I am delighted to be presenting a paper at Livres d’Artistes: The Artist’s Book in Theory and Practice, a major international conference hosted by Special Collections and Archives (SCOLAR), in association with the Centre for Editorial and Intertextual Research and Cardiff School of Art and Design, from the 4th to the 6th of December 2015. Plenary speakers will include leading book artists Sarah Bodman, John Christie, Simon Cutts, Ron King and Sam Winston. My abstract follows below.
Conceptualising the Haptic: the Artists’ Book in the Expanded Field
The notion of the expanded field is not new. The term ‘art in the expanded field’ might be used to describe a definition of art that is post-medium – not confined to or categorised by discrete disciplines and thus moving beyond the nineteenth century restrictions of art as painting or sculpture. Latterly, it articulates an idea of a further expansion of art practice as that which encompasses aspects of writing and experimental literature. Further to this, single mediums such as painting and film are subject to ideas of an expanded field, and indeed the artists’ book itself might be said to form part of the expanded field of book. Starting by examining the existing intersections between the artists’ book and art-writing I will ask if the artists’ book, an art-form in its most orthodox sense seemingly inseparable from the idea of the handmade, single or editioned physical, haptic object, can be thus conceptualised; subject to an expansive material, textual and conceptual testing? Using examples of my own and others’ practice I will consider the possibilities of positioning the artists’ book as textual narrative, lecture, performance, and film.