"More abstract. Like a visual mind map. Or maybe more like an artist book. An abstract book. Mmmmm…"
Sinéad Bligh Jessica Singer Joanne MacFadyen James Mitchell Marios Fournaris Rowan Richardson Mirna Sarajlic Mona Khatibshahidi Wahj Jamjoom Jean Floyed David Aitken Julie Reilly Rongze Dai Catriona Taylor
Led by Marco Stout (Stout/Kramer) with Professor Tracy Mackenna, MFA Director.
The collective MFA Publication 2012 was produced during Marco Stout's Masterclass in July this year. Thepublication is regarded as a public presentation platform, parallel to the Masters Show.Visually led, it is close to what has come to be known as an artist's book, and reflects the students' creative experiences during the MFA year and reveals aspects of their individual trajectories and collaborative moments.
Marco Stout brought his vast experience as a designer who works with publications in all formats and scales, with clients and collaborators that range from cultural institutions and government bodies to artists.
The digital publication was developed in paper format, between software, screen and printer, discussion centred around the changing draft pages. Each student worked to a structure of 8 pages, making up one section of the larger publication. These stand as unique printable publications for each student, yet whilst each section was'inhabited' by one individual, the intention was always that during the creative making process unexpected combinations of images and text would arise, shifting between an individual student's presence and the conjunction with another student's images. This is represented in the digital collective publication.
Artists' books are works of art realised in the form of a book. Traditionally paper publications, we were keen to explore new digital media offerings of a range of possibilities for publishing on-line, and for print on-demand, enabling a publication to be ordered in a small number at low cost, and when desired. This opens up options around scale - artists' books are often published in small editions, though sometimes produced as one-of-a-kind objects or 'uniques' - and economy. In the early 1970s the artist's book began to be recognised as a distinct genre, bringing with it the beginnings of critical appreciation and debate on the subject. Institutions devoted to study and teaching were founded, and library and art museum collections devised new taxonomies with which to order and catalogue artists' books, and collections began to actively expand. For more information please refer to the link below: