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of Otis Art Institute’s Art Librarian for twenty years. She would ap-preciate
gifts of artists’ books and periodicals for the library
archives.”8
" In the same issue of The Dumb Ox Ed Ruscha weighs in about
his artists’ books in an interview conducted by Gary Lloyd of
UCLA. Ruscha acknowledges the commercial character and poten-tial
of his books, and validates them as works of art, no less impor-tant
than his paintings. About the books, he says,
I had to get out of the way of the concept of the photographs in the books
as merely a collection of photographs. The books are books and not photo-graphic
books.9
Artwords & Bookworks
Six years after Possibilities, Hugo once again curated an exhibition
of eclectic materials; this time the materials were books by artists.
Artwords & Bookworks opened at the Los Angeles Institute of Con-temporary
Art (LAICA, now defunct) on February 28, 1978.
Hugo’s co-curator for this exhibition was her friend, colleague and
sister art librarian Judith A. Hoffberg.
" Hugo and Hoffberg wrote complementary essays for the 58-
page catalogue, which was printed on newsprint and sold for
$1.00. Hugo’s essay, Museum Without Walls, is a sweeping history
of books (“Until the development of printing with movable metal
type, all books were made by artists),” the subject matter ranging
from the artist John Baldessari’s childhood to Chinese block books
to The Whole Earth Catalog. The essay ends with a celebration of
mail art, which forms the core of work shown in Artwords & Bookworks.
" In contrast to Hugo’s broad-brush approach (and despite its
provocative opening sentence, “Is this a book?”) Hoffberg’s The Mu-seum
is the Mailbox drills down into the details of the exhibition and
its mission:
10
Object Description
Description
| Title | Page 11 |
| Full Text of PDF | of Otis Art Institute’s Art Librarian for twenty years. She would ap-preciate gifts of artists’ books and periodicals for the library archives.”8 " In the same issue of The Dumb Ox Ed Ruscha weighs in about his artists’ books in an interview conducted by Gary Lloyd of UCLA. Ruscha acknowledges the commercial character and poten-tial of his books, and validates them as works of art, no less impor-tant than his paintings. About the books, he says, I had to get out of the way of the concept of the photographs in the books as merely a collection of photographs. The books are books and not photo-graphic books.9 Artwords & Bookworks Six years after Possibilities, Hugo once again curated an exhibition of eclectic materials; this time the materials were books by artists. Artwords & Bookworks opened at the Los Angeles Institute of Con-temporary Art (LAICA, now defunct) on February 28, 1978. Hugo’s co-curator for this exhibition was her friend, colleague and sister art librarian Judith A. Hoffberg. " Hugo and Hoffberg wrote complementary essays for the 58- page catalogue, which was printed on newsprint and sold for $1.00. Hugo’s essay, Museum Without Walls, is a sweeping history of books (“Until the development of printing with movable metal type, all books were made by artists),” the subject matter ranging from the artist John Baldessari’s childhood to Chinese block books to The Whole Earth Catalog. The essay ends with a celebration of mail art, which forms the core of work shown in Artwords & Bookworks. " In contrast to Hugo’s broad-brush approach (and despite its provocative opening sentence, “Is this a book?”) Hoffberg’s The Mu-seum is the Mailbox drills down into the details of the exhibition and its mission: 10 |
