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art that changes
- To: Multiple recipients of list BOOK_ARTS-L <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
- Subject: art that changes
- From: Richard Minsky <minsky@xxxxxxxxxxxxxxxx>
- Date: Tue, 20 Aug 1996 16:55:34 GMT
- Message-id: <199608201655.JAA19546@SUL-Server-2.Stanford.EDU>
- Sender: "The Book Arts: binding, typography, collecting" <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
On Aug 20, 1996 05:51:40, '"David I. Sheidlower" <dsheidlo@xxxxxxxxxxx>'
>Here's a call for a little discussion on the aesthetics of using
>materials and processes that DO change over time.
In 1980 I bound the Trilateral Commission's book *The Crisis of Democracy*
in sheep, gold and barbed wire. Materials which relate to the metaphor of
the text. Every time the book is opened the barbed wire cuts up the sheep.
The metaphor continues. You can see it (and read more about it) at
On the same subject:
I'd rather have something I love that lasts a short time than something I
can't stand that lasts forever.
It also addresses the issue of spontaneous inspiration vs. planned design.
I try to keep archival materials around
so that on those rare occasions when a bolt of inspiration strikes
the materials I grab while the moment is there
are more likely to last
and better preserve the moment.
If all that's near is newsprint I'll use it.
Inspiration needs to be encouraged, not subjected to the quashing
requirements of durability. If it survives the wastebasket it will be
preserved as well as it can, whatever it is.
If it's a commission that requires doing a design, submitting it to a
client, shopping for materials, etc. then durability can be built in
Sometimes the decay or change is required as part of the work, either for
the metaphor of change, or because of the ethic of the concept (e.g.:
making ephemera that are ephemeral, or making it as cheap as possible for