Robert Morris, Continuous Project Altered Daily, Multiples Inc, New York, 1970, ed. 1200

This cool and important accordion is the documentation of a work by Morris (1931-2018) which took place over a 22 day period at the dealer Leo Castelli's warehouse in New York. Scattered along a wall Morris brought in a cornucopia of different materials such as: earth, clay, asbestos, cotton, water, grease, plastic, felt, wood, thread waste, electric lights, photographs, and a tape recorder. Morris started the work on February 28th and over the next 22 day span he would move these materials into different combinations creating an ongoing work that never solidified into any one shape, thus eliding definition as a sculpture and moving into something much less definable and infinity variable. Visitors were invited to visit during the afternoons and Morris worked on the piece at other times. 

A pioneer and theoretician of the emerging minimal, process art, earth art and anti-form movements of the period Morris is an important historical figure. Morris would describe this piece as both "A reverse excavation, building up ruins,"(1) and "The most mythical thing I've ever done. Cain-like of dirt, a construction that goes nowhere, a constructed ruin built over an abandoned agricultural organization."(2) Underlining the importance of this work within his larger career Thomas Kren, a former curator at the J. Paul Getty Museum, remarked that "Robert Morris' entire oeuvre is a single work — 'a continuous project altered daily.'"(3)

The accordion format is the ideal medium with which to demonstrate the changes that took place during these 22 days, and it's also one that offers the viewer a chance to see in one full sweep the constantly mutating processes that defined this work or non-work.(4)

17 single sided pages, individual pages 4.5" x 12" and when fully opened 5ft 8inches.

Footnotes:

1. Notes by Morris on Wednesday March 5, 1969 in his notebook. Robert Morris Archives,

    Gardiner, NY.

2. Notes by Morris on Saturday March 15, 1969 in his notebook. Robert Morris Archives,

    Gardiner, NY.

3. Thomas Krens, “The Triumph of Entropy,” in Robert Morris. The Mind/Body Problem, ex.

    cat., 1994, p. na.

4. One text that really helped me understand the richness of this work was Katia Schneller's 

    article Continuous Project Daily Robert Morris,1969, that can be accessed  

    here: Investigations: The Expanded Field of Writing in the Works of Robert Morris -

    Continuous Project Altered Daily (1969): The Machinery of Art - ENS Éditions

 

        

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David Horvitz, 435 Bridges and some shortcuts, Lab'Bel, France, 2020

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A postcard accordion with photographs taken by this Los Angeles based artist that document his dérives across the City of Venice as part of an art in public spaces project that took place during the Venice Bienniale of Contemporary Art from May 7th to November 25th, 2019.

Details regarding the significance of each photograph is printed on the backs of the cards and they reveal Horvitz's interactions with the citizens, shopkeepers & others as well as objects, vegetables and flowers he left in different places during his walks throughout the city. This rather dry documentation doesn't really catch for me what must have been a really fun & interesting way of experiencing the wonderful environment that is Venice, plus my google searches come up with only "...391 bridges in Venice, 403 if we include the Giudecca..."!

32 double-sided postcards, individual pages 6" x 4" and when unfolded 10ft 8".

reverse side

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Romano Hänni, Words make the Infinite Finite (V), Basel, Switzerland, 2018, ed. 86

the accordion in its packaging

This is the second of Hänni's accordion books that I have featured on this blog and its another interesting one from this Swiss artist and typographer who's using a totally abstract palette to express his "desire to reach the 'infinite' beyond the limitations of words...". It's a curious coincidence that another Swiss illustrator and designer Warja Lavatar (1913-2007), also used a totally abstract system in her groundbreaking use of the accordion format throughout her artistic career. I consider Lavatar as one of the earliest pioneering artists to have adopted the accordion format as an integral part of her artistic practice, publishing her first accordion book in 1962. Follow this link to see another publication of Hänni's on this blog: 

accordion publications: Romano Hanni, Worte machen das Unendliche endlich (Words Make the Infinite Finite), Basel: Romani Hanni, 2008. [Edition 290]

Here's a statement from Hänni's website about this work and he addresses what he's trying to do with his purely visual works:

Although language can be explanatory, only signs and symbols evoke notions. They are capable of simultaneously incorporating all levels of human existence. Reaching down to the unfathomable depths of the soul grow their roots. Like a gentle breeze, language only touches the surface of understanding. Words make the infinite finite, signs and symbols carry off the spirit into the realms of the infinite world of being. They evoke notions, are signs of the unspeakable and are equally inexhaustible. 

Without signs or symbols, even the most modern of world views becomes impoverished. The division of soul and spirit has much to do with Gutenberg's invention. For the sake of the modern, supposedly unnecessary yet reliable and irreplaceable things are often sacrificed. Access to signs and symbols could lead to peace of mind in which all unconscious is not anxiously blocked out and avoided but embraced as a way of expanding consciousness. In this manner, the spirit could find a way out of self-isolation in which it is held captive by its unconditional worship of science and technology.  [Romano Hänni, Studio for Design]

10 single-sided pages, individually 4.75" x 3", and when fully unfolded 2' 6".

accordion with bilingual explanatory pamphlet

back cover with pamphlet

back and front covers

Masayoshi Hanawa, Monster 2, Le Dernier Cri, Marseille, France, 2020, ed. 150

Continuing my inquiry into books with folds, here's another great folded book from Le Dernier Cri. Masayoshi Hanawa is a Japanese artist who has become known for his ongoing series of monsters in both print and 3 dimensions. Some of the spreads from this silkscreen book come close to that of accordion books, but either way with images as powerful and compelling as these formal details seem to fade away!

8 double-side pages, individual pages 11.75" x 8.5". center spread 2' 10".

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R. Clarke-Davis, a commonplace book: icarus (2023) & a commonplace book: tidying (2010-2023), Kiddie Viddy Press, Wi

Two new accordions by R. Clarke-Davis with the first one a very visual representation of the tale of Icarus who perished by flying too close to the sun with his waxen wings. Clicking on the images enlarges them significantly and allows for the subtlety of the photographs to be appreciated.

The second book 'tidying' which is in Clarke-Davis' puzzle book format that includes two folded wings that add an extra dimension to the accordion and another element in his play with the book's images. 'Tidying' appears to be a meditation on everyday objects found within his domestic environment with one photograph showing a pile of his artists' books and the materials & instruments used in their making. In two of the final photographs I have opened up the book to reveal its architecture as well as revealing the cut in the middle of the paper that creates this unique format.

There's a large body of accordion works by Clarke-Davis in this blog and with a quick search you can discover them for yourself!

a commonplace book: icarus (2023) 

12 one-sided pages, individually 4.5" x 5.25, and fully opened 5' 3"

_______________________________________________________________

a commonplace book: tidying (2010-2023)

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8 double-sided pages, plus 4 pages in the flaps, individually 5.5" x 4.25, 

and fully opened 2' 10"

Barbara Cesery & Marilyn Zuckerman, Monday Morning Movie, Street Editions, New York City, 1981

An interesting collaboration between visual artist (Cesary), and poet (Zuckerman) that explores a range of notions intertwined within the idea of romantic love. They illustrate this theme through poems dedicated to well known movie stars and actresses, such as Billie Holiday, Mae West, Marilyn Monroe, Jane Fonda and James Cagney to name but a few. Cesary's images that accompany the poems would appear to be images taken from family albums and they embody another kind of love and intimacy that is found within the family unit. 

The image (above) of the three young women at the beginning of the accordion for me sets the emotional tone of the book as one based in the yearnings and desires of young women such as these three. This book, through its combination of words and images, illustrates the pangs of love & romance of late adolescence as well as all the difficulties & disappointments and the beauty, of this early period of their lives.

54 double-sided pages, individually 6" X 8" and when fully open 13' 6".

reverse side

back cover