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Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist’s book has come to occupy a significant role within the production, dissemination and interpretation of such work. This has been accompanied by a growing interest in the artist’s book as a public artwork in its own right. These two distinct yet interrelated approaches form the subject of our essay. Drawing on examples of artists’ books held in the Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute as well as from our own curatorial practice, we argue that, far from ancillary artefacts, artists’ books play a pivotal role within the production of public art and provide an important space in which to critically engage with the complexities of place.
Writing during the millennium, not long after the installation in Gateshead of Antony Gormley’s monumental sculpture, The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculptures, which, as “pejoratively valuable objects”, litter the world “like Mount Everest is littered with Coke cans” (Cutts 2007, p. 87), he called for an alternative approach to public art, which prioritises the production of “metaphorical space” (ibid.) over physical form. Almost two decades later, it could be argued that mainstream understandings of public art have expanded beyond monumental sculpture to incorporate approaches that focus on process rather than product. Indeed, the commissioning of ephemeral artforms, such as performance, sound art, digital art and what is commonly referred to as socially engaged practice, has largely overtaken the installation of permanent sculpture, in part due to its prohibitive cost in today’s economic climate.
Within this milieu, the artist’s book has come to occupy a significant role within the production, dissemination and interpretation of public art. As the curators of In Certain Places—a long-term public art project based in the city of Preston1—we have, over the last few years, witnessed a growing trend amongst artists of producing publications as an integral part of their commission. For many, this is a temporal strategy, which, through the documentation of the artworks’ processes, realisation and reception, provides a legacy for an otherwise temporary project. For others, it offers a critical space in which to further explore the context and thematic content of their work, often through the invited contributions of specialists in other fields. As physical artefacts, books allow artists to connect with their audiences at the level of individuals, serving simultaneously as souvenirs for those who have experienced the work and as proxy artworks for those who have not. For certain artists, therefore, the artist’s book’s critical and communicative functions supplant the need for other creative outputs, and publications have also been produced as public artworks in their own right.
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In the following text, we explore these trends through reference to specific artists’ books, which have been produced as, or as part of, public artworks. Within this context, public art serves as a broad definition to describe a range of place-based practices. This includes artworks that are created for, or in response to, specific locations, as well as those that explore more universal aspects of place. In each case, the “publicness” of the work relates to its existence, either exclusively or in part, outside of traditional gallery-based models of production and dissemination. In employing the term, we also acknowledge the lack of clarity that exists around public art as a discipline. As Cameron Cartiere and Shelly Willis point out, public art is an elusive and ambiguous practice, which “weaves in and around itself, existing in layers” (Cartiere and Willis 2008, p. 9). As a result, “since public art was coined as a term” over fifty years ago, “it has yet to be clearly defined in any art history text” (ibid., p. 8). However, despite, or, perhaps, due to such ambiguity, we regard it as a useful shorthand to describe the type of place-focussed, interdisciplinary and multi-sited projects that characterise our joint curatorial practice.
As a curatorial partnership, In Certain Places brings together our individual perspectives and professional concerns through a jointly authored project. In the same way, the following essay reflects our personal areas of interest in relation to artists’ books. In the first section, Charles Quick provides an art historical context, which locates the roots of the relationship between artists’ books and public art within the emergence of site-specific practice during the 1960s and 1970s. Central to this is the use of photography as a medium for documenting both the creative processes and the final outcomes of public art projects. He then goes on to examine the various roles that artists’ books play in connection to specific public artworks. Following this, Elaine Speight examines the status of the artist’s book as an autonomous public artwork. Focussing on the work of three artists from the North of England, she argues that, as interactive and sensory objects, artists’ books provide the ideal medium for creative explorations of place. Through these dual accounts, we aim to demonstrate that, far from ancillary artefacts, artists’ books play a pivotal role within the production of public art. Moreover, as accessible and democratic objects, they allow artists to express their ideas and connect with audiences outside of institutional boundaries. In this way, artists’ books offer an antidote to the popular view of public art as municipal decoration, by presenting it as an experimental, creative and, above all, critical practice.
The artist’s book as a format has been embraced by artists interested in many different approaches to public art. These publications have allowed them to take on the role of editor, designer and publisher. Through their lens, research, development and implementation have been captured, historical narratives created, and architectural alternatives or substitutes produced, which capture the essence of public art works in a different format. Almost without exception, artists’ books rely on photography to illustrate works and convey concepts.
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With the arrival of digital printing, accessible design software and readily available ISBN numbers, the artist now has the ability to design a lasting record of a project, no matter how large, small, fleeting or long lasting. All new publications with an ISBN number are lodged with the British Library. The Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute also collect artist publications, including those of other institutions, such as Tate Britain. All this provides a plethora of ephemeral public art projects archived for posterity and available to the committed researcher and wider public.
The arrival of photography as an accessible medium has enabled artists to explore and explain their ideas and concepts to a wider audience. There has been a relationship between the artist’s book and the more traditional forms of sculpture and public art since the early days of photography. Artist Man Ray assisted sculptor Brancusi in setting up his darkroom in Paris in 1921. His black and white photographs now form an important archive not only of his work, but also of the way he perceived and viewed it in his studio. The images documented the different arrangements of his sculptures over time in the specific location of his studio, as well as their appearance in different light. It was a very precise study of objects in a place and time. It also enabled him to transport his ideas and visions to new audiences in New York without the weight of the stone in his luggage.
Some 40 years later, artists
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With the arrival of digital printing, accessible design software and readily available ISBN numbers, the artist now has the ability to design a lasting record of a project, no matter how large, small, fleeting or long lasting. All new publications with an ISBN number are lodged with the British Library. The Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute also collect artist publications, including those of other institutions, such as Tate Britain. All this provides a plethora of ephemeral public art projects archived for posterity and available to the committed researcher and wider public.
The arrival of photography as an accessible medium has enabled artists to explore and explain their ideas and concepts to a wider audience. There has been a relationship between the artist’s book and the more traditional forms of sculpture and public art since the early days of photography. Artist Man Ray assisted sculptor Brancusi in setting up his darkroom in Paris in 1921. His black and white photographs now form an important archive not only of his work, but also of the way he perceived and viewed it in his studio. The images documented the different arrangements of his sculptures over time in the specific location of his studio, as well as their appearance in different light. It was a very precise study of objects in a place and time. It also enabled him to transport his ideas and visions to new audiences in New York without the weight of the stone in his luggage.
Some 40 years later, artists
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