - $108 925-0447 for appt), "How to Stop Being an Artist," "Language Services for Painters," "How to Kill Yourself" etc.

"Museum of Mott Art is a consultation service organization, the purpose of which is to provide information and consultation services to the fine art professions and their associates.
1. All services are given on an individual basis only. Lists or other information supplied by Mott Art are deemed to be for the client's use only and not transferable.
2. All inquiries, consultations or conversations between clients and Mott Art shall be held in the strictest of confidence.
3. Information supplied by Mott Art is given in accordance with the highest professional standards. Where an expert is required, a bona fide member of the specific profession will be consulted. Mott Art shall not be held responsible for the outcome of any actions taken as a result of the client receiving information or acting upon the use of any of our services.
4. Fees are charged as per catalogue price or $36 per hour, whichever is the greater. Where particular expertise from a qualified professional is required, the standard hourly rate of that profession shall be charged in addition. All telephone inquiries are billed at $6 per call. Fees are payable immediately as service is supplied." 

2D3D Ontwerpbureau | 2D3D galerie | Documentaire Kwadraat-Bladen from 2D3D Design on Vimeo.

Een serie experimenten in druk op het gebied van grafische vormgeving, beeldende kunst, literatuur, architectuur en muziek, uitgegeven tussen 1955 en 1974 door Steendrukkerij De Jong & Co. Speciale aandacht in deze korte documentaire voor Pieter Brattinga, directeur van Steendrukkerij Steendrukkerij De Jong & Co en initiator van de Kwadraat-Bladen.

WHAT WE MAKE: DUTCH GRAPHIC INDUSTRIES 

Julie C. Fortier
Born 1973 in Sherbrooke, Quebec, Canada.
Lives and works in Rennes.

House, 2008
Wood, 530 x 462 x 611 cm
Coproduction Les Ateliers de Rennes / Frac Bretagne

Julie C. Fortier's videos shift between filmed performance and staged disappearances or absences. Her installations and sculptures extend this work, opening up on to an artificial world, reminiscent of cartoons or film sets that plunge us into an unreal world of memory. Her themes are time, emptiness, expectancy and desire.

With funding from the FRAC Bretagne, Julie C. Fortier re-actualizes a concept devised by Les Levine (Irish-born American conceptual artist, born 1935). She carries out a task, suggested by another artist, thus raising the question of artistic authorship, the creative gesture.

Excerpt from the text "Screen façade and haunted sculpture" by Christophe Pichon, published in the exhibition catalogue:

When we peruse Les Levine’s book House, we understand to what extent this lack of information, that certain unforeseen events of reality focus on themselves, requires on the artist’s part such an attentiveness that, in order to pierce the enigma, this latter must take the form of a beat. When, in compliance with the incentive offered by Les Levine, Julie C. Fortier, in turn,

chooses a photograph from the book, in order to make a sculpture “according to the scale of the space that [she] finds available”, she does not create any further information in its regard. Her decision consists rather in assuming and laying claim to, based on an incomplete medium, the image of what she recognises and what she recollects, including if it is in a jumble and even quite remote.

By taking Les Levine’s invitation literally, and by pursuing, in order to include it in reality, what could, at the end of the day, only be a game with no tomorrow, she transforms this proposition for a sculpture that needs activating into a re-animated object, i.e. more dead than alive, on which the film can once more be overlaid. Not a film object (the set it has never been)

but an object that it has been possible to look at, in another time and another place, through film. In this little game of who is haunting whom, or who is haunting what, Julie C. Fortier does not simply contribute to the pursuit of a programme: by taking her part, she plays an active role as well in the preparation of an artistic ethics; the very same one that got Les Levine to say: “I see an artist as a remover of evil spirits”.

Ce projet consiste à appliquer le protocole de travail proposé par Les Levine dans son livre House (© Les Levine 1971, New York/Steendrukkerij de Jong & Co., Hilversum, The Netherland, 1971) au sein duquel il présente différentes photographies d'une même maison de bois en ruine.

House, 2008 Bois, 455 x 640x 650 cm. Coproduit avec l'appui du Frac Bretagne et Les Ateliers de Rennes – Biennale d'art contemporain, édition 2008. Collection FRAC Bretagne.

(Dutch) ARTIST’S BOOKS AND PHOTOGRAPHY OPEN BOOK Exhibition ParisPhoto 2014 Photography

Artist's Books - For Lack of a Better Name

by Angela Lorenz

WARNING: Artist's books should come with a warning label. Once you know what they are, be warned, you have the burden of trying to explain them to others.

Who am I to try to define artist's books? Just one person in a long succession. Perhaps I am not as qualified as the rest, being a creator of them instead of a librarian, curator, teacher or critic, but defining them seems to be a never ending task and somebody's got to do it. The only problem is, if you don't know what one is, and you keep on reading, chances are you will have to explain them to others.

As in anything, there are always exceptions to the rule. With artist's books, I would hesitate to establish rules, only tendencies. Essentially, artist's books are contemporary art. If they are art, then they must be made by artists. If they resemble books at times, then they might be defined as books, or publications, made by artists. But what if they are made by philosophers or writers? Like Laurence Sterne in Tristram Shandy (1760) or Jacques Derrida in Glas (1974) ? Stephen Bury, author of Artists' Books: The Book as a Work of Art, 1963-1995 argues that no matter how inspirational these works are, they cannot be artist's books because they were not made by artists. I assure you, the essays in his book are much better than mine. But since you've stumbled on to this essay, I'll continue. I may be a bit egalitarian or relativistic for some, but I would say that artist's books, indeed, may be made by anyone that is willing to try. That is one reason why "artist's books" is not necessarily the most apt terminology for the genre.

There are raging battles about this terminology, and many variants of the term itself. The silliest, but most prevalent disagreement, has to do with commas, or rather, possessive apostrophes, the ones up in the air. Many people would say it is Artist's Book in the singular and Artists' Books in the plural. But as I take an interest in this, and make a sort of mental tally, I have noticed "artist book", "artist books" and "artists books" often used. With the spoken word, the discrepancies disappear. Each version sounds the same out loud, and punctuation is not an issue. Punctuation is becoming even less of an issue regarding the written word due to electronic communication. Some people avoid the controversy altogether and call the art in question "book art" or "bookworks". That eliminates both the artist connection and the possessive argument. But it doesn't end here. There are all sorts of terms, for example "livre d'artiste" or "livre de peintre". They are used in english to define very special, often luxurious books with poems or literary works accompanied by original illustrations commissioned of artists by fine press publishers, often in limited editions. With artist's books, however, it is generally one individual making all the choices, without the involvement of an editor or publisher. In this sense, they may be likened to independent films. The final product reflects the artistic vision of one person, without imposed constraints connected to marketing or even censorship.

To explain the categories, subsets and tendencies of artist's books, a diagram may be helpful:

These two axis allow for many possibilities. For example, it would seem certain that a totally handmade book would also be a unique edition, or one of a kind. However, as crazy as it might be, some people choose to produce artist's books which entail all sorts of processes by hand in open-ended, or potentially infinite editions. And while it might be logical to presume that a mechanical or electronic artist's book would be produced in a very large edition, it too may be created as a unique book in an edition of one. Why would someone go to all the trouble of handsetting and proofing a letterpress text, using this mechanical process invented specifically created to print large editions of books instead of handwritten ones, for the sake of making a single copy? In order to communicate an idea. Because an artist's book is a tool used to explore and communicate ideas in a very individual way, and there are endless means to these ends, often eccentric or controversial ones.

Another way to explain artist's books is by elimination, that is, by stating what they are not:

They are not children's books
They are not sketch books.
They are not diaries.
They are not blank books.
They are not exhibition catalogs.
They are not reproductions of a body of an artist's work.
They are not art books(a common misnomer).
However, they may parody or play with any of the above, as well as all other standard categories such as novels, self-help books, non-fiction, cookbooks, operating manuals, manifestos, travel guides, essays, etc. Artist's books function in the same way as contemporary art: as an expression of someone's creativity, often with social commentary, but sometimes in a purely abstract way, in absence of words or recognizable imagery.

Then should artist's books be considered a separate category?

In the sense that they may adopt any and all forms of contemporary art, such as painting, sculpture, photography, printmaking, installation and performance art(necessarily including film and video) plus all forms of "craft" which have crept into contemporary art on their own, such as textiles or fiber art, bookbinding, typography, calligraphy, papermaking, etc, maybe they shouldn't be a separate category. But the category exists. At one time, in early nineteenth century America, the profession of sculptor did not exist in the fine arts. Photography and printmaking fought long and hard as well to be considered valid art forms, not just mechanical means of reproduction. The category of artist's books still confronts issues which no longer concern more established forms of art. They remain obscure as well: there are many artists and art collectors who have never heard of them.

What distinguishes artist's books from other art forms?

They are usually intended to be portable. They often come with specially created cases or containers to help in the storage, protection and transportation of the work. The cases are generally an integral part of the work itself, the first step in the viewing process.

They are mixed-media. They combine many processes. So that once the suite of photographs or prints or pulp paintings or weavings has been completed, the work does not end there, as it might for a photographer or printmaker or fiber artist. For someone making an artist's book, it is just one step of the way. Printing the text, die-cutting, creating a binding and a case, or preparing an installation, will often follow. Ironically, the final confection, which may include a portfolio of prints, paintings or photographs, might sell for less than a single, unbound image of artwork.

They are usually supposed to be touched and interacted with, often with a specific predetermined sequence. All of their physical attributes are not visible at once. And in the process of manipulating them, their multi-layered approaches attempt to manipulate you, just as the sequence of a film or even an obstacle course.

A single work may have a number of different display possibilities. Artist's books often have elements that may be arranged according to the viewer's preference, hanging or flat. Or the work may be designed to transform into a sculpture. An artist might interact with the book during a performance, or the book may transform itself, perhaps through melting, and be dubbed a "performance book".

They are generally not intended to decorate the collector's home. That reduces the field of private collectors dramatically, including corporate collections. It takes an unusual collector to buy art which, in being meant to be touched, requires special care, and it takes an even rarer breed to buy art that can't double as decoration, constantly on display for all to see.

So who is most likely to buy artist's books?

Public collections: libraries, museums and university special collections, which seek meaningful art regardless of its ability to adorn their walls. However, preconceptions and polemics abound within public collecting. There are debates within institutions about whether artist's books should be collected or not. Curators of museums in the U.S. and abroad have become upset that art librarians are spending money on artist's books, instead of solely on research books. Some are incensed that librarians function as curators; some resent that their own departments have no budget to collect art, so why should the library be able to? These complaints result at times in a mandate prohibiting the further purchase of artist's books.

Some institutions are permitted to purchase artist's books, but only collect books made by artists already represented in their collections of painting, sculpture or contemporary art. This reflects an often-stated bias that only artist's books made by artists established in other disciplines are worthy of attention. Perhaps this indicates that those of us who focus on artist's books should shun the title "book artist", and call ourselves photographers or painters. Few artists, or people, would choose to be pigeon-holed as to a style or category. Regardless, we are what we're labeled in the media or in history. While wonderful artists have certainly created some phenomenal artist's books, it is equally true that people dabbling occasionally in the genre sometimes fail to create effective works, because of problems with structure or concept due to unfamiliarity with the medium. And while it may be true at times that artist's books are purchased because they were created by a certain well-known artist, it is often the case instead that a work is purchased purely on the strength of its content, structure or message, regardless of who made it. This makes the field of artist's books a friendlier and more open subset of the contemporary art world.

However, every new curator or librarian brings specialties, strengths and preferences to their job, and the quantity or variety of artist's books being collected during each tenure will vary. As collections may be broad, with many different kinds of holdings, each curator or librarian will build on their institution's collections as they see fit. Sometimes, the power of an individual to collect is transferred instead to a collections committee within the institutions. This can work against artist's books, as they often benefit from a personal demonstration by artist or dealer, because of their multi-layered, sometimes subtle, approach. A prospectus describing the work, perhaps in combination with a colophon within the book, is often used to explain the work in absence of its creator.

The various issues raised above, while attempting to illuminate the genre, also demonstrate why you may have never heard of artist's books. The awareness of artist's books is surely increasing, judging from the astounding number of courses, even university degrees, offered in the book arts around the world, and due to the great number of exhibitions in libraries and museums. Not to mention the numerous book arts organizations and resources on the internet. But the road is slow, and many an enthusiastic gallerist, dealer or venue dedicated to artist's books over the last 25 years closed its doors due to the difficulties of selling artist's books while maintaining overhead costs. To be fair, this is true of contemporary art venues in general and independent bookstores as well. Even the most famous artist's book venue in the world, Printed Matter in New York City, has struggled with chronic debt, unable at times to pay artists for works sold. One of Printed Matter's founding board members, the art critic Lucy Lippard, once confided in me that when they opened, they thought artist's books would soon be found in every corner drugstore. "Boy, were we wrong," she added. Susan Herter of Herter Studios, during her tenure as editor at Chonicle Books in San Francisco, tried very hard to promote trade editions, or mass-produced approximations, of artist's books. Apart from the Griffin and Sabine series, which in fact did a lot to expand the general public's perception of the possibilities of book formats, Herter told me her efforts were unsuccessful.

But artist's books and the unusual experiences they offer are as alive as ever, despite the difficulties of making them, selling them or physically handling and displaying them. Why? Because people can't help creating them and enjoying them. And if you still don't know what one is, the easiest thing to do is to see some examples, so find one near you. Details below.

PLACES TO LOOK -

Large public libraries; university special collections or art libraries; specialized dealers and bookstores; prints, photographs and drawings collections of museums, or museum libraries, or both.

RESOURCES ON THE WEB -

http://www.philobiblon.com - "The Book Arts Web", maintained and supported by Stanford University

philobiblon.com includes book arts discussion group:

BOOK_ARTS-L@LISTSERV.SYR.EDU

a sort of (un)confidential chat for participants in the field includes Book Arts Links with comprehensive lists of organizations, materials, artists and dealers

http://www.colophon.com - "Colophon Page"

www.colophon.com hosts a discussion Forum for anyone who wants to field inquiries about the book arts via e-mail, or address the community, with no need to subscribe. Offers Umbrella Magazine online, a tenacious publication dedicated to book arts includes a calendar, gallery and marketplace with listings of vendors

Department of Creative Arts

Centre for Fine Print Research

University of the West of England, Bristol

www.bookarts.uwe.ac.uk/

Victoria and Albert Museum

Artists’ Books: Interviews with Artists

http://www.vam.ac.uk/content/articles/a/artists-books-interviews/

FREE RESOURCE MATERIALS-

For people who teach courses or lecture on artist's books, I offer some free samples of my own artist's books and process pieces as supplies last. Please contact me for details.

SUGGESTED READING -

I have listed three very different choices below, but an exhaustive selection of books about books, including making books, may be perused over the web at Oak Knoll Books. http://www.oakknoll.com 

I have also written other essays in conjunction with exhibitions. You will find them in the "writings" section of this website.

MAKING BOOKS:

Making Books by Hand - A Step by Step Guide
by book artist Mary McCarthy and Phillip Manna
Rockport Publishers, Gloucester, MA
(This is a very detailed, simple manual geared to high-school students or beginners looking for
applicable projects. Ample listings of resources, suppliers and suggested reading as well.)

Books, Boxes and Portfolios
by Franz Zeier
Design Press, New York
(This user-friendly manual guides readers through many useful formats and procedures..
Bibliography and suppliers listed in the back.)

The Thames and Hudson Manual of Bookbinding
by Arthur W. Johnson
Thames and Hudson, Ltd, London
(A traditional bookbinding manual for fine binding procedures, with historical methods
for books bound and tooled in leather.)

© 2002 Angela Lorenz

See also 

The Photobook as Artist’s Book Stephen Bury Photography

See also 

Kunstenaarsboeken (artists' books) uit Nederland en België deel 1: de jaren '70 en '80.

OPEN BOOK

Exhibition

ARTIST’S BOOKS AND PHOTOGRAPHY

Curated by Sebastian Hau and Pierre Hourquet

The exhibition presents a selection of art books published between the 1960s and today. Since the release of “Twenty-six Gasoline Stations” in 1963 by the American artist Edward Ruscha, the reproduction of photographic images is one of the preferred media for numerous international artists such as Andy Warhol, John Baldessari, Gilbert & George, Hans-Peter Feldmann and many others. This new type of book, whether a multiple object, a limited edition or unlimited publication, directly designed by the authors, has been adopted and taken up since the 1980s by photographers and contemporary artists such as Richard Prince, Christopher Wool, Wolfgang Tillmans, Sophie Calle, Mike Kelley, Gerhard Richter, Christian Marclay or Anselm Kiefer.

VIEW THE COMPLETE LIST

ARAKI
The Banquet 
Magazine House 
1993 

CARL ANDRE

Quincy book + catalogue

Addison Gallery of American Art

1973

ARTISTS AND PHOTOGRAPHS.

Multiples Inc.

1970

See also Boxed Artist's Editions: Collection of stevenleiberbasement, San Francisco, California

JOHN BALDESSARI

A Sentence of Thirteen Parts (with Twelve Alternate Verbs) Ending in Fable

Anatol AV

1977

JOHN BALDESSARI

Brutus Killed Cesar

The Emily H. Davis Art Gallery

1976

YTO BARRADA

A Guide To Trees for Governors and Gardeners

Deutsche Guggenheim

2011

MAURIZIO BERLINCIONI

Fotocoppie

Edizioni Vera Biondi

1982

CHRISTIAN BOLTANSKI

Le Club Mickey

Imschoot

1991

See also 
‘THE FINAL PHOTOGRAPH OF HER’. A conversation with Erik Kessels about the significance of artists books by Christian Boltanski

CAROL BOVE

Plants & Mammals

Horticultural Society of New York

2009

BRINKMANN & KRÜLL

Godzilla

Hake

1968

DANIEL BUREN

Halifax

Multiplicata / Lithography Workshop of N.S.C.A.D.

1974

VICTOR BURGIN

Family

Lapp Princess Press, in association with Printed Matter, Inc.

1977

WILLIAM S. BURROUGHS

Scrap Book 3

Claude Givaudan

1979

SOPHIE CALLE

Tito
Self-published
1980 -1990

CLAUDE CLOSKY / OLIVIER ZAHM

Magazine

Purple Books

1998

HUGH SCOTT DOUGLAS

Cyanotypes

Mousse Publishing

2012

PETER DOWNSBROUGH

In Place

New York

1977

DOCUMENTATION CELINE DUVALL

Coeur, point, et ligne sur plan

Documentation Celine Duval

2013

Paris

HANS EIJKELBOOM

In De Krant

1978

29 x 21 cm

See also

Erik Kessels on Hans Eijkelboom In de Krant Artist's Book Parr/Badger III Photography

HANS-PETER FELDMANN

Der Überfall

Hake

1975

HANS PETER FELDMANN

Bilder (6 /11 /12)

Edition Hans-Peter Feldmann

1970-75

FISCHLI & WEISS

Sichtbare Welt

Walther König

2000

BRAD FREEMAN

Sim War

Varicose Productions

1991

16,5 x 15,5 cm

THOMAS GALLER

Walking Through Baghdad

Edition fink

2009

GILBERT & GEORGE

Dark Shadow

Nigel Greenwood

1976

PAOLO GIOLI

La Conchiglia Dissoluta

Self-published

1990

NANCY HOLT

Ransacked

Printed Matter

1980

BRUNO JAKOB

The Touch

Kirchgemeinde Grossmünster Zürich

2014

FRANÇOISE JANICOT / BERNARD HEIDSIECK

Encoconnage

Guy Schraenen

1974

KIKUJI KAWADA

Chizu / The Map

Bijutsu-shuppansha

1965

MIKE KELLEY

The Uncanny

Sonsbeek 93 / Fred Hoffman

1993

See also  The Uncanny door Mike Kelley ... 

ANSELM KIEFER

Hoffmann Von Fallersleben Auf Helgoland

Groninger Museum

1980

MARTIN KIPPENBERGER

Michael / Michi

1989

JOSEPH KOSUTH

Letters from Wittgenstein Abridged in Ghent

Imschoot

1992

LESLIE ROBERT KRIMS

Fictcryptokrimsographs

Humpy Press Inc.

1975

LESLIE ROBERT KRIMS

The Deerslayers

Self-published

1972

LES LEVINE

House

Steendrukkerij De Jong

1971

See also 

Artist Julie C. Fortier has taking Les Levine’s invitation literally House Quadrat-Print Graphic Design Company Photography

SOL LEWITT

Sunrise & Sunset at Praiano

Rizzoli

1980

SOL LEWITT

Cock Fight Dance

Rizzoli & Multiples

1980

See also 

SOL LEWITT’S UNUSUAL COCK FIGHT DANCE Artist's Book Photography

RICHARD LONG

Rivers and Stones

Newlyn

1978

STEVE MCQUEEN

Queen and Country

The British Council Visual Arts Publications

2010

CHRISTIAN MARCLAY

Cyanotypes

JRP-Ringier / Graphicstudio

2011

ARI MARCOPOULOS

Directory

Nieves

2011

GORDON MATTA-CLARK

Wallpapers

Buffallo Press

1973

ANNETTE MESSAGER

D’Approche

J.D. Carr.

1995

JONATHAN MONK

Blue Peter

Tramway

2008

DAIDO MORIYAMA

Shashin yo Sayônara / Bye bye photography

1972

MAURIZIO NANNUCCI

Sessante verdi naturali, da una indagine

Taxipalais / Firenze Renzo Spagnoli

1977

BRUCE NAUMAN

Clear Sky (Clea Rsky)

Leo Castelli Gallery

1967-1968

SOPHIE NYS

Catalogue Version VI

Circuit

2012

RICHARD NONAS

My Life On The Floor

Buffalo Press

1974

KEN OHARA

One

Tsukiji shokan

1970

GIUSEPPE PENONE

Svolgere la propria pelle

Sperone

1971

PETER PILLER

Von Erde Schöner

Revolver / Archiv für Aktuelle Kunst

2008

25 x 25 cm

RICHARD PRINCE

Adult Comedy Action Drama

Scalo

1995

ROB PRUITT

Holy Crap

38th Street Publishers

2010

GERHARD RICHTER

Wald

Walther König

2008

SOPHIE RISTELHUEBER

Fait

Editions Hazan

1992

See also 

Chris Killip Eugene Atget Walker Evans Sophie Ristelhueber Errata Editions Books on Books Series Photography Errata Editions Books on Books Series by 5B4

Interieurs pictures of social housing François Hers Sophie Ristelhueber Photography

ALLEN RUPPERSBERG

24 Pieces

Self-published

1969

EDWARD RUSCHA

Catalog Minneapolis Institute Of Art

Minneapolis Institute of Arts

1972

EDWARD RUSCHA

Royal Road Test

Self-published

1967

EDWARD RUSCHA

OPEN BOOK: Twentysix Gasoline Stations

National Excelsior

1962

See also 

Ed Ruscha Dutch Details Sonsbeek '71 Artist Book Graphic Arts Photography

BARBARA SCHMIDT-HEINS

1949-1979

Self-published

1979

JACK SMITH

The Beautiful Book

The Dead Language

1962

STEPHANIE SOLINAS

Dominique Lambert

Alaska Editions

2010

DANIEL SPOERRI

L’Optique Moderne

Editions Fluxus

1963

KLAUS STAECK

Pornografie

Steinbach / Giessen

1971

BATIA SUTER

Parallel Encyclopedia

Roma Publications

2007

FIONA TAN

Vox Populi: Norway

Book Works

2006

Fiona Tan: Vox Populi, London from The Photographers' Gallery on Vimeo.

WOLFGANG TILLMANS

Total Solar Eclipse

Galerie Daniel Buchholz

1999

ROSEMARIE TROCKEL

Jedes Tier ist eine Künstlerin

Prospexus

1993

FRANCO VACCARI

Viaggio sul Reno Settembre 1974

Brescia

1974

ERIK VAN DER WEIJDE

Der Baum

4478

2010

See also De nabije omgeving van Erik van der Weijde

IAN WALLACE

Work 1979

Vancouver Art Gallery

1979

CHRISTOPHER WILLIAMS

Printed In Germany

Walther König

2014

Winner of the Photography Catalogue of the Year: The Production Line of Happiness and Printed in Germany from Paris Photo on Vimeo.

CHRISTOPHER WOOL

Absent Without Leave

Daad

1993

The books are lent by:

Sebastian Hau, Pierre Hourquet, Franz & Walther König, Florence Loewy, Tissato Nakahara, Chloé & Denis Ozanne, Christoph Schifferli, Benjamin Sommerhalder.

See also 

Multiple / Readings by Studio Luc Derycke