Past’s Present: Artist’s Books by José Oliveira
José Oliveira is a book artist who takes inspiration from the history and evolution of the Western book and of Western writing. His artist’s books take the form of codices, scrolls and leporellos and embody the beliefs, grief and hopes of their author. They ask us about our conceptions of the book and the nature of reading. They are evidences of their author’s resolute rejection of contemporary techniques applied to books.
- Abstract viewed = 151 times
- HTML viewed = 36 times
- PDF viewed = 724 times
BROGOWSKI, Leszek (2010). Éditer l’Art: Livre d’Artiste et L’Histoire du Livre. Chatou: Les Éditions de la Transparence.
CAMPBELL, James W.P. (2013). The Library: A World History. London: Thames and Hudson. Photographs by Will Pryce.
CUMMINGS, Brian (2013). “The Book as Symbol.” The Book: A Global History. Eds. Michael F. Suarez S.J., and H.R. Woudhuysen. Oxford: Oxford University Press. 93-96.
DONDI, Cristina (2013). “The European Printing Revolution.” The Book: A Global History. Eds. Michael F. Suarez S.J., and H.R. Woudhuysen. Oxford: Oxford University Press. 80-92.
DRUCKER, Johanna (2004). The Century of Artist’s Books. 2nd ed., New York: Granary Books.
LOVE, Harold (2013). “The Manuscript after the Coming of Print.” The Book: A Global History. Eds. Michael F. Suarez S.J., and H.R. Woudhuysen. Oxford: Oxford University Press, 197-204.
MOEGLIN-DELCROIX, Anne (2012). Esthétique du livre d’artiste: Une introduction à l’art contemporain. 2nd ed., Marseilles/Paris: Le mot et le reste/BNF.
OBERHUBER, Andrea (2012). “Livre surréaliste et livre d’artiste mis en jeu.” À Belles Mains : Livre Surréaliste, Livre d’artiste. Ed. Andrea Oberhuber. Special issue of Mélusine 32, Lausanne: L’Âge d’Homme. 9-30.
OLSON, Car (2013). “The Sacred Book.” The Book: A Global History. Eds. Michael F. Suarez S.J., and H.R. Woudhuysen. Oxford: Oxford University Press. 19-38.
PEYRÉ, Yves (2001). Peinture et Poésie: Le Dialogue par le Livre. Paris: Gallimard.
PORTELA, Manuel (2013a). “Materialities of Literature and Artist’s Books.” Portuguese Small Press Yearbook 2013. Ed. Catarina Figueiredo Cardoso. Lisbon: Portuguese Small Press Yearbook. 15-22.
PORTELA, Manuel (2013b). Scripting Reading Motions: The Codex and the Computer as Self-Reflexive Machines. Cambridge, MA: MIT Press.
ROBINSON, Andrew (2013). “Writing Systems.” The Book: A Global History. Eds. Michael F. Suarez S.J., and H.R. Woudhuysen. Oxford: Oxford University Press. 3-18.
STEWART, Garrett (2011). Bookwork: Medium to Object to Concept to Art. Chicago and London: The University of Chicago Press.
SUAREZ S.J., Michael F., and H.R. WOUDHUYSEN, eds. (2013). The Book: A Global History. Oxford: Oxford University Press.
“Tenebrae.” Wikipedia. http://en.wikipedia.org/wiki/Tenebrae. Web. March 14, 2014.
MATLIT embraces full open access to all issues. Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 International (CC BY-NC-ND 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. The article can be quoted but not changed and presented differently.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
- A CC licensing information in a machine-readable format is embedded in all articles published by MATLIT.
- Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- NonCommercial — You may not use the material for commercial purposes.
- NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measuresthat legally restrict others from doing anything the license permits.
- You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation.
- No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.