{"id":542,"date":"2013-12-10T15:54:40","date_gmt":"2013-12-10T20:54:40","guid":{"rendered":"http:\/\/blogs.law.harvard.edu\/finearts\/?p=542"},"modified":"2013-12-10T15:54:40","modified_gmt":"2013-12-10T20:54:40","slug":"highlighting-artists-books","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/finearts\/2013\/12\/10\/highlighting-artists-books\/","title":{"rendered":"Highlighting Artists’ Books"},"content":{"rendered":"

Take a break from studying and liven up your imagination by taking a peek at some artists’ books. \u00a0Here are a couple of highlights to get you started!<\/strong><\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

The Book of Warnings<\/a><\/em> by Daniella Deeg<\/strong><\/p>\n

2001 Women\u2019s Studio Workshop<\/strong><\/p>\n

This screen-printed artist book is stunning at first glance, tucked in a box with orange hazard ribbon, with more red warnings blazoned behind.\u00a0 The pages have lively visuals of odd caution symbols and text, layered in reds and oranges, highlighted with crisp black and silver inks.\u00a0 The novelty of the imagery and colors is soon coupled with more layered ideas of the reasoning behind taking precautions or taking risks.\u00a0 The introduction explains the significance of \u201cthe human ability to anticipate the future\u201d and how it enables \u201cindividuals can plan ahead and prepare themselves for things to come.\u201d<\/p>\n

\"\"<\/a><\/p>\n

The day-to-day warnings that go with a wet floor or with changing a light bulb are layered side by side with simple imagery of men fist-fighting, or with ideas about relationships.\u00a0 \u201cPeople might even try to use this foresight to turn the course of events to their liking\u201d the introduction continues, adding a more active and perhaps devious twist to this idea of warning and anticipation.\u00a0 Deeg\u2019s work, initially perceived as a simple, vibrant accordion-folded book, suggests that we might need similar orange hazard warnings against something like falling in love or the more abstract risks of living.
\n\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

How to Talk About Art<\/a><\/em>\u00a0by Miriam Shenitzer<\/strong><\/p>\n

1994 Women\u2019s Studio Workshop<\/strong><\/p>\n

Looking to expand your vocabulary when talking about art?\u00a0 Shenitzer\u2019s tongue-in-cheek tutorial shows you how!\u00a0 Black and white drawings of her adorable rat characters, coupled with pop-up book elements, take you through innovative ways to sound like you know what you are talking about.<\/p>\n

\"\"<\/a><\/p>\n

This book mocks the language of art terminology as presented in some high-minded art criticism.\u00a0 Short and sweet, this item is bound to make you smile, both reminding you of childhood pop-up books and make you laugh at the absurdities possible in talking about art.<\/p>\n

\"\"<\/a><\/p>\n

This is just a taste of the enlightening and entertaining artists\u2019 book collection at the Harvard Fine Arts Library.\u00a0 Stop in and we would be glad to show you more!<\/p>\n

Thanks to Alexandra Winzeler for compiling this entry and for all of her useful contributions this semester!<\/p>\n","protected":false},"excerpt":{"rendered":"

Take a break from studying and liven up your imagination by taking a peek at some artists’ books. \u00a0Here are a couple of highlights to get you started!   The Book of Warnings by Daniella Deeg 2001 Women\u2019s Studio Workshop This screen-printed artist book is stunning at first glance, tucked in a box with orange […]<\/p>\n","protected":false},"author":2297,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[18605],"tags":[16207],"class_list":["post-542","post","type-post","status-publish","format-standard","hentry","category-artists-books","tag-prints","post-preview"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8gvrn-8K","_links":{"self":[{"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/posts\/542","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/users\/2297"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/comments?post=542"}],"version-history":[{"count":29,"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/posts\/542\/revisions"}],"predecessor-version":[{"id":579,"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/posts\/542\/revisions\/579"}],"wp:attachment":[{"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/media?parent=542"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/categories?post=542"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/finearts\/wp-json\/wp\/v2\/tags?post=542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}