Its that time again – dissertation reading for the MA Book
Arts course at Camberwell – again its interesting to read through their titles
from the inception of the course in 1996 to today – a most excellent ‘found
text’ that at the same time maps the interests of book art students and
highlights the structural evolution of the course. It also references the development of the
academic staff who work on the course from simple statements to a more
informative relationship to research and writing supporting ones practice.
Titles
1996
PERSONAL STATEMENT
Notes and Fragments: The documentation of the development of
an idea
Books: Public or Private objects?
WRITTEN STATEMENT
written statement
INTERVIEWED IN THE BOOK ART STUDIO
WRITTEN STATEMENT
STATEMENT
Written Statement
A METAMORPHOSIS AN ADVENTURE INTO BOOKARTS
1997
FRAGMENTS – PROCESS – SENSORY IMPRESSIONS
- JOURNEY WITH UNPREDICTABLE END -
An Unprecedented Event
Language as Art, Typography as Language
On Medieval Manuscripts
ABOUT BOOK ARTS
SEQUENTIAL ART or (The invention that is Art)
MA BOOK ARTS
A Projection. A theory
Book arts, Architecture, Space, Place, Paper and me
Mid-century Disjunction: the Fate of Early Modern Typography
and the Evolution of Artists’ Books As Traced In the Work of Johanna Drucker
books as visual form for communication
1998
Memories of my food in the 1970’s, 1980’s
ESSAY: ART AND ECOLOGY
Low Culture, High Art
DOCUMENTING THE CITY
Time
Not At Home: in search of green ornaments – a collected
narrative
Halfway to Inevitability
The Booked Block
1999
Judging A Book by it’s Cover: Questions of Legitimisation,
Aesthetics, and Audience. A Catalogue Essay.
MA Book Arts
ROCK & ROLL an archive
- Found Words – The use of found words and objects in Book
Art
Trivial Tales About Nothing At All
STRUCTURE
GIVER OF LIFE about rituals and metaphors, about domestic
and the feminine in life and art.
Aspects of Exhibitions and Collections
UNDERGROUND
Thinking about reading
The narrative of London
2000
Silent Books
Towards Process as the work and Reading as the practice
Natural Mystic & Book
Personal Experience and the Book Outcome
IF YOU WOULD LIVE HERE YOU WOULD BE HOME NOW
(Space is everywhere open…We are in this place)
NARRATIVE AND CONCRETE SYSTEMS IN BOOK ARTS; through the
book structure and content
The book: a psychosocial metaphor
SQUASHED FROG
CULTURE JAMMING; Its relation To My Work As A Book Artist
War, Art, and the artist as the recorder of History.
Are the contemporary pop-up books really that much better
than the Victorian ones?
MA Dissertation Book Arts 2000
THE TRIAL AND CHANGE AS AN ARTISTIC FORM OF BOOK
2001
Approaches To Depicting Space
Books as Objects
A comment on repeat through artists books and multiples,
form and process.
Time and the Artist
INTRODUCTION TO DOMESTIC PHILOSOPHY ABOUT ART, AUDIENCE AND
THERAPY
on coming to book arts
Knock! Knock! Bang! Bang!
Public Space: Room for Authority or Art?
The influence of psychological theories on changes in
representations of childhood in art since the Romantic era
‘Focusing on Studio Practice’
Alice in Wonderland
Opening the Text: The Book as a Hypertextual Object
An investigation into the Context of My Studio Practice
Evaluating House and Home
The True Nature of Conservation: Are Conservation Ethics
Commensurate with Contemporary Art Practice?
2002
An Investigation into the “Disappearance of the Book”
The gap
The efficacy of the diary format in artists’ book.
Between Author and Reader exploring the notion of the
writerly and readerly within the work of Susan King and Lygia Clark
Savouring the recipe book
The library of unpublished books: From fiction to reality
Visceral Passage: Reading the Book as Body
In/Outside Space: The shifting boundary between private and
public…how it structures our homes
Un Coup de Des: Musique Meditation on a Musigram
Book as Box : Box as Book
ELUSIVE/ALLUSIVE: Book Arts and the Undermining of ‘Truth’
and ‘Reality’
A comparison of, and investigation into, Michael Landy’s
break Down (2001) and Susan Hiller’s After the Freud Museum (1995), with
reference to the role of research within artistic practice as compared to
academic models.
2003
The Precious and the Processed: What are the implications
for the status of the art object and the integrity of the artistic vision
within the medium of artist publishing?
Man, Earth and Presence: Self-awareness in Floor-like Piece
of Work
The System of (Book) Art
Description of Life a Users Manual
The Visible Word Concrete Poetry and Book Arts
Art, Therapy and the Artist’s Book: Inspiration from Eva
Hesse and Lygia Clark
2004
How could language shape the future?
The Narratives of the Cabinet of Curiosities in 16th
& 17th century Europe and Contemporary Book Artist Practice
To receive or not to receive: choice, the gift, and art.
The Surveillance of Everyday Life: Appropriating City
Space/Book Space
The book as a space within contemporary curating
CLOTHES ENCOUNTERS OF THE THIRD KIND
Cultural shift in relationship to the significance of
objects, as seen in British collections from the sixteenth century to the
present day, with particular reference to the Enlightenment Exhibition at the British Museum, the Soane Museum
and the Saatchi Collection.
The Visual Power of Language Language Play/Word Play
The Erotic and the Innocent: The role of the
child/adolescent as seen through the role of Hans Bellmer and Dorothea Tanning
What is the role of a visual style and media in the
development of the content of a visual book?
Magic Lantern
How the Viennese painter Gustav Klimt appropriated motifs
from the Archaic Greek Art period in his paintings and in what way this
engagement might have affected his formation as a mature artist in his career?
RELATING TO DISEASE: The Narrative Origins of Medical
Artists’ Books
How do the books of Susan Hiller and Joseph Cornell differ
in their presentation and revelation of an inner, emotional journey?
In relation to my own explorations of an empty three
dimensional book space, how effectively have Rachel Whiteread and Johnathan
Callan articulated negative space and to what extent in terms of the book?
This is me, this is you: Ubiquity of self
How do Joseph Cornell and the collaborative artists cris
cheek and Kirsten Lavers (T.N.W.K.) use systems of objects to give a sense of
implied narrative?
2005
An artists’ search for sense of self, time and place,
reflected back through the Mother’s Gaze
Memory as a vehicle for self-exploration, or a gateway for
others?
Revisiting the Sublime Through Mariele Neudecker and Alison
Wilding
Exploration of inner and outer spaces in book: Through
analyzing works of Richard Long and artist books of Telfer Stroke and Helen
Douglas and Michael Snow’s, Cover to
cover and Real Fiction, I will
examine the ways of depicting spaces within book structure and spaces in
nature.
When Craft Is Applied Into Book Art
Through the exhibition Body Worlds I will examine the
relationship between art and science and the issue of consent in display of the
human body within didactic institutions
Is the Use of Photography in Documentation of Ephemeral Art
Inherently Contradictory?
What Role Does Freedom play in the work of Joseph Beuys?
Read me, Seymour! Considering Book Art worthy of analysis as
‘text’.
The influence of the “Duesseldorfer Schule” of Bernd and
Hilla Becher ass seen in the works of their former students Thomas Struth,
Thomas Ruff and Andreas Gursky.
Art imitating life, Life imitating art
The presence of mental anxiety in the artwork of the
displaced
Portraying the Stories: Paula Rego and Illya Kabakov’s
visual-storytelling practices in art context
THE ART OF NOTATION: THE MUSIC DRAWINGS OF TOM PHILLIPS
2006
Extended Artist’s Statement: Shaping the Gathered Parts
ON COLLAGE
THE WAY OF TELLING A FAMILY AS A ROUTE FOR SEEKING AN
IDENTITY
Visual Approaches of Reading sound and Listening image
Visual Sequences : speeds of reading
The Embodied experience of space: Michael Snow’s Cover to
cover
The Container of Fixed Truths
Words of Comfort The Book As A Fashion Item
Alter-ed books. Alter-ed narrative? Two Famous Artists
compared and an Emerged One takes her position.
The Journey in Book Arts
This paper is an examination of my own practise, compared
and contrasted to “The Sleepers” by Sophie Calle and Martin Newth’s “8 Hours” I
intend to explore the ideas of voyeurism in my work and where my practice
stands in relation to book arts.
2007
FUTURISTS The roots of the controversies
Where the Art Lies
Feeling the book: The book in the digital era
The promotion of the moral and social development of the
child through fairy tales
A Study on presenting the words on paper structure
The assumption of casualness and the discovery of intensity
Absence/Presence
MUSICAL SYNAESTHESIA
How Have Ideas Of Fiction, Theatre and Literature Influenced
Ilya Kabakov’s Installations; ’10 Characters’, and ‘The Artist’s Despair, of
the Conspiracy Of The Untalented’? How Do These Ideas Relate To His Thoughts On
‘TotalInstallation’ and What Effect Do His Concepts and Techniques Have On My
Own Artistic Practice?
Deconstruction/Construction
HOME
2008
Touching as reading – When does touch make a reader become
the content of a book?-
The book as a Document – Personal Statement and the audience
Exploring the notion of documenting in Artists’ books and locating their
audience by portraying and critically analyzing ‘Autobiography’ and ‘Break Down
Inventory’, works by Sol Lewitt and Michael Landy respectively.
History and foresight of public libraries in UK
Shaping issues of personal verus global feminist issues
through evocative memories within the context of book arts and particularly in
consideration of book structure.
Existence of Book and Book Art
Semiotic Guerrilla War
Hunting Rabbit
What is the difference between a book and an artist’s book?
What I pay special regards in creating my project?
Migration
The Aspects of Narration-Narrative relationships with the
object.
Through comparing and contrasting three artists’ books:
String Book, Mirror Book and Killing Book; this essay examins the physical
structure and materiality of books in order to articulate a non-verbal
sensational language, which is highly concerned in my book art practice.
2009
Does Unconventionality aid or constrict book art, or any
form of artwork?
SEEKING FOR FREEDOM – THE INSTALLATION ARTS OF ESCAPING FROM
THE SURFACE
The transitions of daily life in living spaces andpublic
spaces.
A comparative evaluation and analysis on the works of Sophie
Calle, Paul Auster and Michel DeCerteau in the context of the pedestrian self
belonging to the urban life journey.
How everyday objects infused with personal/sentimental value
are translated into artworks of public significance.
Future tense: Steampunk in Contemporary Art and Artists’
Books.
GREEN WORDS
Using Heidegger’s ideas on the nature of time and relating
them to Keith Smith’s book 91, this paper will investigate book as a form of
living art/live experience.
What would be the aim as an art practitioner by giving value
to the collection of the disposal, the clutter, or the remnants of the
ordinary, within the context of the scarce and the abundant in both Ilya
Kabakov’s work The Boat of My Life and Andy Warhol’s Time Capsules.
MULTISENSORY INTEGRATION IN INTERACTIVE MEDIA ART: PRACTICE
AND EXPLORATIONS WITH INTERACTIVE MEDIA ARTWORK FOUR SELECTED ARTISTS
By using both visual and haptic methods I intend to
investigate ‘Cover to Cover’ by Michael Snow and ‘In Between’ by Kate Farley.
This paper will compare and look critically at the ways these artists create
visual spatial experiences in their work.
HOUSE AS ART Monuments for memory – Vessels for living.
2010
Chance as an agent in art
To what extent does Marinetti resolve the apparent paradox
in his work of achieving a spatial and temporal extension which allowed
simultaneous communication and sensation?
Investigating connections between the objective and
subjective systems of classifying found material, I will be comparing Mark
Dion’s ‘Tate Thames Dig’ with Joseph Cornell’s ‘Planet Sex’ Tete Etoilee,
Giuditta Pasta (dedicace), in order to establish how the ephemeral can become
precious.
IN THE LIGHT, ONE IS AWAKE
Does a comparison of Walking and Sleeping by Richard Long
and Seven Walks London 2004-5 by
Francis Alys reveal the differences between urban and rural walking or merely
the difference or similarities between two artists who walk?
Materials can speak for themselves without words in Book
Arts
OUTLINE OF ROBOTIC AND MOSAIC ART IN EDUARDO PAOLOZZI
ARTWORKS CHILDHOOD MEMORIES, TEXT, FORM AND IMAGE AND THEIR PHYSICAL AND
PSYCHOLOGICAL RELATIONSHIPS
Is the future of comic Books related with that of the book?
“The availability of touch in art galleries and museums” A
study of today’s defined values and a personal experience from two tactile
exhibitions.
Typographic Expression in Visual and Concrete Poetry How can
typography successfully convey ideas of the text and add expression to printed word
in visual/concrete poetry.
Imposed Passive Participation. By contrasting specific
artworks by Susan Hiller and Sophie Calle I will discuss how personal artefacts
are made public in order to create and develop an intimate relationship between
the artwork and the viewer elicit a personal response and place the viewer into
an integral part of the work as a passive rather than a passive observer.
The Art of Book Structure – Deconstruction Book Body
THE IMPORTANCE OF THE ENERGY OF HANDWRITTEN TEXT IN
COMMUNICATING EMOTIONS AND IDEAS IN VISUAL ARTS BY LOOKING AT VAN GOGH’S LETTERS,
CY TWOMBLY’S DRAWINGS AND SOME CONTEMPORARY ARTISTS
2011
What else besides the body, could physical thinking look
like? A discussion of the intersection between art and dance in response to
Catherine Wood’s article The art of writing with people.
The book, socially collaborative art.
Reading in space – at what extent does language control the
space that it is placed in or is that control dictated by the space in which
the language sits?
Interpretation and Categorisation of Fired Books in Book
Arts: Three Books by Yohei Nishimura.
Can and should all art be considered therapeutic to the
artist and viewer, and in what ways can any therapeutic benefits be further
exploited?
Destructive art and auto-destructive in contemporary art is
based on the dismantling of forms to create new forms, Where, then does the
value in such art lie?
Five senses of book
Journey to the centre. How do contemporary artists use the
device of spots and circles as strategies to individualise elements of graphic
culture within their practice?
In what ways has the use of language in art changed since
the 20th century movements of Dada and Surrealism, and what is its
role in contemporary art?
Silhouette Art: the aesthetics of concealedness
In what ways have time and space been expressed by artists
in relation to artists books?
HOW DOES THE EVERYDAY MANIFEST IN CURRENT ART PRACTICES?
TECHNOLOGY, RELATIONAL AESTHETICS AND THE URBAN LANDSCAPE
Does fashion blur the boundary of gender or not? – from
French fashion to Leigh Bowery’s Art
In what ways does the writer Vladimir Nabakov and artist
Joseph Cornell approach the challenge of rendering desire in their works?
Might consideration of the artists’ book prove fruitful when
considering the evolution of other topics, for example happiness?
Is the repetition of daily life really boring and
meaningless? Which artists convince us the repetition is both enjoyable and
therapeutic?
2012
Blank But Not Empty: The hidden information of the Blank
Difficulty of dealing with personal Memories; The gap between
Hiding and Sharing
The page transition in inkless books of two artists (Ronald
King & Keith A. Smith)
Cultural transmission & importance of ancient books
study case sutra of Mountain and Sea case
HOW REBECCA HORN AND LIN TIANMIAO, REVEAL THEIR FEELINGS OF
BEING BOUNDED UNDER THE TOTAL DIFFERENT CULTURE?
What is the use of repetition communication in the works of
Kusama and Warhol, and What’s the difference between communication of their
works?
How does the photography worth of Helen Douglas and Michael
Snow build narrative without text?
How do some artists’ books of Ken Leslie, Mette-Sofie D.
Ambeck and Ronald King express thinking of Samsara
The Imagined Reading Machine: In Bob Brown’s printed
experiments in optical reading, does the reader become the Reading Machine?
Representation of weeds in the works of the artists, Kim
Beck I Tracey Bush I Beverly Penn I John Dilnot.
The relationship between the structure and content in three
artists’ books (A Maze in Book, Out of Sight, Daily Mirror)
ARTISTS’ TRAVEL BOOKS AND THE READERS AS TRAVELLERS How do
artists manage to create journalistic travel book artworks with elements for
reflecting both personal impression and objective awareness of the destination?
Interactive Aesthetic Experiences in Food-related Arts
Search for a reform consumer society
Can Tom Phillips’ ongoing art work A Humument provide us
with clues as to the conceptual form of books in the future?
The Renaissance of Writing
Between mark and script: ambiguity
Healing the fabric of the universe : an imaginal approach to
arts practice through the works of Atsushi Takenouchi and Louise Kenward.
How might the book function as a transformational object?
Can the theories of D. W. Winnicott and Christopher Bollas help to determine
the use of the book as a transformational object in works by Graham Rawle and
Henry Darger.
