Wednesday, April 27, 2016

Marion Deuchars, British Art Timeline, Tate Publishing: London, 2014



The Tate's really been kicking it out with the accordions recently, first was the "Tate Artist Timeline," (2006), and more recently the "The Works of Art London" (2015). I can't work out the date for this publication but assume its around 2015. On one side are artists' names from 1730 to 2000, and on the reverse, titles of works, by presumably, the artists on the other side. This is an interesting book visually, but kind of hopeless in terms of having this history laid out in any kind of accessible manner. 12 pages at 6.25" x 6.25" and extended 6" 3".






Frances Barry, Walks of Art London, Tate Publishing: London, 2015

A beautifully designed and very smart publication that has maps and info for 10 one-hour walks in central london that are organized around notable public artworks and other culturally significant landmarks. 12 pages, with each page 6.5" x 6.25" and fully extended 6ft 3".




Performing for the Camera, Tate Modern, London, UK, 18 Feb. - 12 June, 2016, exhibition brochure.


These sweet 7-page accordions were free handouts for this really fascinating exhibition and historical survey of the way we 'perform' in front of the camera.  7 pages, 5.75" x 4", fully extended 2ft 2".






Mark Hearld, Winter Feast, collage, Art Angles, UK, nd.



A fun greeting card by this UK illustrator who went to Glasgow School of Art and then to the Royal College of Art where he studied for an MA in Natural History Illustration. What I like about this rather commercialized greeting card format are the laser cuts made into the pages so that you are able to see right through the whole card/publication. On his Art Angles website Hearld has a number of other similar accordion formatted cards all of them featuring different countryside animals.

Single pages 5.75" x 8.25" fully extended 2ft .75"




Gwen Tomahawk, Apocalypse Mutants, Le Dernier Cri: Marsellie, 2015. [edition of 222]

This is just an incredible publication, its totally crazy, its unique, its a visual feast, in fact its not so much a book as a kind of explosion, spilling out all over the place. The scratchboard medium coupled with Tomahak's fine technical skills, blend powerfully together in the final screen print version. The whole package is perfect and totally outrageous too — Long Live Le Dernier Cri! Single page 8.25" x 5.5", extended with various sizes.











David Schoerner, ROYGBIV, Hassla, New York, 2015 [edition 300]

A really subtle accordion that pays homage to the LGBTQ rainbow flag. 10 pages at 4.75" (h) x 3.9" (w) and fully extended 3ft 3inches.





Saturday, March 19, 2016

Helen Douglas and Zoe Irvine, Illiers Combray, Aeolus & Weproductions, 2004, 2nd edition.




The title of this work, Illiers Combray, refers to two French towns, one real and one imagined. "Illiers" was originally the name of a town near the city of Chartres and "Combray" is the name the great French novelist, Marcel Proust, gave it in his semi-biographical novel "In Search of Lost Time," 1913. In 1971, the people of Illiers decided as a tribute to Proust's literary masterpiece, to change the town's name to Illiers-Combray, on the occasion of the first centenary of the author's birth.

This fascinating double-sided accordion was the result of both artists spending time together in Illiers-Combray, and then going their separate ways to work on their respectives parts. One side displays a much more poetic and impressionistic mixing and overlay of images, as compared to the reverse which is a long panoramic photograph of this quaint country village. Irvine's sound pieces also reflect this split, with one cd remixing village sounds and the other a dense and much more abstract web of sound.  

It's taken me a long time to finally discover this accordion by Douglas, and also to fully understand its place and importance in her shift to working with the scroll format. For an interesting summary of this new direction, and a smart piece of writing about her work, here's an article by Clive Phillpot: 
Postscript: ‘The Pond at Deuchar’ E-scroll | Tate

59 pages at 3.75" (h) x 3.5" (w), total length 17ft 2.5".