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" Regardless of the motivation of the two women (certainly
Hugo had demonstrated in Possibilities her commitment to concep-tual
art and concrete poetry) the selections for Artwords & Book-works
encompassed work by a range of artists from the well-known
(Vito Acconci, Jenny Holzer, Richard Prince, Niki de Sainte Phalle)
to the emerging. Sev-eral
artists whose
works were in the proc-ess
of helping to shape
the field of book art—
Susan King, Frances
Butler, Rebis Press
(Betsy Davids and
James Petrillo), Philip
Zimmermann (under
Visual Studies Work-shop,
with his last
name misspelled in the
catalogue), Simon
Cutts of England’s
Coracle Books—were
amply represented. Al-lan
Kaprow, living in
Pasadena at the time,17
had no fewer than 17 books in the exhibition, besting Ruscha’s 12.
Artwords & Bookworks was an open-call exhibition, although judg-ing
from Hoffberg’s thanks to a long list of lenders, it is safe to as-sume
that Hugo and Hoffberg solicited at least some of the
pieces.18
" Hoffberg, whose career would go on to span decades in the
service of artists’ books, inaugurated Umbrella, a new journal, a
month before Artwords & Bookworks opened. In the inaugural issue
Hoffberg doesn’t skimp on superlatives when describing the exhibi-tion,
incidentally demonstrating the two curators’ ambitions for
the show:
This exhibition represents the work of more than 700 artists in the most
fascinating formats of “book” that have ever been conceived. A checklist
will accompany the exhibition, which represents the largest exhibition of
artists books ever launched.19
" Umbrella’s ambitions were equally as bold. A boxed editorial
on the front page of Volume 1, No. 1 (Umbrella adopted its signa-ture
blue cover later) stated that the journal,
Is a new vehicle for art news, reviews and resource information. . . . We
feel that we are presenting you with an information resource that appeals
to art historians, artists, librarians, and anyone else who is interested in
what is happening in this most explosive period of art development.
" Although this mission statement doesn’t specifically mention
artists’ books, Hoffberg set the tone for two of her core interests in
the world of contemporary art, artists’ books and internationalism,
by opening the first issue with a story about the Amsterdam book-store,
Other Books and So:
And what a glorious shop it is—housing linguistic multiples, artists’
books and all those things in-between that most booksellers wouldn’t
touch with a long pole.
12
Object Description
Description
| Title | Page 13 |
| Full Text of PDF | " Regardless of the motivation of the two women (certainly Hugo had demonstrated in Possibilities her commitment to concep-tual art and concrete poetry) the selections for Artwords & Book-works encompassed work by a range of artists from the well-known (Vito Acconci, Jenny Holzer, Richard Prince, Niki de Sainte Phalle) to the emerging. Sev-eral artists whose works were in the proc-ess of helping to shape the field of book art— Susan King, Frances Butler, Rebis Press (Betsy Davids and James Petrillo), Philip Zimmermann (under Visual Studies Work-shop, with his last name misspelled in the catalogue), Simon Cutts of England’s Coracle Books—were amply represented. Al-lan Kaprow, living in Pasadena at the time,17 had no fewer than 17 books in the exhibition, besting Ruscha’s 12. Artwords & Bookworks was an open-call exhibition, although judg-ing from Hoffberg’s thanks to a long list of lenders, it is safe to as-sume that Hugo and Hoffberg solicited at least some of the pieces.18 " Hoffberg, whose career would go on to span decades in the service of artists’ books, inaugurated Umbrella, a new journal, a month before Artwords & Bookworks opened. In the inaugural issue Hoffberg doesn’t skimp on superlatives when describing the exhibi-tion, incidentally demonstrating the two curators’ ambitions for the show: This exhibition represents the work of more than 700 artists in the most fascinating formats of “book” that have ever been conceived. A checklist will accompany the exhibition, which represents the largest exhibition of artists books ever launched.19 " Umbrella’s ambitions were equally as bold. A boxed editorial on the front page of Volume 1, No. 1 (Umbrella adopted its signa-ture blue cover later) stated that the journal, Is a new vehicle for art news, reviews and resource information. . . . We feel that we are presenting you with an information resource that appeals to art historians, artists, librarians, and anyone else who is interested in what is happening in this most explosive period of art development. " Although this mission statement doesn’t specifically mention artists’ books, Hoffberg set the tone for two of her core interests in the world of contemporary art, artists’ books and internationalism, by opening the first issue with a story about the Amsterdam book-store, Other Books and So: And what a glorious shop it is—housing linguistic multiples, artists’ books and all those things in-between that most booksellers wouldn’t touch with a long pole. 12 |
