An online library of artists' publishing.
- 1 Works
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- 6 Recent exhibitions
- 7 See also
|This index brings together a hundred artist's publications featured on Monoskop Log. Included are digital reproductions of every work. For more works, see also our sections on the Russian avant-garde and Fluxus as well as online repositories. To view the section on a separate wiki page, click here. Another page provides full entries of thirty artist's books most recently featured on Monoskop Log.|
|Bizzarie di Varie Figure||1624||Giovanni Battista Braccelli||Livorno||-||PDF, JPG|
The fifty plates of the Bizzarie di Varie Figure [Oddities of Various Figures] are the liveliest and most original etchings of a highly creative, if little known, Florentine artist, Giovanni Battista d’Antonio Braccelli (active 1616–49). The Bizzarie exhibit characteristics of Mannerism, which originated in Italy in the 16th century. (...)
See Sue Welsh Reed (Library of Congress, 2000).
|Die träumenden Knaben||1908||Oskar Kokoschka||Vienna||DE||PDF (1917)|
art, dreams, jugendstil, poetry, psychoanalysis, sexuality
In 1907, Fritz Waerndorfer, the financial backer of the Wiener Werkstätte, the leading design workshop in Vienna, commissioned Oskar Kokoschka, still a student at Vienna’s Kunstgewerbeschule (School of decorative arts), to make an illustrated fairy tale for his children. Kokoschka instead delivered a haunting poem about awakening adolescent sexuality set on far-off islands, away from the modern city and bourgeois life. (...)
See Rosa J.H. Berland (Source, 2008).
|Klänge||1913||Wassily Kandinsky||Munich||DE||PDF (DE), PDF (EN)|
art, avant-garde, poetry, sound
Kandinsky’s self-described “musical album,” Klänge [Sounds], consists of thirty-eight prose-poems he wrote between 1909 and 1911 and fifty-six woodcuts he began in 1907. In it, he emphasizes the physiological impact of the sonic quality of language, often repeating words until focus on meaning subsides and new focus on aural character of words emerges. These poems were instrumental in Kandinsky’s development of abstraction. (...)
See Christopher Short (Tate Papers, 2006).
|La Prose du Transsibérien et de la petite Jehanne de France||1913||Blaise Cendrars, Sonia Delaunay-Terk||Paris||FR||PDF, MP3 (1985), HTML (EN)|
abstract art, avant-garde, poetry
This collaborative book features a poem by Blaise Cendrars about a journey through Russia on the Trans-Siberian Express in 1905, during the first Russian Revolution, interlaced with an almost-abstract pochoir print by Sonia Delaunay-Terk. The work is considered a milestone in the evolution of artist’s books as well as modernist poetry and abstract art. (...)
|Tango s korovami: zhelezobetonnye poemy||1914||Vasily Kamensky||Moscow||RU|
concrete poetry, cubo-futurism, futurism, poetry, typography, visual poetry
Tango s korovami [Tango With Cows] by the Russian futurist poet Vasily Kamensky, printed in an edition of 300, has become famous primarily for being made entirely of commercially produced wallpaper, with a series of concrete poems – visual poems that employ unusual typographic layouts for expressive effect – printed onto the recto of each page. (...)
|Piedigrotta: col manifesto sulla declamazi one dinamica sinottica||1916||Francesco Cangiullo||Milan||IT|
futurism, poetry, visual poetry
Francesco Cangiullo's Piedigrotta: Manifesto on the Dynamic and Synoptic Declamation theorizes a kind of robotic and syncopated declamation. The title and cover illustration come from an annual Naples folk tradition, a pyrotechnic feast with extraordinary fireworks. These elements suggest the explosive thrust of Mt. Vesuvius, the volcano that stands over the gulf of Naples. (...)
See Mladen Ovadija (2013).
|Some French Moderns Says McBride||1922||Rrose Sélavy (Marcel Duchamp)||New York||EN|
In 1922, Henry McBride, who had been close to Duchamp for years, commissioned him to design a book for his art essays. The resulting pamphlet was composed of eighteen cardboard sheets, held together by three rings. Its title, Some French Moderns says McBride, is spelled out in twenty-seven separate file tabs attached to the right edge of each page; when viewed from the verso, these same tabs spell out the name of the book’s publisher: ‘SOCIÉTÉ ANONYME INCORPORATED’. (...)
|Dlia golosa||1923||Vladimir Mayakovsky, El Lissitzky||Berlin||RU|
avant-garde, constructivism, graphic design, poetry, typography
Dlia golosa [For the Voice], a collection of 13 poems by Mayakovsky, “constructed” by Lissitzky, has long been recognized as one of the finest achievements of Russian avant-garde bookmaking, a tradition in which poets and artists collaborated to create books that attained the status of art objects. By any reckoning, For the Voice is a landmark event in the history of modern graphic design. The book was inspired by the “new optics,” where ideas are given form through printed letters, turning them into pictorial signs, and by “words that are seen and not heard,” as Lissitzky wrote. (...)
|Lidantiu faram||1923||Ilya Zdanevich (Iliazd)||Paris||RU, FR|
dada, futurism, poetry, typography, visual poetry, zaum
Lidantiu faram [Le-Dantyu as a Beacon] is a play typed in zaum language by the Georgian-French artist-typographer Ilya Zdanevich. It remains an unsurpassed example of visually fascinating typographical contrivances and was to exert a decisive influence on the typographical component of international dadaist poetry. (...)
|Die Kunstismen / Les Ismes De L’Art / The Isms of Art: 1914–1924||1925||El Lissitzky, Hans Arp||Munich / Leipzig||DE, FR, EN|
1910s, 1920s, architecture, art, art history, avant-garde, film
This book begins with definitions by well-known artists of the various movements, or forms of art, of the period. They range from Cubism, Futurism, Expressionism, Abstract Art, through Metaphysicians, Suprematism, Simultanism, Dadaism, Purism, Neoplasticism, Merz, Proun, Perism, Constructivism, to Abstract Film. The section is followed by reproductions illustrating each movement. (...)
|Die Scheuche: Märchen||1925||Kurt Schwitters, Käte Steinitz, Theo van Doesburg||Hannover||DE||PDF, JPG (EN), PDF (ES)|
dada, de stijl, graphic design, typography
In Die Scheuche: Märchen [The Scarecrow: A Fairytale] phrasing borrowed from German fairytales, grammar lessons, and religious texts combine into a formal hybrid that is cast in type. For the creators of this children’s book, such serious play with ready-made genres and print components offered a means of collecting the fragments of the past and assembling them to rebuild for the future. (...)
See Leslie Atzmon (Design Issues, 1996).
|Abeceda||1926||Vítězslav Nezval, Karel Teige||Prague||CZ|
alphabet, avant-garde, dance, photography, poetry, typography
Abeceda [Alphabet] is a landmark work of the artists’ collective Devětsil, active in Prague and Brno in the 1920s. “In Nezval’s Abeceda, a cycle of rhymes based on the shapes of letters, I tried to create a ‘typofoto’ of a purely abstract and poetic nature, setting into graphic poetry what Nezval set into verbal poetry in his verse, both being poems evoking the magic signs of the alphabet.” – Karel Teige. (...)
|Descriptions of Literature||1926||Gertrude Stein||Englewood, NJ||EN|
One of the rarest of all Stein’s publications. (...)
|Básne v kresbách||1930||Mikuláš Galanda||Bratislava||-|
The rare artist’s book Básne v kresbách [Poems in Drawings] by Slovak avant-garde painter and designer Mikuláš Galanda was published in the year he began teaching at the School of Arts and Crafts in Bratislava. (...)
|Sovetskaya eroticheskaya azbuka||1931||Sergey Merkurov|
alphabet, art, sex
The so-called Sovetskaya eroticheskaya azbuka [Soviet Erotic Alphabet] by the monumentalist sculptor Sergei Dmitrievich Merkurov (1881-1952), the author of numerous monuments to Stalin (including the three largest in the USSR) and Lenin.
See Ross Wolfe (2013).
|Emilie přichází ke mně ve snu||1933||Jindřich Štyrský||Prague||CZ||PDF (1997, EN)|
collage, dreams, eroticism, sexuality, surrealism
Jindřich Štyrský (1899–1942) was a painter, poet, photographer, collage artist and editor. A founding member of The Surrealist Group of Czechoslovakia he edited Erotická revue that included illustrations by well-known Czech artists and had an imprint called Edice 69 (Edition 69) where Emilie přichází ke mně ve snu [Emilie Comes to Me in a Dream], a portfolio of 10 erotic surrealist photo-collages, appeared in 1933 as its sixth and final volume. Štyrský believed that in pornography he had found a destabilizing medium that could be used to subvert established social and artistic norms. Bohuslav Brouk, a psychoanalyst affiliated with the Czech surrealists, contributed an afterword in which he commented forcefully on the subject of pornography as art. Despite its small run of 69 copies, the book is now considered a masterpiece of Czech Surrealism. (...)
|Ler dla canpane||1948||Jean Dubuffet||Paris||FR||PDF, JPG|
An early work of Dubuffet, written phonetically and illustrated with six linocuts and woodcuts. The author presented it as “le premier texte publié en langue française vivante depuis les Serments de Strasbourg” [the first text published in French as a living language since the Oaths of Strasbourg]. Issued in 150+15 copies. (...)
|Poésie de mots inconnus||1949||Iliazd||Paris||FR||PDF, JPG|
avant-garde, dada, poetry, sound poetry, visual poetry
An early anthology of experimental visual and sound poetry featuring poems by 21 avant-garde authors and illustrated with seven woodcuts, six etchings, two engravings, three drypoints, two aquatints, and six lithographs. (...)
See Johanna Drucker (Amodern, 2016).
|Yves Peintures||1954||Yves Klein||Madrid||FR||PDF, JPG|
art Peintures was Yves Klein’s first public gesture as an artist, featuring pages of “commercially printed papers” that were seemingly reproductions of paintings that, in fact, didn’t exist. (...)
See Denys Riout (Yves Klein, 2006: 26).
|Fin de Copenhague||1957||Asger Jorn, Guy Debord||Copenhagen||FR, DA|
Fin de Copenhague [Goodbye to Copenhagen] is the first collaboration between Asger Jorn and Guy Debord. The book is credited to Jorn, with Debord listed as “Technical Adviser in Détournement”. The pages include text in English, French, German, and Danish; illustrations of whisky bottles beer bottles and cigarettes; aeroplanes and ocean going liners; cartoons of well dressed men and pretty girls and various maps of Copenhagen. Each page is covered with a second layer of coloured ink drops and drips, most of which go right to left, emphasising the direction of the book from beginning to end. (...)
|Mémoires||1958||Asger Jorn, Guy Debord||Paris||FR||PDF (1959, 254 mb), PDF (1993), PDF (2015, EN)|
Mémoires [Memories] is the second of their two collaborative books made by Jorn and Debord whilst they were both members of the Situationist International. The pages consist of phrases, photos, drawings and cartoons that Debord cut out of other works, and then pasted up in a randomly suggestive manner. Debord then had Jorn taint these ‘prefabricated elements’ with paint. The colors suggest possible readings of the phrases or simply lend a mood to the images. These plates were then bound in sand-paper to destroy any other books it came into contact with–Debord calls them an anti-book. The book was published at Jorn’s expense and given away as a sumptuous gift to friends. (...)
|An Anthology of Chance Operations||1963||La Monte Young, Jackson Mac Law||New York||EN|
art, avant-garde, conceptual art, fluxus, music, poetry
A source-book of early Fluxus classics. A collection of texts, scores for events, instruction cards, experimental poetry, and much more by artists musicians, poets, and dancers, who founded Fluxus, minimalism, conceptual art, and other experimental practices. Includes Henry Flynt’s first essay on concept art. (...)
|Twentysix Gasoline Stations||1963||Edward Ruscha||Alhambra, CA||EN||PDF, ZIP|
Twentysix Gasoline Stations is the first artist’s book by the American artist Ed Ruscha. Published in April 1963 on his own imprint National Excelsior Press, it is often considered to be the first modern artist’s book, and has become famous as a precursor and a major influence on the emerging artist’s book culture, especially in America. The book delivers exactly what its title promises, reproducing 26 photographs of gasoline stations next to captions indicating their brand and location. From the first service station, ‘Bob’s Service’ in Los Angeles where Ruscha lived, the book follows a journey back to Oklahoma City where he had grown up and where his mother still lived. The last image is of a Fina gasoline station in Groom, Texas, which Ruscha has suggested should be seen as the beginning of the return journey, ‘like a coda’. (...)
See Rosalind Krauss (Under Blue Cup, 2011: 73-78).
|Water Yam||1963||George Brecht||Germany||EN||PDF (1972)|
Originally published in Germany, June 1963 in a box designed by George Maciunas and typeset by Tomas Schmit, Water Yam has been re-published in various countries several times since. It is now considered one of the most influential artworks released by Fluxus. The box, sometimes referred to as a Fluxbox or Fluxkit, contains a large number of small printed cards, containing instructions known as event-scores, or fluxscores. Typically open-ended, these scores, whether performed in public, private or left to the imagination, leave a lot of space for chance and indeterminancy, forcing a large degree of interpretation upon the performers and audience. (...)
|Barakei||1963||Eikoh Hosoe, Yukio Mishima||Tokyo||JP||PDF, PDF (1985, EN)|
body, eroticism, photography
The legendary photobook Barakei — Killed by Roses is a collaboration between photographer Eikoh Hosoe and writer Yukio Mishima. Hosoe used props, personal belongings and backgrounds readily available in Mishima’s house to cast the renowned writer as his subject in a sequence of surreal scenery. (...)
See Eikoh Hosoe (ASX, 2010).
|Grapefruit: A Book of Instructions and Drawings||1964||Yoko Ono||Tokyo / New York||JP||PDF (EN, 1970, part), PDF (ES), PDF (PT)|
art, conceptual art, poetry
Yoko Ono's Grapefruit has become famous as an early example of conceptual art, containing a series of “event scores” that replace the physical work of art – the traditional stock-in-trade of artists – with instructions that an individual may, or may not, wish to enact. (...)
|As Is When||1965||Eduardo Paolozzi||London||EN|
machine, pop art
As Is When is Eduardo Paolozzi’s homage to the philosopher Ludwig Wittgenstein created after reading his biography written by George Vaughan Wright. Wittgenstein’s study of linguistic systems coincided with Paolozzi’s love of toys and games and influenced his approach to the “syntax” and “vocabulary” of picture-making. The work began as a series of collages whose components were drawn from Paolozzi’s vast collection of found printed ephemera, which included such diverse materials as Woolworth wrapping paper and clippings from engineering manuals. Each of them was accompanied by quotations from Wittgenstein’s own writings or passages from the biography book.
See Wendy Weitman (Pop Impressions, 1999).
|Flux Year Box 2||1965- 1968||George Maciunas||EN|
Flux Year Box 2, a signature Fluxus production, is a boxed anthology of works that was edited and assembled by Fluxus “chairman” George Maciunas beginning in about 1965. Like all Fluxus editions, the contents of each box varies depending on what Maciunas had available at the time. (...)
|12 x 9||1967||Álvaro de Sá||Rio de Janeiro||-|
concrete poetry, visual poetry
A process-poem [poema processo] by the Brazilian poet, critic and philologist. (...)
|Screen Tests / A Diary||1967||Gerard Malanga, Andy Warhol||New York||EN|
film, photography, poetry
The 54 stills of Screen Tests/A Diary–which picture actors and poets, socialites and thieves, models, consumers of amphetamine, painters, filmmakers, and musicians–are frame enlargements from short black-and-white silent-film portraits made between 1964 and 1966 by Andy Warhol with the assistance of Gerard Malanga and/or Billy Linich, also known as Billy Name, who lived at the Factory. Each still consists of one or two entire frames from the film footage, and part of either one or two additional frames. (...)
|Store Days: Documents from The Store, 1961, and Ray Gun Theater, 1962||1967||Claes Oldenburg||New York||EN|
art, happening, installation art, performance, performance art, sculpture, theatre
In December 1961, Oldenburg opened The Store in the rented storefront at 107 East Second Street that served as his studio, which he called the Ray Gun Manufacturing Company. A fully elaborated manifestation of the project that he had begun months earlier, The Store conflated two disparate types of commerce: the sale of cheap merchandise and the sale of serious art. Oldenburg packed more than one hundred objects into the modestly sized room, setting previously exhibited reliefs alongside new, primarily freestanding sculptures. Everything was available for purchase, with prices starting at $21.79 up to $499.99. After The Store closed, on January 31, 1962, Oldenburg used the space to stage a series of performances collectively titled Ray Gun Theater. (...)
Striptease is a small, handmade album. Its intimate scale, and the cover’s floral fabric and closeup portrait of the artist, suggest a diary or keepsake book. Within the volume’s pages Švecová recorded and reflected on her work, which ranges from pasted photographs and typed descriptions of Aktual group activities to a decorated comb and hand-stitched statements conveying her interest in clothing design and fashion (“Be a tailor for yourself”). (...)
See Kim Conaty (MoMA Post, 2015).
|Wrinkle||1968||Liliana Porter||New York||EN||PDF, GIF|
new york graphic workshop
Ten photoengraved etchings; with an interview by Emmett Williams. (...)
|Xerox Book||1968||Seth Siegelaub, John W. Wendler||New York||EN|
art, conceptual art
Perhaps one of the most revered artists’ publications of the 1960s, the Xerox Book, published by dealers Siegelaub and Wendler is a xerox book in name only. Conceived by Siegelaub as an inexpensive artists’ publication – each artist was afforded twenty-five pages [plus a cover / title page] to execute a site specific project for the publication. The resulting projects were among the most important ever printed by these artists Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris and Lawrence Weiner. When going to press Siegelaub discovered that xeroxes would be more expensive than traditional offset lithography so the xeroxing was forgone for reasons of expense, however, the name of the intended publication lives on. (...)
|Four Basic Kinds of Straight Lines||1969||Sol LeWitt||London||EN|
art, conceptual art
LeWitt's small book of cross-hatched lines is an early example of his career-long interest in the production of art by systematic means--in this case, by mathematical permutations. (...)
See Anne Evenhaugen (Smithsonian Libraries, 2013).
|Miss Vietnam||1969||Wolf Vostell||San Francisco||EN|
art, fluxus, happening
Contains “Genesis and Iconography of My Happenings”, “Miss Vietnam”, and “Hommage to Durer”. (...)
|Návod k upotřebení||1969||Jiří Kolář||Most||CZ||PDF, HTML (EN)|
A collection of collages and “destatic” poems from the Czech experimental poet and artist. (...)
See Pavlína Morganová (Sešit, 2013, CZ).
|The History of Violence in America||1970?||Stan VanDerBeek||Boston?||EN|
art, collage, education, machine, mass media, media, participation, performance
Stan VanDerBeek was part of the “Rockefeller Artists-in-Television” residency program at Boston public television station WGBH from 1969–1970, during which time he produced the simulcast television program Violence Sonata. The program, directed by David Atwood and Fred Barzyk, was transmitted simultaneously on both Channels 2 and 44 on 12 January 1970, with the suggestion that viewers place two television sets side-by-side. The series of collages entitled The History of Violence in America was conceived as layouts for reproduction and publication in a booklet to accompany the broadcast. (...)
See Melissa Ragain (X-TRA, 2012).
|Un coup de dés jamais n'abolira le hasard||1969||Marcel Broodthaers||Antwerp||FR|
Un coup de dés jamais n’abolira le hasard [A Throw of the Dice will Never Abolish Chance] is a close copy of the first edition of the Symbolist poet Stéphane Mallarmé’s poem of the same name, published in 1897, but with all the words removed, replaced by black stripes that correspond directly to the typographic layout used by Mallarmé to articulate the text. Often included in exhibitions tracing the history of the artist’s book, the work is seen as a seminal example of the European post-avant-garde. (...)
|Teaching and Learning as Performing Arts / Lehren und Lernen als Auffuehrungskuenste||1970||Robert Filliou||Cologne/New York||EN, DE||PDF (EN/DE), PDF (FR, 1998)|
art, art education, education, fluxus, pedagogy, performance art
"Off and on 3 years of work and now VERLAG GEBR. KOENIG, KOELN – NEW YORK publishes the first draft of TEACHING AND LEARNING AS PERFORMING ARTS by ROBERT FILLIOU and the READER if he wishes, with the participation of JOHN CAGE, BENJAMIN PATTERSON, GEORGE BRECHT, ALLEN KAPROW, MARCELLE, VERA and BJOESSI and KARL ROT, DOROTHY IANNONE, DITER ROT, JOSEPH BEUYS. It is a Multi – book. The space provided for the reader’s use is nearly the same as the author’s own” (...)
See Hannah Higgins (Fluxus Experience, 2002: 188–189, 195–207).
|Fantastic Architecture||1971||Wolf Vostell, Dick Higgins||New York||EN|
architecture, art, city, collage, fluxus, manifesto
Published by Dick Higgins’ own seminal Something Else Press, Fantastic Architecture is an adaptation of the German book Pop Architektur (Droste Verlag, Düsseldorf, 1969) and features artists involved in Fluxus, pop and conceptual art movements addressing the field of architecture through collages, captions and mini-manifestos. (...)
|Journal of the Identical Lunch||1971||Alison Knowles||San Francisco||EN||PDF, JPG|
A journalistic account of a series of performances of a single piece. The book begins with a description of ‘the identical lunch’ which consists primarily of ‘a tunafish sandwich on wheat toast with lettuce and butter, no mayo, and a large glass of buttermilk or a cup of soup.’ These were eaten ‘many days of each week at the same place and at about the same time.’ (...)
See Johanna Drucker (The Century of Artists’ Books, 1995: 345-346).
|Navilouca: almanaque dos aqua-loucos||1974||Torquato Neto, Waly Sailormoon||Rio de Janeiro||BR-PT|
art, brazil, cinema, concrete art, concrete poetry, counterculture, poetry, tropicalia
Navilouca was a Brazilian avant-garde art and poetry magazine, of which only a single issue appeared. (...)
|Sonic Meditations||1974||Pauline Oliveros||Baltimore||EN|
25 meditations for musicians of all ages and skill levels, to help them learn how to focus on, listen to, and produce sound naturally. An important work in the development of Oliveros’ Deep Listening. (...)
|The Book of Breeething||1974||William S. Burroughs||Essex||EN||PDF (1975)|
A short essay on Egyptian hieroglyphics, Hassan i Sabbah, The Curse of King Tut and state-coups. With illustrations by Robert F. Gale. (...)
|Un voyage en mer du nord||1974||Marcel Broodthaers||Brussels / London||FR|
book, image, painting
|For Publication||1975||Dan Graham||Los Angeles||EN|
conceptual art, mass media
For Publication reproduces a series of Dan Graham’s projects carried out between 1965 and 1969 that both drew from and were made to be inserted into the mass media. His Schema deal with quantifying linguistic and stylistic information from magazine articles; Detumescence was one of many projects that Graham deployed in paid advertising space of various magazines, as was Dan Graham Inc. and Likes: A Computer-Astrological Dating-Placement Service. Income Piece and the proposal for Aspen Magazine are reproduced as is Homes For America, originally published in Arts Magazine from Dec 1966-Jan 1967. In a section on Information, Graham situates his data-organization practices in the context of Ramon Llull, Borges, Marshall McLuhan, Mallarmé and Roy Lichtenstein. (...)
|Joseph Beuys: Coyote||1976||Caroline Tisdall||Munich||PDF (2008, 226 mb)|
art, performance art, photography
Coyote was the first attempt to capture a performance by Joseph Beuys in book form. Beuys’s action, I Like America and America Likes Me, took place in May 1974, when he spent seven days and nights in a room with a wild coyote. The artist’s activities during his confinement with the coyote followed a repeated pattern. He employed a number of objects: felt, a walking stick, gloves, a flashlight and the Wall Street Journal – fifty copies were delivered daily. Over the period of a week, man and beast developed a mode of wordless co-existence, a two-sided performance that became rich with assumed meanings. Caroline Tisdall, a longstanding friend of the artist, who has written extensively on Beuys and has directed films about him, took most of the photographs and wrote the accompanying text. (...)
See Jan Verwoert (e-flux, 2008).
|Félicia / par elle-même. Hommage et depassement de Debord||1976||Paris||FR|
Anonymous pamphlet outlining an aesthetic informed by Situationism. (...)
|Photo Grids||1977||Sol LeWitt||New York||-|
art, conceptual art, grid, minimal art
A book of forty six plates, each with nine color photographs taken and arranged in a tic tac toe grid by the artist with an eye to pattern. Subjects include paneled doors, window panes, gates and fences, cement and mosaic floors, metal bridgework, etc. Three years later LeWitt published Autobiography, which used the same grid format to tell the story of his daily life. (...)
|Ray Johnson Ray Johnson||1977||Ray Johnson||New York||EN|
art, art criticism, mail art
Reproduces several texts and works by Johnson, a number of essays by William S. Wilson, and photographs of Johnson by Toby Spiselman. (...)
|Ray Johnson, Ray Johnson, Ray Johnson||1978||John Willenbecher||New York||EN|
Reproduces a number of artworks, poems, and mail art examples by Johnson, an essay on Willenbecher by William Wilson, and several reproductions and prose works by Willenbecher. (...)
|The Yellow Book||1978||Anna Banana||San Francisco||EN||PDF, JPG|
dada, mail art
|Book of Typewriter Art||1982||Bob Neill||Cornwall||EN|
typewriter, typewriter art
Bob Neill, artist of the typewriter, was born in the Kent village of Aylesford and practises as a professional Hypnotherapist in the County Town of Maidstone. He first started typing pictures on his typewriter in 1960, having read about a woman in Spain who was producing this form of typewriter art. His first effort was a portrait of a magazine cover-girl which was published in the Star evening newspaper. (...)
|Code Poems from The International Code of Signals for the Use of All Nations||1982||Hannah Weiner||Barrytown, NY||EN|
code, communication, poetry
"I am interested in exploring methods of communication that will be understood face to face or at any distance, regardless of language, country or planet or origin, by all sending and receiving." (...)
See Hannah Weiner (1969).
|De Ridder Retrospective||1983||William Levy, Willem de Ridder||Groningen||NL, EN|
art, fluxus, performance, radio art, theatre
Book with comic strips, conversations and a chronology of Dutch radio art maker, magazine editor and Fluxus member Willem de Ridder, issued to accompany his retrospective at the Groningen Museum in the Summer of 1983.
|Transpoets||1989||Ry Nikonova, B. Constriktor, Serge Segay, A. Nik||Trento||RU|
avant-garde, collage, poetry, transfurism, zaum
A work of transfurist art and poetry. (...)
|History of the/my Wor(l)d||1990||Johanna Drucker||Cambridge, MA||EN||PDF, JPG|
feminism, history, memory
A striking alternative to the familiar telling of historical events, Drucker’s account of mythic and major events in the course of western civilization marches roughshod over received traditions. The combination of typographic innovation, visual puns and linguistic play are unique elements of her style. A richly suggestive work interweaving official history and individual memory. (...)
See Johanna Drucker & Tate Shaw (Journal of Artists' Books, 2007).
|NovaText||1990||Critical Art Ensemble||Brooklyn, NY||EN||PDF, JPG|
criticism, poetry, text
The texts "The Critical Function", "Unknown Fact Number One", "Always Already", "The Funest Experiment", "Like A Big Dog", and "This Will Be the Death of Chit-Chat" are letterpressed onto thin, white handmade papers. These lift, like veils, to reveal the “hidden texts” and “annotations” to each piece printed on a sturdier green paper. (...)
|Escritas arcaicas||1991||Wlademir Dias-Pino||Rio de Janeiro|
A book composed of colour plates first created in the early 1970s by the Brazilian poet and graphic artist Wlademir Dias-Pino. Published as one of the 1,001 volumes of Enciclopédia Visual [Visual Encyclopedia] series. (...)
body, nudity, photography, popular culture, sex, sexuality
One of the most controversial books of the 1990s, now long out of print. (...)
See Isabella Rossellini (Huffington Post, 2014).
|Gasbehälter||1993||Bernd & Hilla Becher||Munich||DE||PDF (EN)|
architecture, art, conceptual art, gas, industrial architecture, photography
Typological, repetitive, at times oddly humorous, Bernd and Hilla Becher’s photographs of industrial structures are, in their cumulative effect, profoundly moving. In this work, the Bechers’ present four principally different forms of gas holders or gas tanks in 140 photographs taken during the years 1963-1992 in Great Britain, France, Belgium, Germany, and the United States. The subjects are photographed under overcast skies that eliminate expressive variations in lighting; the Bechers make no attempt to analyze or explain them. Captions contain only the barest of information: time and place. On the subject of gas holders, the Bechers limit their remarks to a minimal functional description, leaving the aesthetic dimension of their subject to the photographs themselves: much of the fascination of these photographs lies in the fact that these unadorned metallic structures, presumably built with little concern for their visual impact, are almost invariably striking in appearance. (...)
|Fish Story||1995||Allan Sekula||Düsseldorf||EN||PDF (2002)|
The Fish Story project focuses on the quest for centers of maritime power past and present and the political interest in the change in the economic infrastructure of industrial ports yielded by late-capitalist rule in its phase of multinational and global expansion. This is the third project of the American photographer and historian Allan Sekula in his cycle on the imaginary and real geography of the advanced capitalist world. (...)
|Silent Movie||1995||Chris Marker||Columbus, OH||EN|
cinema, film, film history, silent cinema, silent film
In Silent Movie, Marker employs five-channels of video, each a thematic exploration of early cinema. Film images disclosing ‘The Journey,’ ‘The Face,’ ‘The Gesture,’ and ‘The Waltz’ occupy four of the monitors while on the fifth (and middle) monitor is a collection of ninety-four silent-era intertitles, ‘telling short, mysterious pieces of unknown stories.’ These moving images travel through a computer interface that assembles an ever-changing array of sequences. At any given moment, each passage is in unique juxtaposition with the other images passing across the surrounding monitors. Coloration, tone, and association are governed by chance contiguities; even the intertitles narrate across a field of fluid relationships. (...)
|JFL: What Does ""Why"" Mean?||2002||Octavian Esanu||Stuttgart||EN|
philosophy of art
Hilarious and profound. This book has so many layers of meaning that you can read it every day for the rest of your life. In 2001, while residing at Akademie Schloss Solitude in Stuttgart, artist and curator Octavian Esanu read hundreds of interviews and essays by artists and art critics. He then formed a new text out of questions about art, that he culled from his readings. Each question is duly footnoted. (...)
|Artist's Diary 2003||2003||Heath Bunting||Bristol||EN||PDF, JPG|
Heath Bunting rarely puts his thoughts and feelings on screen with words. Usually, they were blazoned across networks in passionate expressive structures which he draws from the ever encroaching apparatus repressive. His artist’s diary for 2003 provides provocative insight into his character and the evolution of his work. (...)
|Schadenfreude Book Kassel||2003||Luchezar Boyadjiev||Kassel||EN|
appropriation, art, balkans, contemporary art
"This is my artist’s book based on the altered and heavily manipulated catalogue of the exhibition of contemporary art from the Balkans titled In the Gorges of the Balkans, 2003, in Kunsthalle Fridericianum in Kassel, Germany. The book is part of my work-in-progress titled Schadenfreude Guided Tours (2003), which originated in and with this show. The work is the visual-textual summary of the tours." (...)
See Luchezar Boyadjiev (Manifesta Journal, 2003).
|A Collection of Google Street Views||2008–||Jon Rafman||Montreal||EN||PDF (1), PDF (2), PDF (3)|
art, google, photography, surveillance
Jon Rafman has spent a considerable amount of time capturing and compiling Google Street View images that fulfill an artistic quality rather than purely informative. (...)
|Aluminium: Beauty, Incorruptibility, Lightness and Abundance, The Metal of the Future||2008||Graham Harwood||Bolzano||EN|
history of technology, industry, technology, video
Aluminium is a futurist graphic book and film about the social history of aluminium. In 2009 it will be 100 years since Marinetti set out the Futurist manifesto in which advocated the consumption of metal bolts and engine oil to turn men into machines. Marinetti believed in speed, machines and violence, values that for him were epitomised in the recent invention of aluminium. Drawing on archival footage from the aluminium industry, Harwood derives algorithms from the Futurist Manifestos to create the books cells by recording only the differences between key video frames. Caption texts are gathered up and edited together by issue crawlers as they search across the Internet. Aluminium takes the futurist logic of the 20th Century and turns it back upon its self.
|D.I.Y. Satellite||2009||Song hojun||Seoul||EN, KO||PDF (KO), PDF (EN)|
diy, hardware, open source, software, space
A zine by Song hojun, the leader of Open Source Satellite Initiative for developing a D.I.Y. satellite. Based on the artist’s sketch and manual of D.I.Y. Satellite, the publication contains thoughts on private space program, its execution plan, and things are going to happen afterward. (...)
|XYM||2009||Marlie Mul, Yngve Holen||EN||PDFs|
A project initiated by Marlie Mul and Yngve Holen. (...)
|Light Transformer Prototype||2010||Adrien Lucca||Brussels||FR|
colour, design, light, mathematics
Le présent travail est le fruit d’une recherche qui s’étendit sur plus d’un an, et que cette première publication n’épuise pas. [..] J’ai voulu offrir à son lecteur ou à sa lectrice une véritable expérience de lecture – au sens peut-être le plus conservateur du terme – doublée d’une expérience visuelle et tactile de première main. Je prétends ainsi leur communiquer une synthèse d’observations et de pensées privées, personnelles. Cet essai pourra par conséquent contenir des erreurs ou des naïvetés qui m’auront échappées. Avant tout, j’espère y avoir trouvé un point d’équilibre entre contenus vusuels, textuels et stylistiques. (...)
appropriation, comics, conceptual comics
Katz is a pirated edition of Art Spiegelman’s seminal graphic novel Maus. Katz is an exact copy of the French edition of Maus, with the difference that all the animal characters, have been redrawn as cats.
|56 Broken Kindle Screens||2012||Silvio Lorusso, Sebastian Schmieg||EN||MOBI, ZIP|
book, e-book, glitch
56 Broken Kindle Screens is a print on demand paperback that consists of found photos depicting broken Kindle screens. The Kindle is Amazon’s e-reading device which is by default connected to the company’s book store. The book takes as its starting point the peculiar aesthetic of broken E Ink displays and serves as an examination into the reading device’s materiality. As the screens break, they become collages composed of different pages, cover illustrations and interface elements. (...)
|Afronauts||2012||Cristina De Middel||Cádiz||EN|
africa, documentary, photography, space race, zambia
In 1964, still living the dream of their recently gained independence, Zambia started a space program that would put the first African on the moon catching up the USA and the Soviet Union in the space race. Only a few optimists supported the project by Edward Makuka, the school teacher in charge of presenting the ambitious program and getting its necessary funding. But the financial aid never came, as the United Nations declined their support, and one of the astronauts, a 16 year old girl, got pregnant and had to quit. That is how the heroic initiative turned into an exotic episode of the African history, surrounded by wars, violence, droughts and hunger. (...)
See Aline Smithson (Lenscratch, 2012).
|Critical Making||2012||Garnet Hertz||Hollywood||EN||PDF, PDFs|
3d printing, art, contemporary art, critical making, design, diy, diy biology, engineering
Critical Making is a handmade book project by Garnet Hertz that explores how hands-on productive work ‐ making ‐ can supplement and extend critical reflection on technology and society. It works to blend and extend the fields of design, contemporary art, DIY/craft and technological development. It also can be thought of as an appeal to the electronic DIY maker movement to be critically engaged with culture, history and society: after learning to use a 3D printer, making an LED blink or using an Arduino, then what?
|Flash + Cube, 1965-1975||2012||Marget Long||New York||EN|
1960s, light, media technology, photography, vietnam war, war
A book about the Sylvania flashcube — the space-aged, flash photography device, revolutionary in 1965 and nearly obsolete by 1975. Assembled from a wide range of archival materials — a “terrorist letter,” G.I. photographs from Vietnam, Sylvania flashcube advertisements, as well as Long’s photographs and photomontages—the book explores the links between light, war, history and photography. (...)
See Anna McCarthy (Social Text, 2012).
|The SKOR Codex||2012||La Société Anonyme||Amsterdam||-|
archive, archiving, art, code, data, digital heritage, media art, preservation
The SKOR Codex is a printed book which will be sent to different locations on earth. It contains binary encoded image and sound files selected to portray the diversity of life and culture at the Foundation for Art and Public Domain (SKOR), Amsterdam, and is intended for any intelligent terrestrial life form, or for future humans, who may find it. The files are protected from bitrot, software decay and hardware failure via a transformation from magnetic transitions on a disk to ink on paper, safe for centuries. Instructions in a symbolic language explain the origin of the book and indicate how the content is to be decoded. (...)
See Annet Dekker and La Société Anonyme (Open!, 2014).
|A Bestiary of Spam Characters||2013||André Castro, Silvio Lorusso||Berlin||EN|
Booklet resulting from the workshop “Spam Publishing” held at Transmediale 2013, Berlin. (...)
|Bon Ton Mais Non||2013||Irena Haiduk||EN|
An 80 point manifesto on polite art. Like every intimate dinner party, Bon Ton Mais Non requires one symphony orchestra, a pastry chef, a large mirror, and the fact of cannibal sirens. (...)
|Diagrammatic Writing||2013||Johanna Drucker||Eindhoven||EN|
book, diagram, gestalt theory, graphic design, text, writing
Diagrammatic Writing is a poetic demonstration of the capacity of format to produce meaning. The articulation of the codex, as a space of semantically generative relations, has rarely (if ever) been subject to so highly focused and detailed a study. The text and graphical presentation are fully integrated, co-dependent, and mutually self-reflexive. (...)
Johanna Drucker (Iowa Review, 2014).
|Diff in June||2013||Martin Howse||Brescia||EN|
archive, data, language
Diff in June tells a day in the life of a personal computer, written by itself in its own language, as a sort of private log or intimate diary focused on every single change to the data on its hard disk. Using a small custom script, for the entire month of June 2011 Martin Howse registered each chunk of data which had changed within the file system from the previous day’s image. Excluding binary data, one day’s sedimentation has been published in this book, a novel of data archaeology in progress tracking the overt and the covert, merging the legal and illegal, personal and administrative, source code and frozen systematics. (...)
|1887 – Splendide Hotel||2014||Dominique Gonzales-Foerster||Paris||FR, EN|
In Splendide Hotel – 1887 there is one sole room and it is transparent, containing apparitions of all literary, musical, scientific and abstract sorts. From an internal monologue to quantum physics to the gramophone and bioluminescence, within this little book there is a collection of nearly all the references serving to rebuild this hotel within the Cristal Palace to reveal 1887 as the birth year of our universe. (...)
|Theory||2015||Kenneth Goldsmith||Paris||EN, FR||PDF (EN), PDF (FR)|
language, literature, poetics, poetry, theory, writing
Theory offers an unprecedented reading of the contemporary world: 500 texts – from poems and musings to short stories – printed on 500 pages assembled in the form of a ream of paper. Curated by the author-poet, this collection maps out the various issues and trends in contemporary literature in a world currently being shaken up by everything online and digital, and calls for the reinvention of creative forms. (...)
|Dark Sound||2016||Mikel R. Nieto||Frankfurt/M.||EU, ES, EN||PDF, MP3|
ecuador, environment, field recording, oil
The book contains “Ecopolitik”–an introduction as an epilogue by José Luis Espejo, a letter to the Huaorani people, two research texts and one bertso, descriptive texts and photos of recordings, a possible chronology, a glossary, a compilation of several texts with testimonies, reports and declarations from different people, groups, institutions, and publications in reference to the impact—direct or indirect—of the noise from the oil industry during its various phases of development on the people, the environment and the fauna. (...)
|A Physical Book||2017||Liza Daly||EN|
A Physical Book makes a digitized book ‘physical’ by rendering it in a simulated space where properties like gravity, friction, and velocity all apply. The program randomly perturbs the letters, then takes a snapshot at a point in time, re-assembling the images into a new, ‘un-digitized’ book. The raw, uncorrected scanned text of The Up-To-Date Sandwich Book: 400 Ways to Make a Sandwich (1909) is re-imagined as this 251 page book. (...)
|a, A Novel||2017||Derek Beaulieu||Paris||EN|
conceptual writing, uncreative writing, visual poetry
a, A Novel is an erasure-based translative response to Andy Warhol’s eponymous novel. Beaulieu carefully erases all of the text on each page of the original work, leaving only the punctuation marks, typists’ insertions and onomatopoeic words. The resultant text is a novelistic ballet mécanique, a visual orchestration of the traffic signals and street noise of 1960’s New York City. This visually powerful half score/half novel highlights the musicality of non-narrative sounds embedded within conversation. (...)
|1000 Infrathins||2018||Kenneth Goldsmith||Philadelphia||EN|
Infranthin is the space between spaces, the sound between sounds, the sensation between sensations; neither here nor there, this nor that, but both—all at the same time. The closest metaphor is the fourth dimension, which is best illustrated by a cube collapsing in on itself and at the same time expanding. I know. It’s not very helpful. But that’s the whole point—it’s a moving target, a ball of contradictions; just when you think you’ve got it, it’s escaped you. Marcel Duchamp gave six instances of the infrathin. We wrote 1000 of them. (...)
|Emotions Go to Work||2018||Zoe Beloff||Colchester||EN|
capitalism, emotion, technology
Emotions Go to Work is an investigation into how technology is used to turn our feelings into valuable assets. One might call it the transformation of emotion into capital. It asks what is at stake in our relationship with the companions we call smart objects? What does the future hold in store for a world where people are treated more and more like things, while the billions of gadgets that make up the Internet of Things are increasingly anthropomorphized, granted agency? (...)
|An Exhibition Turned Into an Global Feminist Protest Turned Into a Catalogue||2018||Purple Noise||Amsterdam||EN|
cyberfeminism, feminism, noise, social media, technology
In the summer of 2018, a German artist, famous for having a past as cyberfeminist and a present as technofeminist, was invited to Stuttgart in the South of Germany, to create an exhibition dealing with issues of gender and technology as part of a large festival. During her research, she got in touch with numerous fellow artists and activists, and in a process of collective realization, they found that the time has come, not for another exhibition, but for a global technofeminist upheaval. (...)
|Secrets at Mediacity Seoul||2018||Sam Hart, Sarah Hamerman||Amsterdam||EN|
encryption, information, secrecy
Secrets at Mediacity Seoul traces a genealogy of artworks that examine the secret as an information structure, from the conceptual artworks of the 1960s to works that consider secrecy and encryption in today’s social and technological context. (...)
|Enduring Liveness: An Imaginary Retrospective of Tino Sehgal’s Constructed Situations||2018||Annet Dekker||Amsterdam||EN|
art documentation, performance, performance art
The key functions of a museum are the collection, presentation, preservation and education of cultural and artworks for the enjoyment of, and to educate, the public. Performance art has been notoriously difficult for museums to handle, despite the ‘easy’ presentation the non-materiality of the art form challenges the conventional methods and practices of a museum. Artist Tino Sehgal had added to these problems, persisting in having no documentation of his performances, or better his ‘constructed situations’, in whatever form or way. This catalogue presents three perspectives that open up the potential of documentation as a method to generate new articulations and ways of understanding, thinking and performing. (...)
|Flux until Sunrise||2018||Geraldine Juárez||Gothenburg||EN|
ceramics, display, electronic waste, screen
The book combines an interview with Esther Leslie about Materialismo Mágico with documentation of my material exploration of what she refers as the Liquid Crystal Epoque. The book includes the recipes for LCD and Gorilla screen-glazes. (...)
- Pre-1945 avant-garde
- Ur. Cahiers pour un dictat culturel, 3+7 numbers, ed. Maurice Bismuth, Paris: Brunidor, 1950-53 (nos. 1-3) & 1963-67 (nos. 1-7).  
- Ion. Centre de création, 1 issue, ed. Marc-Gilbert Guillaumain [Marc’O], Apr 1952, 286 pp. 
- Internationale situationniste. Bulletin central éd. par les sections de l'Internationale situationniste, 12 numbers, ed. Guy-Ernest Debord, Paris, Jun 1958-Sep 1969, HTML. (French)
- Internationale Situationniste. Réédition d’articles (Supplement a 4 Millions de Jeunes Travailleurs), Paris: Les Amis de 4 millions de jeunes travailleurs, , 44 pp.
- Internacional Situacionista, 1: La realización del arte, numbers 1-6, trans. Luis Navarro, 1999. (Spanish)
- Spur. Organ der Situationistische Internationale, 7 numbers, ed. Gruppe Spur, Munich, Aug 1960-Jan 1962. (German)
- The Situationist Times, 6 numbers, eds. Jacqueline de Jong (1-6) and Noël Arnaud (1-2), Hengelo (NL), Copenhagen and Paris, May 1962-Dec 1967. (English)
- Situationistisk revolution: centralorgan for den skandinaviske sektion af situationistisk internationale, 3 numbers, ed. J.V. Martin, 1962 & 1967 & Oct 1970; repr., Aarhus: After Hand, 2013.    (Danish)
- Der Deutsche Gedanke. Organ der Situationistischen Internationale für Mitteleuropa, 1 issue, ed. Raoul Vaneigem, Brussels, Apr 1963. First issue of the Internationale situationniste in Germany, Der Deutsche Gedanke was meant to replace Spur after the exclusion of the group. . (German)
- 0-9, 6 numbers, eds. Bernadette Meyer and Vito Acconci, New York, 1967-1969. Reprint. , . FSL. , , ccindex.
- Art-Language, 19 numbers, eds. Terry Atkinson, David Bainbridge, Michael Baldwin, Harold Hurrell, et al., Coventry, UK: Art & Language Press, 1969-1978. First issue carried the subtitle The Journal of Conceptual Art. Covers, , .
- Új Symposion, 77+ numbers, eds. Bálint Szombathy (1971-72, 1986-89), László Kerekes (1984-85), et al., Novi Sad: Tribina mladih, -. , , , , . (Hungarian)
- Index, eds. Slobodan Tišma, Janez Kocijanić, and Mirko Radojičić, Novi Sad, -. Student magazine. . (Serbo-Croatian)
- Polja 156: "Konceptualna umetnost", ed. Mirko Radojičić, Novi Sad, Feb 1972. (Serbo-Croatian)
- The Fox, 3 numbers, eds. Sarah Charlesworth, Michael Corns, Preston Heller, Joseph Kosuth, Andrew Menard, Mel Ramsden, and Ian Burn, New York, 1975-1976. ccindex, .
- Vision, 5 numbers, ed. Tom Marioni, Oakland, CA: Crown Point Press, 1975-1981. Issue 1. , , .
- Red-herring, 2 numbers, eds. Karl Beveridge, Jill Breakstone, Ian Burn, Carole Conde, Michael Corns, Preston Heller, and Andrew Menard, New York: C.I.F., 1977-1978. ccindex, Allen.
- Mail art
- File, ed. General Idea (AA Bronson, Felix Partz & Jorge Zontal), Toronto, 1972-89.
- Vile, eds. Anna Banana and Bill Gaglione, San Francisco, 1974-83. 
- Ephemera: a monthly journal of mail and ephemeral works, 12 issues, eds. Ulises Carrión, Aart van Barneveld and Salvador Flores, Amsterdam: Other Books and So, 1977-78.
- Commonpress, c48 numbers, eds. Pawel Petasz et al., 1977-90. Issues: #1, #3 #5, #6, #8, and many others available via Lomholt Mail Art Archive.
- Umbrella, ed. Judith Hoffberg, 1978-2008. The journal covered news and reviews of artists' books, mail art and contemporary art and photography tradebooks.
- Umbrella: The Anthology, 1978-1998, ed. Judith A. Hoffberg, Santa Monica, CA: Umbrella Editions, 1999, 164 pp.
- PhotoStatic; Retrofuturism; Psrf magazines, 1983-1998.
- Yawn: Art Strike 1990-1993, 45 numbers, 1989-1992.
- The Neo, 10+2 numbers, ed. Monty Cantsin, Montreal, 1979-81. Last two numbers published with the title Organ.
- PhotoStatic, 41 numbers, ed. Lloyd Dunn, Aug 1983-Jan 1993.
- SMILE, ed. Monty Cantsin, Feb 1984-95.   
- Retrofuturism, 11+6 numbers, ed. Tape-beatles, Jan 1988-Apr 1993.
- Yawn, 45 numbers, Sep 1989-Mar 1993.
- Re:Action newsletter, 10 numbers, ed. Stewart Home, Winter 1994-Spring 1999.
- Psrf, 2 numbers, ed. Lloyd Dunn, Oct 1997-Oct 1998.
- Artists' Books: A Critical Anthology and Sourcebook, ed. Joan Lyons, Rochester, NY: Visual Studies Workshop, and Layton, UT: Peregrine Smith Books, 1985, 272 pp, TOC, TOC; new ed. as Artists' Books: A Critical Anthology and Sourcebook, A Digested Edition, Rochester, NY: Visual Studies Workshop, 1985, 68 pp. (English)
- Magazine, ed. Gwen Allen, London: Whitechapel Gallery (Documents of Contemporary Art), and MIT Press, 2016, 237 pp. TOC. Publisher. Publisher. (English)
Artists, scholars, initiatives
- Beau Geste Press
- Delphine Bedel
- Sarah Bodman
- Boekie Woekie
- Ulises Carrión
- Karen Di Franco
- Display Distribute
- Johanna Drucker
- Franklin Furnace
- Michael Gibbs
- Annette Gilbert
- Gloria Glitzer
- Mikhail Karasik
- Leandro Katz
- J.H. Kocman
- Antoine Lefebvre
- Lucy R. Lippard
- Kristen Mueller
- Clive Phillpot
- Printed Matter
- Ed Ruscha
- Guy Schraenen
- David Senior
- Archive Artist Publications, by Hubert Kretschmer, Munich.
- Centre for Artists' Publications, Weserburg, Bremen.
- Franklin Furnace Artists' Books Collection, Pratt Institute, Brooklyn, NY.
- Guttorm Guttormsgaard Archive, Akershus, Oslo.
- John M. Flaxman Library: Joan Flasch Artists' Book Collection, at the School of the Art Institute of Chicago (SAIC).
- Library of the Kunsthistorisches Museum, Vienna.
- MoMA Library, New York. 
- mumok reference library, museum moderner kunst (mumok) Vienna.
- National Gallery of Canada, Ottawa.
- Smithsonian Libraries, Washington, DC.
- Special Collections at Chelsea College of Arts Library, London.
- Stedelijk Museum library, Amsterdam.
- Tate Library and Archive, London.
- Thomas J. Watson Library, Metropolitan Museum of Art, New York.
- Artists' Books Online, an online repository of facsimiles, metadata, and criticism. Director: Johanna Drucker, project manager: Eric Rettberg.
- Banner Repeater Digital Archive of Artists' Publishing
- La Bibliothèque Fantastique, an artist’s books virtual publisher. Ed. Antoine Lefebvre.
- Booknesses: Artists' Books From the Jack Ginsberg Collection. Contents.
- Post-Digital Publishing Archive, Projects and Artworks at the Intersection of Publishing and Digital Technology. Maintained by Silvio Lorusso.
- Artists' books on Monoskop Log
- Ecart, Geneva, 1969-1982.
- Art Metropole, Toronto, *1974.
- Other Books and So, Amsterdam, 1975-1979.
- Printed Matter, New York, *1976.
- Idea Books, Amsterdam, *1976.
- Galerie A / Multiples.nl, Amsterdam, *1976.
- Book Works, London, *1984.
- Perdu, Amsterdam, *1984.
- RAM Publications, Santa Monica, CA, *1984.
- Boekie Woekie, Amsterdam, *1986.
- Florence Loewy, Paris, *1989.
- Les presses du réel, Dijon, *1992.
- Antiquariat Querido, Düsseldorf, *1996.
- Onestar Press, Paris, *2000.
- Kubrick, Hong Kong, *2001.
- Utrecht, Tokyo, *2002.
- bookartbookshop, London, *2002.
- PrintRoom, Rotterdam, *2003.
- Textfield, Inc., Los Angeles, *c.2003.
- Ooga Booga, Los Angeles, *2004.
- Dashwood Books, New York, *2005.
- Torpedo, Oslo, *2005.
- Vamp & Tramp, Birmingham, AL, *2006.
- Motto, Berlin, *2007.
- Family Los Angeles, Los Angeles, *c.2007.
- Bökship, London, *2008.
- Aye-Aye Books, Glasgow, *2008.
- Ji Lu Chang 记录厂, Kunming City, China, *2008.
- Archive Kabinett, Berlin, *2009.
- split/fountain, Auckland, *2009.
- Tenderbooks, London, *c.2009.
- Ti Pi Tin, London, *2009.
- Antenne Books, London, *2010.
- Lugemik, Tallinn, *2010.
- The Book Society, Seoul, *2010.
- Gagarin, Seoul, *2010.
- Bananafish Books, Shanghai, *2011.
- Perimeter, Melbourne, *2011.
- San Serriffe, Amsterdam, *2011.
- Good Press, Glasgow, *2011.
- Lote 42, São Paulo, *2012.
- PageFive, Prague, *2013.
- Xaoxax, Prague, *2013.
- Artbooks.ph, Mandaluyong City, Philippines, *2014.
- Publishing as (part-time) Practice (PAPP), Sweden, *2015.
- Closing Ceremony, Shanghai, *2015.
- Book B, Hong Kong, *2015.
- Ulises, Philadelphia, *2016.
- After 8 Books (formerly Section 7 Books), Paris, *2016.
- Panorama, Tokyo.
- Pipifax, Zürich.
- Stéphane Mallarmé, "The Book, Spiritual Instrument" [c1898], trans. Michael Gibbs, New Wilderness Letter 11, Dec 1982, pp 1-5. (English)
- El Lissitzky, "Unser Buch", in Gutenberg Jahrbuch 1927, ed. Alois Ruppel, Mainz: Gutenberg-Gesellschaft, 1926-27. (German)
- Ulises Carrión, "El arte nuevo de hacer libros", Plural (literary supplement in newspaper Excélsior) 4:41, México, Feb 1975, pp 33-38. Written in Amsterdam in May 1974.  (Spanish)
- "The New Art of Making Books", Kontexts 6-7, Maastricht, 1975; repr. in Contents, Warsaw: Remont Gallery, 1976; repr. in Art Contemporary 3:1, San Francisco, 1977; repr. in Carrión, Second Thoughts, Amsterdam: VOID, 1980; repr. in Artists' Books: A Critical Anthology and Sourcebook, ed. Lyons, 1985; repr. in Ulises Carrion: We have won! Haven’t we?, ed. Guy Schraenen, Amsterdam: Fodor Museum, 1992. (English)
- more translations
- Lucy R. Lippard, "The Artist's Book Goes Public", Art in America, Jan-Feb 1977; repr. in Lippard, Get the Message? A Decade of Art for Social Change, E.P. Dutton, 1984, pp 48-52; repr. in Artists' Books: A Critical Anthology and Sourcebook, ed. Lyons, 1985, pp 45-48. (English)
- Clive Phillpot, "Recent Art and the Book Form", in Artists' Books: From the Traditional to the Avant-Garde, New Brunswick, NJ: Rutgers University Press, 1982. (English)
- Richard Kostelanetz, "Book Art", in Artists' Books: A Critical Anthology and Sourcebook, ed. Lyons, 1985, pp 27-30, HTML. (English)
- Lucy R. Lippard, "Conspicuous Consumption: New Artists' Books", in Artists' Books: A Critical Anthology and Sourcebook, ed. Lyons, 1985, pp 49-59. (English)
- Shelley Rice, "Words and Images: Artists' Books as Visual Literature", in Artists' Books: A Critical Anthology and Sourcebook, ed. Lyons, 1985, pp 59-85. (English)
- Barbara Moore, Jon Hendricks, "The Page as Alternative Space: 1950 to 1969", in Artists' Books: A Critical Anthology and Sourcebook, ed. Lyons, 1985, pp 87-95. (English)
- Clive Phillpot, "Some Contemporary Artists and Their Books", in Artists' Books: A Critical Anthology and Sourcebook, ed. Lyons, 1985, pp 97-132. (English)
- Robert C. Morgan, "Systemic Books by Artists", in Artists' Books: A Critical Anthology and Sourcebook, ed. Lyons, 1985, pp 207-222. (English)
- Clive Phillpot, "Reading Artists' Books", in The Arts of the Book, Philadelphia: University of the Arts, 1988, pp 5-7. (English)
- Johanna Drucker, "The Self-Conscious Codex: Artists' Books and Electronic Media", SubStance 26(1): "Metamorphoses of the Book", 1997, pp 93-112. (English)
- Duncan Chappell, "Typologising the Artist's Book", Art Libraries 28:4 (2003), pp 12-20. (English)
- Johanna Drucker, "The Artist's Book as an Agent of Social Change", in Drucker, The Century of Artists' Books, 2nd ed., New York: Granary Books, 2004, pp 287-308. (English)
- Martha Hellion, "Artists’ Books from Latin America", Printed Matter, Nov 2006. (English)
- Kathleen Walkup, "Books in a New Language", in From Site to Vision: The Woman’s Building in Contemporary Culture, eds. Sondra Hale and Terry Wolverton, Los Angeles: Otis College of Art and Design, 2011, pp 266-299. (English)
- Tony White, "From Democratic Multiple to Artist Publishing: The (R)evolutionary Artist's Book", Art Documentation 31:1, Spring 2012, pp 45-56. (English)
- Mary Anne Dyer, Yuki Hibben, "Developing a Book Art Genre Headings Index", Art Documentation 31:1, Spring 2012, pp 57-66. (English)
- Janneke Adema, Gary Hall, "The Political Nature of the Book: On Artists' Books and Radical Open Access", New Formations 78:1, 2013, pp 138-156.   (English)
- Tony White, "The Evolution of Artists’ Publishing", Art Documentation 33:2 (Sep 2014), pp 227-242. (English)
- Amanda C.R. Clark, "Contemporary Chinese Artists' Books: New Artistic Voices in a Time of Transition", Art Documentation 34:1, Spring 2015, pp 15-28. (English)
- David Senior, "Back in Time with Time-Based Works: Artists' Books at Franklin Furnace, 1976-1980", VoCA Journal, 31 Mar 2017. (English)
- Display Distribute, "The Semi-Autonomous Zine: Charting Margins and Peripheries in Independent Publishing", Asia Art Archive, 2 Aug 2018. (English)
- Artists' Books: A Critical Anthology and Sourcebook, ed. Joan Lyons, Rochester, NY: Visual Studies Workshop, and Layton, UT: Peregrine Smith Books, 1985, 272 pp, TOC, TOC; new ed. as Artists' Books: A Critical Anthology and Sourcebook, A Digested Edition, Rochester, NY: Visual Studies Workshop, 1985, 68 pp. (English)
- Everything in the World: A Book Arts Reader, ed. Harry Reese, 2007. For an UCSB class.
- Magazine, ed. Gwen Allen, London: Whitechapel Gallery (Documents of Contemporary Art), and MIT Press, 2016, 237 pp. TOC. Publisher. Publisher. (English)
- Susan Compton, World Backwards: Russian Futurist Book 1912-1916, London: British Library, 1978, 136 pp. (English)
- François Chapon, Le Peintre et le livre: l'age d'or du livre illustré en France 1870-1970, Paris: Flammarion, 1987. (French)
- Renée Riese Hubert, Surrealism and the Book, University of California Press, 1988, xvii+358 pp. A study of collaborations between surrealist painters and authors that resulted in illustrated books. . Review: Williams (Romance Q). (English)
- Silvie Turner (ed.), Facing the Page: British Artists' Books: A Survey 1983-1993, London: Estamp, 1993, 87 pp. (English)
- Johanna Drucker, The Century of Artists’ Books, New York: Granary Books, 1995, xii+377 pp; 2nd ed., 2004, 377 pp. Review: Haskell (SubStance). (English)
- Stephen Bury, Artists’ Books: the Book as a Work of Art, 1963-1995, Aldershot: Scolar Press, 1995, 223 pp; new ed., London: Bernard Quaritch, 2015, 258 pp. Reviews: Markovich (Art Doc), Rossman (Art Lib J), Vincler (Bib Soc Am). (English)
- Charles Alexander (ed.), Talking the Boundless Book: Art, Language, & the Book Arts, Minnesota Center for Book Arts, 1995, 144 pp. (English)
- Cathy Courtney, Private Views & Other Containers: Artists Books Reviewed by Cathy Courtney for "Art Monthly": 100 Articles, 1983-1995, London: Estamp, 1995, 156 pp. (English)
- Anne Moeglin-Delcroix, Esthétique du livre d'artiste: 1960/1980, Paris: Jean-Michel Place, and Bibliothèque nationale de France, 1997, 389 pp; new ed. as Esthétique du livre d'artiste: une introduction à l'art contemporain, Marseille: Le mot et le reste, and Paris: Bibliothèque nationale de France, 2012, xxi+443 pp. , , . Reviews: Poulain (BBF), Hermange (Etudes Photo). (French)
- Stefan Klima, Artists Books: A Critical Survey of the Literature, New York: Granary Books, 1998, 104 pp. Excerpt, . (English)
- Cathy Courtney, Speaking of Book Art: Interviews With British & American Book Artists, Los Altos Hills, CA: Anderson-Lovelace, 1999, ix+241 pp.  (English)
- Renée Riese Hubert, Judd D. Hubert, The Cutting Edge of Reading: Artists’ Books, New York: Granary Books, 1999, 280 pp.  (English)
- Jaroslav Andel, Avant Garde Book Design, 1900-1950, New York: Delano Greenidge, 2002, 388 pp. Review: Margolin (DI 2003). (English)
- Rob Perrée, Cover to Cover: The Artist's Book in Perspective, Rotterdam: NAi Publishers, 2002. (English)
- Maria Fusco, Ian Hunt (eds.), Put About: A Critical Anthology on Independent Publishing, London: Book Works, 2004, 194 pp. TOC.  (English)
- Anne Moeglin-Delcroix, Sur le livre d'artiste: articles et écrits de circonstance (1981-2005), Marseille: Le mot et le reste, 2006, 588 pp. Review: Corbel (Perspective). (French)
- Yves Jolivet (ed.), Le livre et l'artiste, Marseille: Le mot et le reste, 2007, 224 pp. Based on a colloquium in Marseille, 2007. Review: Corbel (Perspective). (French)
- In Numbers: Serial Publications by Artists Since 1955, eds. Philip E Aarons and Andrew Roth, Zurich: jrp|ringier, and New York: PPP Editions, 2009, 440 pp. With contributions by Gil Blank, Victor Brand, Clive Philpot, Nancy Princethal, Neville Wakefield, and William S. Wilson. Publisher. Exhibition at ICA (2012). Review: Dyment (Magenta). (English)
- Sarah Bodman, Tom Sowden, A Manifesto for the Book, Bristol: Impact Press, 2010, 185 pp. (English)
- Gwen Allen, Artists' Magazines: An Alternative Space for Art, MIT Press, 2011, 300 pp. (English)
- Garrett Stewart, Bookwork: Medium to Object to Concept to Art, University of Chicago Press, 2011, 249 pp. (English)
- Anna Sigrídur Arnar, The Book as Instrument: Stéphane Mallarmé, The Artist's Book, and the Transformation of Print Culture, University of Chicago Press, 2011, xi+395 pp.  . Reviews: Salsbury (AiP 2012), Roos (CAA 2012), Norrick-Rühl (PRQ 2012), Wiedenfeld (MLN 2013), Abbott (H-France 2013), Palermo (AB 2013), Melot (BBF 2013 FR). (English)
- Bernhard Cella, Collecting Books: A Selection of Recent Art and Artists' Books Produced in Austria, Bernhard Cella / Hotel Ostblick, 2012, 150 pp.   (English)
- Amir Brito Cadôr, Enciclopedismo em Livros de Artista: um manual de construção da Enciclopédia Visual, Belo Horizonte: Universidade Federal de Minas Gerais (UFMG), 2012, 557 pp. PhD dissertation. (Brazilian Portuguese)
- Jérôme Dupeyrat, Les livres d’artistes entre pratiques alternatives à l’exposition et pratiques d’exposition alternatives, Rennes: Université Rennes 2, 2012, 579 pp. PhD dissertation. (French)
- Clive Phillpot, Booktrek: Selected Essays on Artists' Books (1972-2010), ed. Lionel Bovier, Zurich: JRP Ringier, 2013, 286 pp.  (English)
- Danske kunstnerbøger / Danish Artists' Books, eds. Thomas Hvid Kromann, Louise Hold Sidenius, Maria Kjær Themsen and Marianne Vierø, Copenhagen: Møller, and Cologne: Walther König, 2013, 300 pp. (Danish)/(English)
- Annette Gilbert (ed.): Reprint: Appropriation (&) Literature, Wiesbaden: Lux Books, 2014, 580 pp.  (English)
- Antoine Lefebvre, Portrait de l'artiste en éditeur, L'édition comme pratique artistique alternative, Paris: Université Paris 1 Panthéon-Sorbonne, 2014, 760 pp. PhD dissertation. (French)
- Anne Mœglin-Delcroix, Leszek Brogwoski (eds.), Livre d'artiste: quels projets pour l'art?, Rennes: Incertain Sens, 2014, 304 pp. . Review: Chevalier (Critique d'art). (French)
- Albert Coers, Kunstkatalog—Katalogkunst. Der Ausstellungskatalog als künstlerisches Medium am Beispiel von Thomas Demand, Tobias Rehberger und Olafur Eliasson, Berlin: De Gruyter, 2015. (German)
- The Art of Collaboration: Poets, Artists, Books, eds. Anca Cristofovici and Barbara Montefalcone, Cuneiform Press, 2015, 198 pp. Based on the symposium ‘'Collaboration and the Artist’s Book: a Transatlantic Perspective held at the University of Caen, France, March-April 2011.  (English)
- Anne Moeglin-Delcroix, Ambulo ergo sum. Nature as Experience in Artists' Books / L'expérience de la nature dans le livre d'artiste, Cologne: Walther König, 2016, 96 pp.  (English)/(French)
- Annette Gilbert (ed.), Publishing as Artistic Practice, Berlin: Sternberg Press, 2016, 304 pp. TOC, Weinmayr's essay. Workshop.  (English)
- Nicholas Thoburn, Anti-Book: On the Art and Politics of Radical Publishing, University of Minnesota Press, 2016, xvi+372 pp. (English)
- Nancy Perloff, Explodity: Sound, Image, and Word in Russian Futurist Book Art, Los Angeles: Getty Publications, 2016, 208 pp. Online companion.  (English)
- Temporary Services (eds.), 12 Contributors, 5 Publications, 5 Years, Chicago and Fort Wayne: Half Letter Press, 2016, 40 pp.  (English)
- Kathryn Brown, Matisse’s Poets: Critical Performance in the Artist’s Book, Bloomsbury Academic, 2017. (English)
- Andrew Roth, Philip E. Aarons, Claire Lehmann (eds.), Artists Who Make Books, London: Phaidon, and New York: PPP Editions, 2017, 336 pp. Survey of 32 artists. 
- Jérôme Dupeyrat, Entretiens: perspectives contemporaines sur les publications d'artistes, Rennes: Incertain Sens, 2017, 312 pp.  (French)
- Lucy Mulroney, Andy Warhol, Publisher, University of Chicago Press, 2018, 193 pp.
- Freedom of the Presses: Artists' Books in the 21st Century, Brooklyn, NY: Booklyn, 2018.  (English)
- The Journal of Artists' Books, ed. Brad Freeman, since 1994.  (English)
- Book Arts Newsletter, ed. Sarah Bodman, since 2002. Every four-six weeks. (English)
- The Blue Notebook: Journal for Artists' Books, since 2006.  (English)
Journal and magazine issues
- Art-Rite 14: "Artists' Books", Winter 1976/1977.
- The Dumb Ox 4: "Artists' Books", Los Angeles, Spring 1977.
- Art Documentation 1(6): "An ABC of Artists’ Books Collections", ed. Clive Phillpot, ARLIS/NA, Dec 1982, 13 pp. Special section of the journal. (English)
- Visible Language 25(2-3): "The Artist’s Book: The Text and Its Rivals", ed. Renée Riese Hubert, Apr 1991. (English)
- Art Libraries 32(2): "Artists' ́Books", 2007. Abstracts. (English)
- Nouvelle revue d'esthétique 2: "Livres d'artistes: l’esprit de réseau", eds. Leszek Brogowski and Anne Moeglin-Delcroix, Oct 2008, 160 pp. Based on a colloquium in Rennes, 2003. Review: Corbel (Perspective). (French)
- Art Libraries 38(3): "Artists' ́Publications", 2013. Abstracts. (English)
- La Trobe Journal 95: "Creating and Collecting Artists' Books in Australia", eds. Des Cowley, Robert Heather and Anna Welch, Melbourne: State Library Victoria, 2015. (English)
- Flash Art Czech & Slovak Edition 53: "Autorská kniha", Prague, 2019.  (Czech),(Slovak)
- Modern Painters and Sculptors as Illustrators, ed. Monroe Wheeler, New York: Museum of Modern Art, 1936, 128 pp. Exh. held at MoMA, 27 Apr-2 Sep 1936. (English)
- Artists Books, ed. & forew. Dianne Vanderlip, Philadelphia: Moore College of Art, 1973, 77 pp. With essays by Lynn Lester Hershman and John Perreault. Exh. held at Moore College of Art, Philadelphia, 23 Mar-20 Apr 1973; University Art Museum, U California, Berkeley, 16 Jan-24 Feb 1974. The first major exhibition of artists’ books in the United States. (English)
- Le Livre et l'artiste: tendances du livre illustré français, 1967-1976, ed. Antoine Coron, Paris: Bibliothèque nationale de France, 1977, 151 pp. Exh. held from 24 Jun-11 Sep 1977.  (French)
- Llibres d'artista / Artists' Books, ed. Tous i Giner Rafael, trans. Glòria Picazo, Barcelona: Metroǹom, 1981, 200 pp. Exh. held 5 Oct-6 Nov 1981. Text by Ulises Carrión, Hubert Kretschmer, José Luis Mata, and Guy Schraenen.  (Catalan)/(English)
- Artists' Books: From the Traditional to the Avant-Garde, New Brunswick, NJ: Rutgers University Press, 1982,  pp. With text by Clive Phillpot. Exh. held at Archibald Stevens Alexander Library, Rutgers University, New Brunswick, New Jersey, 16 Feb-16 Apr 1982. Exh. & symposium report. (English)
- Identikits: Artists' Books from Mexico, eds. Carla Stellweg and Martha Hellion, New York: Franklin Furnace, 1982, 1 box. Exh. held at [Franklin Furnace, New York, 26 May-26 Jun 1982.
- British Artists' Books, 1970-1983: An Exhibition, eds. Silvie Turner and Ian Tyson, London: Lund Humphries, 1984. (English)
- From Manet to Hockney: Modern Artists' Illustrated Books, eds. Carol Hogben and Rowan Watson, London: Victoria and Albert Museum, 1985. (English)
- Tendências do livro de artista no Brazil, eds. & intro. Annateresa Fabris and Cacilda Teixeira da Costa, São Paulo: Centro Cultural São Paulo, 1985, 18 pp. Exh. held 16 May-23 Jun 1985. (Brazilian Portuguese)
- Livres d'artistes, ed. Anne Moeglin-Delcroix, Paris: Centre Pompidou & Herscher, 1985. Exh. held Jun-Oct 1985.  (French)
- Audrey Isselbacher, Iliazd and the Illustrated Book, New York: Museum of Modern Art, 1987, 85 pp.  (English)
- The Arts of the Book: a Project Devoted to an Appreciation of 20th Century Book Arts, forew. Ed Colker, intro. Eleni Cocordas, Philadelphia: University of the Arts, 1988, 20 pp. Exh. held at the Rosenwald-Wolf Gallery, Haviland Hall and Arronson Gallery, Philadelphia College of Art and Design, 9 Sep-15 Oct 1988. (English)
- The Avant-Garde Book: 1900-1945, ed. Jaroslav Andel, intro. Martha Wilson, New York: Franklin Furnace Archive, 1989, 68 pp.  (English)
- Ralph Jentsch, The Artist and the Book in Twentieth-Century Italy, Turin: Umberto Allemandi, and New York: Museum of Modern Art, 1992, 341 pp.  (English)
- Libros de artista / Artist's Books, 2 vols., ed. Martha Hellion, Madrid: Turner, 2003, 360+178 pp.  (Spanish)/(English)
- Riva Castleman, A Century of Artists Books, New York: Museum of Modern Art, 1994, 263 pp. . Review: Haskell (SubStance). (English)
- Latin American Book Arts, New York: Center for Book Arts, 1995. Exh. held 13 Jan-25 Mar 1995,  pp.  (English)/(Portuguese),(Spanish)
- Artist/Author: Contemporary Artists' Books, eds. Cornelia Lauf and Clive Phillpot, New York: Art Publishers, 1998. (English)
- The Journal of Artists' Books 12: "Experimental Narrative and Artists' Books", ed. Johanna Drucker, Fall 1999, 32 pp, JPGs. (English)
- Artists’ Books in the Ginsberg Collection, with some South African Books from Other Collections, eds. Jack M. Ginsberg and David M. Paton, Johannesburg, 1996. Exh. held at Johannesburg Art Gallery, 25 Aug-27 Oct 1996. (English)
- Livres d’artistes, l’invention d’un genre: 1960-1980, ed. Anne Mœglin-Delcroix, Paris: Bibliothèque nationale de France, 1997, 48 pp. Exh. held from 25 May-12 Nov 1997.  (French)
- The Journal of Artists' Books 15: "Book Unbound", ed. Cathy Byrd, Spring 2001, JPGs.
- Guy Schraenen, Out of Print: An Archive as Artistic Concept, Bremen: Neues Museum Weserburg, 2001, 255 pp. Selection of 700 works and documents drawn from the Archive for Small Press & Communication (ASPC) founded by Anner Marsily and Guy Schraenen in 1974.  (English)
- Margit Rowell, Deborah Wye, The Russian Avant-Garde Book, 1910-1934, New York: Museum of Modern Art, 2002, 304 pp. Online companion.  (English)
- El libro ruso de vanguardia, 1910-1934, New York: Museum of Modern Art, and Madrid: Museo Nacional Centro de Arte Reina Sofia, 2003, 304 pp. (Spanish)
- Matthias Herrmann, Artists' Books, Revisited, Toronto: Art Metropole, 2005, 72 pp.  (English)
- David Paton, Navigating the Bookscape: Artists' Books and the Digital Interface, forew. Jack Ginsberg, Johannesburg, 2006, 39 pp, HTML. Exh. held at Aardklop Arts Festival, Potchefstroom, South Africa, 25-30 Sep 2006; FADA Gallery, University of Johannesburg, South Africa, 5-13 Oct 2006. (English)
- Guy Schraenen, Un coup de livres (una tirada de libros). Libros de artista y otras publicaciones del Archive for Small Press & Communication. Artists' Books and other Publications from the Archive for Small Press & Communication, Madrid: Fundación Juan March, 2010, 133+44 pp.  (Spanish)/(English)
- Thanks for Sharing! Artzine Exhibition and Symposium, ed. Regine Ehleiter, Leipzig: D21 Kunstraum, 2010, 62 pp. (English),(German)
- I hate Paul Klee. Papierarbeiten und Künstlerbücher aus der Sammlung Speck, eds. Renate Goldmann, et al., Cologne, 2011. Exh. held at Leopold-Hoesch-Museum & Papiermuseum Düren. (German)
- Artists’ Book Not Artists’ Book, eds. Johan Kugelberg and Jeremy Sanders, New York: Boo-Hurray, 2012. Exh. held at Boo-Hurray gallery, New York, 18 Jan-12 Feb 2012, 96 pp.  
- TEXTures: An Exhibition of Texts, Textures and Structure in Artists' Books, eds. Jack Ginsberg, David Paton and Rosalind Cleaver, 2014, 27 pp, HTML. Exh. held at Library and Information Centre, Doornfontein Campus, University of Johannesburg, 5 Mar-18 Apr 2014. (English)
- An Encyclopedia of Everything, ed. Cheryl Penn, Durban, 2014, 228 pp. Exh. held at Park Contemporary Gallery, KZNSA, Durban, 7-26 Oct 2014. (English)
- Sequence 1: Dutch Artist's Books in International Perspective, Groningen: Minerva Art Academy, 2015, 57 pp. Exh. held in the Koepelzaal of Academie Minerva, Groningen. (English)
- Tendências do livro de artista no Brazil: 30 anos depois, eds. Amir Brito Cador and Paulo Silveira, São Paulo: Centro Cultural São Paulo, 2015, 14 pp. Exh. held 28 Nov 2015-20 Mar 2016. (Brazilian Portuguese)
- Monoskop Exhibition Library, ed. Dušan Barok, Amsterdam: Monoskop, and Seoul: The Book Society, 2018, 47 pp. Exh. held as part of the Seoul Mediacity Biennale, Seoul Museum of Art, Seoul, 5 Sep-18 Nov 2018. (English)/(Korean)
- Rising Together: an Exhibition of Artists’ Books, Prints and Zines with a Social Conscience, Rochester, NY: College Book Art Association, 2018, 47 pp. A traveling exhibit organised by the College Book Art Association and hosted in conjunction with the following institutions: Center for Book Arts, Mills College, HMCT/Artcenter College of Design, San Francisco Center for the Book, University of Iowa, University of Puget Sound, University of Utah, 2018-2021. 
- Art ex Libris Video: The Book Art Invitational at Artspace, dir. Mitzi Humphrey, 1994, 62 min. Documentary of the 1994 exhibition at Artspace Gallery, Richmond, Virginia. 
- Reading list for artists’ books, compiled from books held in the library at Bower Ashton, UWE Bristol and the Centre for Fine Print Research
- Kunstenaarsboeken (artists' books) uit Nederland en België deel 1: de jaren '70 en '80, blog. (Dutch)
- The Expansion of the Artist Book, 1960-1980, Archivo Lafuente. (English)/(Spanish)
- Transforming Artist Books, research project, Tate, 2012.
- What Is an Artist Book?, curated by Giorgio Maffei, Palacete del Embarcadero, Santander, Aug 2014-Jan 2015.
- Livro de Artista, blog about the collection at Universidade Federal de Minas Gerais, Brazil.
- What will be the canon for the artist’s book in the 21st Century?, a research project by the University of the West of England, 2008-2010.
- Collecting Books: A conceptual snapshot of the arts in book form. Austrian art books and artists’ books selected by Bernhard Cella.
- Artzines, an online database for zines created and self-published by contemporary artists. Edited by Antoine Lefebvre.
- Artzines.net, blog on artists’ publications by Moritz Grünke.
- Artists' Books & Multiples, blog by Dave Dyment.
- Artists' Books in South Africa, ed. David Paton, est. 2006. Feat. Database of South African Artists' Books.
- Readers & Publishers, an online directory of independent publishers, ed. My Bookcase, est. 2018
- tumblr of the MoMA Library staff.
- Das Kunstbuch blog by Marlene Obermayer.
- more, more
See also exhibition catalogues above.
- Elements and Unknowns, Museum of Modern Art, New York, Sep-Nov 2008. Organised by May Castleberry. 
- The Artist Book in Slovenia 1966-2010, Kresija Gallery, Ljubljana, 14 Sep-Oct 2010; Digital Art Gallery at the London South Bank University, London, 13-28 Oct 2011. Curated by Tadej Pogačar/The P.A.R.A.S.I.T.E. Institute and Sonja Zavrtanik. Videos: The Artist Book in Slovenia: The '60s and '70s (15 min), The Artist Book in Slovenia: The '80s to Now (18 min). 
- Millennium Magazines, Museum of Modern Art, New York, Feb-May 2012. Organised by Rachael Morrison and David Senior. 
- Diamond Leaves:Brilliant Artist Books from Around the World, CAFA Art Museum, Beijing, 2012. Curated by Xu Bing and Marshall Weber. 
- Reading List: Artists' Selections from the MoMA Library Collection, Museum of Modern Art, New York, Sep 2013-Jan 2014. Organised by Rachael Morrison and Lori Salmon. 
- Artist/Novelist, Museum of Modern Art, New York, Jan-Mar 2014. Organised by Jennifer Tobias. 
- It is not new, it is a book, Museo Nacional Centro de Arte Reina Sofía, Madrid, Sep 2014-May 2015. Curated by Guy Schraenen.
- Notes on Location, Den Frie, Copenhagen, 14 Mar-19 Apr 2015. With a symposium.   
- I call them simply books, Museo Nacional Centro de Arte Reina Sofía, Madrid, May-Oct 2015. Curated by Guy Schraenen.
- More than a catalogue: The catalogue-boxes of the Museum Abteiberg-Mönchengladbach (1967-1978), Museo Nacional Centro de Arte Reina Sofía, Madrid, Oct 2015-Apr 2016. Curated by Guy Schraenen.
- The Electro-Library: European Avant-Garde Magazines from the 1920s, Museum of Modern Art, New York, Mar-Jun 2016. Curated by David Senior.
- Back in Time with Time-Based Works: Artists' Books at Franklin Furnace, 1976–1980, Museum of Modern Art, New York, Sep 2016-Jan 2017. Curated by Martha Wilson, Michael Katchen and David Senior.
- I Am Also not a Book, Museo Nacional Centro de Arte Reina Sofía, Madrid, Sep 2016-May 2017. Curated by Guy Schraenen.
- Concrete Poetry, Concrete Book: Artists' Books in German-Speaking Space after 1945, University of Chicago Library, Jan-Mar 2017.
- Artists' Books for Everything, Center for Artists' Publications, Weserburg, Bremen, Jun-Aug 2017. Curated by Anne Thurmann-Jajes and Bettina Brach. Organised in collaboration with the University of Bremen.
- Druck Druck Druck, Galerie im Körnerpark, Berlin, 13 Apr-14 Aug 2019. Curated by Nina Prader and John Z. Komurki.