Stan Shellabarger, Dragging Book, 2009, drypoint prints on paper MDF cover with steel printing plate

A fascinating artists' accordion book by this body & performance artist who uses different processes, including walking, to create his conceptual and time-based sculptures, drawings and bookworks.

For this book "Stellaberger hung ten galvanized steel plates end-to-end horizontally on a wall. Wearing gloves whose fingers were covered with coarse grit sandpaper, he paced back and forth, dragging his hands across the plates. He printed the resulting plates like one would a drypoint print. The prints were then trimmed, hinged together, accordion folded and placed between two waxed MDF covers with one of the steel plates attached to the front cover." [text from a description of the work at Western Exhibitions, a contemporary art gallery in Chicago] 

Edition of 10, individual sheet size 7.5” x 13.5”, open size 7.5" x 120" Western Exhibitions

Accordion Installation, Great Poor Farm Experiment III, Manawa, Wisconsin, August, 2011

A temporary accordion installation that I created this summer at the third Great Poor Farm Experiment deep in the Wisconsin countryside. The goal of this wonderful artist-initiated project is "...to facilitate and present artists' projects and year-long exhibitions at the former Waupaca County Poor Farm (built 1876) in Little Wolf, Wisconsin. First and foremost, the Poor Farm is a facilitator, generating new possibilities for artist’s projects and exhibitions." For more information about: Poor Farm | ABOUT

Read-in Manual (magazine insert), C Magazine (Libraries issue), Autumn 2011, Toronto, Canada

  

An accordion insert in the 'libraries' issue of C Magazine that's a manual for a fascinating project that involves initiating reading sessions in stranger's homes. On the back of the insert is information about this project and an outline of how the collective initiates their read-in actions. The text below has been taken from their website http://www.read-in.info/index.html

"Read-in is the collective effort of instigating instant reading sessions in other people's homes. Initiated in February 2010 in Utrecht, NL by artist Annette Krauss and theatre maker Hilde Tuinstra, this evolving experiment in group reading delves into a process of unusual social activity involving ringing neighbours' doorbells with the request to host the collective reading. Through conceptualising the permeation of private space and communalising a typically solitary activity, the Read-in practice calls attention to the relationship between the content of a book and the reading of a place, opening up new understandings of the material, affective, and political dimensions of ‘reading together.’ 

After a year of monthly actions, a few members of the current 'Read-iners' have formed a research team to contextualize the reading practice and expand it towards other ends, as well as to grapple with ideas of representation of this practice for various contexts. How to communicate and effectuate "the material, affective, and political dimensions" of Read-in? 

Read-in is developed in collaboration with The Grand Domestic Revolution—User’s Manual’ (GDR) a long-term collective research project initiated by Casco - Office for Art, Design and Theory."

Geza Perneczky, Post Infinite, 1984, Koln, Germany

A four page accordion made with white rubber stamps and overprinting minimalist designs. Perneczky is a writer, historian and artist/networker who divides his time between Koln, Germany and his homeland of Hungary. He has published two important books on the history of artists' periodicals.

La Prose du Transsiberian et de la Petite Jehanne de France, poem by Blaise Cendrars & artwork by Sonia Delaunay, facsimile of 1913 version, 2008, Yale University Press, New Haven

A really wonderful facsimile of the 1913 original that features Blaise Cendrar's free verse poem describing a real or imagined trip across Russia and printed in an assortment of type fonts and sizes. Combined with Delaunay's 'simultanist' abstract work this early artists' book still exudes the excitement and vitality of this collaboration between two important Paris-based pioneers of early 20th century modernism.

Presented as a two-sided accordion with the artists' works on either side, the work then opens up further into a long single sheet in which the image and texts are brought together.  83.75" (H) x 7.5" (W).  

Sampler Italiano, Darden Concepts, 2011

Liberated from Olive Garden restaurant, Green Bay, Wisconsin, June 16th, 2011. 10" (H)  16.5" (L)

Julia Rothman, Jenny Volvovski & Matt Lamothe, The Exquisite Book, San Francisco: Chronicle Books, 2010

I was in San Francisco last week and quite by chance I come across this remarkable accordion book at Green Apple Books on Clement Street. Utilizing the Surrealist game of 'Exquisite Corpse' the editors invited 100 illustrators to contribute one page to this project. The artists were placed in 10 groups with the first artist in each group being given an open-ended phrase with which to start each section. The final book contains 10 double-sided accordions (!) that are made up of 10 artworks and 2 pages that contain the phrase for each accordion.

This is a really wonderful publication that I'm sure created all kinds of headaches & challenges for the printers & binders — but it's a gem. The images are first class and they come together to create some smart and unexpected juxtapositions. The book also includes short interviews with a number of the artists, as well as biographical information for them all. Aside from the 2 publications from La Dernier Cri (France) documented earlier in this blog, this book stands out as one of the most technically innovative accordion publications that I've come across! If you only buy one accordion this year, make it this one - you won't be disappointed. Each individual accordion is 9" (H) 3.75' (L)

Art: From Prehistoric Art to Modernism (Flipguide), 2001, DuMont Buchverlag, Koln

The accordion format is ideally suited to displaying large amounts of information in a sequential and chronological format. This accordion catalogues art works made over the last 35,000 years. 12" (H) 67.50" (W)

Map & Guide to Powell's City of Books, nd, Powell's Books, Portland

A faux old style guide to Powell's bookstore in Portland, Oregon, USA. This accordion catalogue displays the location of different subject areas and where in the store they can be found. Also includes potted history of the bookstore whose first store was opened by Michael Powell in Chicago in 1971.  7.25" (H) 36" (W)

Hamish Fulton, Ajawaan, Art Metropole, Canada, 1987

Brit walk artist Hamish Fulton estimates that since 1969 he has made walks in 26 countries. This publication is the documentation of an 8-day walk in Central Saskatchewan, Canada, by way of Lake Ajawaan in August, 1985. Superimposed on the panoramic image of the lake are columns of four letter words related to the natural environment. 7.5" (H) 52.25" (W) 

Richard Meade (USA) & Jurgen Olbrich (Germany), Los Angeles Photo-Copy-Strip, 1985, photocopy

A cool collaborative photocopy work by these two longtime networkers, publishers and artists. Edition of 17, singed. 8.5" (H) 32.5" (W)

Carlos Pileggi, Pulga: Parque Vitória, 2010, photocopy, Sao Paulo, Brazil

About this 2-sided accordion the artist says, "Pulga Parque Vitória is a compilation of notes and drawings that were made in the past four years at my grandparent’s house. It deals with the passage of time, preservation of memory and the sentimental value that a simple household object can build or gather throughout time.”  6" (H) 59.5" (W) For images of other zines and books by Pileggi see: zines - a set on Flickr

Kurt Ryslavy, Hambourgeois, screen print, Brussels, 1988

Kurt Reslavy was born in Austria in 1961 and now lives in Belgium. This 2-sided accordion mixes text and image in a cool expressionist swirl. For more info about this painter and conceptual artist see: Kurt Ryslavy  10.25" (H) 27.5" (W)

Lewis Koch, Double Caution Totem (Book One), Nexus Press, Atlanta, 1993

Presented in a smart slipcase, this contemporary totem is an assemblage of photographs of natural and man-made structures from the urban environment. This is one of a series of three books, all of which comprise smaller versions of the original wall-mounted photographic works. Each original assemblage was made in an edition of 8 and was 108" (H) x 19" (W). This publication is 42" (H) x 8" (W) For further photographs by Koch: https://www.lensculture.com/articles/lewis-koch-touchless-automatic-wonder

Addenda: when Lewis came over a couple of months ago to attend an opening in my home-based gallery, Subspace, it was dark when he tried to enter my back door, he managed to walk into the screen door and wreck it!  No big deal, but he must have been feeling guilty about it, and knowing that I had posted Book One of the trilogy on my blog, he gave me the other two as compensation. I was very happy about that!  The two publications are below titled "Surplus Koan Totem: Book Two," and "Slender Thread Totem: Book Three," 1993.