By Laura Heyenga, Brian Dettmer, Alyson Kuhn
Artists around the globe have in recent years been turning to their bookshelves for greater than only a stable learn, opting to chop, paint, carve, sew or differently remodel the broadcast web page into entire new appealing, thought-provoking artworks. Art made up of Books is the definitive consultant to this compelling artwork shape, showcasing groundbreaking paintings through today's so much showstopping practitioners. From Su Blackwell's whimsical pop-up landscapes to the stacked-book sculptures of Kylie Stillman, every one portfolio celebrates the impressive inventive variety of the medium. A preface through pioneering artist Brian Dettmer and an advent by way of layout critic Alyson Kuhn around out the gathering. awarded in an strange, tactile package deal with an uncovered backbone, this is often an important addition to the libraries of e-book enthusiasts and artwork aficionados.
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Extra info for Art Made from Books: Altered, Sculpted, Carved, Transformed
Space, Lefebvre postulates, is a historical production, at once the medium and outcome of social being. 5 This relationship between the social and the spatial—in Edward Soja’s term, the “socio-spatial dialectic” 6—is an interactive one, in which people make places and places make people. Such ideas have, of course, precursors and analogues in the fields of geography and anthropology. Urban geographers such as David Harvey have long been concerned with the social production of space, while anthropologists have argued that space is culturally produced—as an integral part of material culture, space is intimately bound up in daily life, social activities, and personal rituals.
It is both a space of objects and things and a space of movements and activities. This is space, in Lefebvre’s terms, as it is “perceived”—in the sense of being the apparent and often functional form of space that we perceive before considering concepts and experiences. ” Representations of space are a form of knowledge that provide the various understandings of space necessary for spatial practices to take place. They thus display a tendency toward intellectually constructed systems of verbal signs.
Soja (chapter 16) both provide instances of particular spatial practices, respectively in west London and Amsterdam, where residents have fought to maintain distinctive modes of living and to creatively disrupt forces of urban renewal whether in the form of roads or of gentrification. Lynne Walker (chapter 17) describes how women in the nineteenth-century city transformed domestic space, fashioning an arena of feminist politics. The occupation of space is also the premise of Adrian Forty’s essay (chapter 11), which shows how the Royal Festival Hall operated as a place of democracy.