hendricks in Adema & Hall 2013

ng and exhibiting in artists’ books was by no means an easy transition for
many artists to make. It required them to come to terms with the idea that publishing
their own work did not amount to mere vanity self-publishing, in particular. Moore
and Hendricks describe this state of affairs in terms of the power and potential of ‘the


Lucy R. Lippard, ‘The Artist’s Book Goes Public’, in Joan Lyons (ed), Artists’ Books: a
Critical Anthology and Sourcebook, Rochester, New York: Visual Studies Wo

or exhibiting original work (itself an extension of André Malraux’s idea of
the museum without walls). Curator Seth Siegelaub was among the first to publish his
artists – as opposed to exhibiting them – thus becoming, according to Germano


Hendricks and Moore, ‘The Page as Alternative Space: 1950 to 1969’, in Lyons (ed),
Artists’ Books, p87.
Pavel Büchler, ‘Books as Books’, in Jane Rolo and Ian Hunt (eds), Book Works: a Partial
History and Sourcebook, London: Book Works, 1996.

h 1-31, 1969, featuring work by Sol LeWitt, Robert Barry,
Douglas Huebler, Joseph Kosuth, Lawrence Weiner and other international artists, are
both examples of artists’ books where the book (or the catalogue) itself is the
exhibition. As Moore and Hendricks point out, this offered all kinds of benefits when
compared with traditional exhibitions: ‘This book is the exhibition, easily
transportable without the need for expensive physical space, insurance, endless
technical problems or other impediments.

n as underpinning what we are referring
to here as the ‘political nature of the book’ (playing on the title of Adrian Johns’
classic work of book history). 12


Germano Celant, Book as Artwork 1960-1972, New York, 6 Decades Books, 2011, p40.
Hendricks and Moore, ‘The Page as Alternative Space. 1950 to 1969’, p94.
Brian Wallis, ‘The Artist’s Book and Postmodernism’, in Cornelia Lauf and Clive Phillpot,
(eds), Artist/Author, 1998.
Adrian Johns, The Nature of the Book: Print and Knowl

system). Indeed, Lippard even went so far as to envision a future where
artists’ books would be readily available as part of mass consumer culture, at
‘supermarkets, drugstores and airports’. 15

4) The Politics of the Democratic Multiple


Hendricks and Moore, ‘The Page as Alternative Space’, pp94-95.
Joan Lyons, ‘Introduction’, in Lyons (ed), Artists’ Books, p7.
Lippard, ‘The Artist’s Book Goes Public’, p48; Lippard, ‘Conspicuous Consumption: New
Artists’ Books’, in Lyo


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