Conceptual book

Conceptual book

‘The Artist’s New Work: a cautionary tale for arts administrators’

Size: variable
Unique

In developing the theme of conceptual artists books (cf Sol leWitt) and in pursuing my own interest demonstrated elsewhere in this website regarding the construction of meaning in the space between work and viewer, I have created this artist’s book which is entirely conceptual. By expunging the actual, the work becomes completely divorced from all notions of ‘design’ and ‘craft’ – notions which it has to be said remain somewhat scorned in certain corners of the fine art world.

Pursued to its logical conclusion it might be argued that the book should be completely detached from any context, being it gallery/website/studio, from being labelled ‘book’, or from bearing a title. However I counter that this would be a fine example of reductio ad absurdum. Instead I have borrowed from concordance work in linguistics and from Vygotskian learning theory in order to ‘scaffold’ the insightful viewer’s expectations, and thus perceptions, of the work. A primary influence was Andersen's (1837) seminal work on conceptualism (1).


(1) Andersen, H C (1837) Keiserens nye Klæder in: Eventyr, fortalte for Børn. C A Reitzel, Copenhagen
Ref:
Date:
Location:
Photographer:

Conceptual book

Conceptual book
‘The Artist’s New Work: a cautionary tale for arts administrators’

Size: variable
Unique

In developing the theme of conceptual artists books (cf Sol leWitt) and in pursuing my own interest demonstrated elsewhere in this website regarding the construction of meaning in the space between work and viewer, I have created this artist’s book which is entirely conceptual. By expunging the actual, the work becomes completely divorced from all notions of ‘design’ and ‘craft’ – notions which it has to be said remain somewhat scorned in certain corners of the fine art world.

Pursued to its logical conclusion it might be argued that the book should be completely detached from any context, being it gallery/website/studio, from being labelled ‘book’, or from bearing a title. However I counter that this would be a fine example of reductio ad absurdum. Instead I have borrowed from concordance work in linguistics and from Vygotskian learning theory in order to ‘scaffold’ the insightful viewer’s expectations, and thus perceptions, of the work. A primary influence was Andersen's (1837) seminal work on conceptualism (1).


(1) Andersen, H C (1837) Keiserens nye Klæder in: Eventyr, fortalte for Børn. C A Reitzel, Copenhagen