Click for larger images.

"But it doesn't look like a book," puzzled the sophomore art student. Indeed, Elaine Benjamin's book, with its silver wrapper and brown paper case, does resemble a candy bar. But, any chocoholic would know that a book entitled The Key to Happiness is appropriately "bound."

This witty piece is one of several hundred books made by artists held in the Rare Book Room at the Denison Library. Artists, collectors and scholars alike frequently struggle with the definition of "artists' book." Quite simply, an artists' book is a work of art conceived by an artist who wishes to use the book form to express an idea. These frequently sculptural objects integrate text, image, materials, and form. Traditionally, the most essential aspect of a book has been its ability to communicate ideas, to be a container of knowledge. Artists' books capture this concept and expand it with visual appeal.

A frequently asked question is, Who looks at these books? How are they used? Just in the few weeks since the beginning of the Fall Semester in September 2002, students in a typography class who will make their own book have studied and compared these books. An English class exploring the integration of text and image has visited. Two seniors who will write theses on artists' books have scrutinized technique and product. A class on artists' books and book structures at a nearby state university taught by a Pitzer College alumna has made the trip. Prospective students, local conferees, parents, alumni, and interested students often ask for a tour. Planned for the spring is a local exhibition that will feature artists' books with Christian themes. Also upcoming is the annual excursion by the 5th/6th grade class of a progressive, private school in Los Angeles that makes a book each year based on what they have absorbed on their visit. The appeal of these books is instant and universal.

One might also ask, why does a library collect an art object? Isn't it more suited for a museum? In a collection strong in the history of fine printing and the book arts, artists' books represent the latest step in the evolution of the book. Many contemporary books made by artists embody the same sense of craft and high standards of production that fine printers have insisted on for generations. Many artists' books are produced by letterpress printing, utilizing handmade papers and fine binding techniques. For example, Claire Van Vliet's (MFA from CGU) books frequently contain several internal structures such as pop ups and movable parts enhanced by handmade papers and non-adhesive bindings. She explores contemporary themes from feminism and ageism to pacifism and environmentalism. Her works often revisit traditional texts: King Lear is dark with bold woodcuts while Dido and Aeneas journey through intensely colored paper pulp paintings.

Artists' books are frequently autobiographical, recounting in word, image and form actual and spiritual journeys. Los Angeles artist Susan King's works are rich in narrative and personal travels. Her Salem Witch Trials juxtaposes text on visiting Salem, Massachusetts, in the 1990's with photographs of headstones of women convicted of witchcraft 300 years ago.

Book artists provoke thought. Maureen Cummins explores racism in Accounts with excerpts from slave narratives letterpress printed on actual 19th century ledger papers from a cotton trading company. Roadkill by John Risseuw explores the threat to the environment posed by SUV's. Susan Johanknecht warns of Mass Extinction through warfare and environmental degradation.

Beguiled visitors often ask about acquiring artists' books. Borders and amazon.com don't sell them. Some artists make books in limited numbers; others make one of a kind books. A few book dealers such as Califia in San Francisco represent book artists. Granary in New York publishes artists' books. Book arts programs at collegiate institutions produce books. Nationally, workshops and centers for the book arts facilitate acquisition by collectors. By far the most prolific source is artists themselves. Some establish standing order programs and send each book when finished. Many artists learn that Denison collects artists' books and send prospectuses and flyers. A few make announcements on electronic discussion lists. Happily, most of the above cited sources make house, or rather library, calls. Establishing personal relationships with artists and their representatives is rewarding and productive.

The scholarly community is experiencing a technological revolution more profound than that 550 years ago when the printing press changed the way people received knowledge and ultimately transformed their way of looking at the world. Books as objects are no longer essential for the transmittal of information. Eventually, books may survive solely as a work of art, a means to communicate. One will learn to "read" the book in a new way, to "see" its ideas with a fresh eye. Artists' books will provide the intimate, tactile experience treasured for millennia.

Judy Harvey-Sahak
Denison Librarian & Assistant Director of Libraries
judy.harveysahak@libraries.claremont.edu