spent the day looking at some of the footage from the day with Daniel - there are some interesting sequences i'm examining with a view to looking at movements associated with how Daniel plays Boccia
meanwhile - just finished reading this years ma book art dissertations - it was interesting to look at the subject matter of the essays over the years since the ma started.
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?
