welcome
Welcome to www.andreweason.com. I make artist's books. I write about them too. You can view lots of my work on this website.
I have also included resources including a large links directory, and a calendar of book art events that you can subscribe to.
portfolio
read my news
Essays, reviews and other writing is available here.
find out more
Find out more about me, Andrew Eason, through my resumé, statement and other contact materials.
Find out more about artists’ books through my extensive links directory.
— æ —research
For the past few years and for a few more to come I've been consolidating my knowledge in the field of artists' books, working towards a PhD. I've been thinking, writing and researching about what artists' books enable in artists' practices.
Does the book form endow the artists who favour it with an interface to their preoccupations that they find peculiarly apt? If so, in what ways? What can I- as a book artist myself- have to add to this enquiry?
With this in mind, I've been keeping track of my practice in my studio journal weblog, Adminicle, and producing writings. I'd welcome any constructive critical feedback you'd like to offer.
Thanks for stopping by.
— æ
news
PhD Viva Success!
I recently took my viva voce examination in defence of my thesis Becoming What the Book Makes Possible: Aspects of Metaphorisation of Identty and Practice in Artists' Books. My examiners, Mike Nicholson of Ensixteen Editions, and Richard Anderton, offered an insightful and useful critique of the thesis and suggested some additions to the text as it was. I'd like to thank them for their attentive reading of my work and for making the viva a real chance for me to talk to people about my research rather than just a hoop to jump through.
I'd also like to thank my supervisors Iain Biggs and Sarah Bodman, without whose guidance, tolerance and tenacity I'd never have completed.
And, of course, I must thank the many artists whose workplaces I visited, whose conversation, argument and jokes I enjoyed, and whose hospitality and intelligent engagement with what must have seemed a fairly abstruse take on artists' books, made the research at so many points a real pleasure.
I look forward to editing the thesis for a less academic audience and seeking publication. A chapter will be featured in the forthcoming volume of The Blue Notebook, on the subject of 'Making-Reading'.
You can read all my latest news, links and writing on Adminicle.
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Artist Books 3.0 is a forum for the discussion and promotion of the medium. It's currently a lively and interesting arena for debate and includes participants from all sorts of book art traditions.
book of the month
Turndust
A wind-miller has the duty to grind the meal so that the people living nearby can sell the produce they give him to grind and, indeed, so that they can earn their daily bread. Having had no wind to work with for weeks, and suddenly having some chance to do his work, he is tempted, even though he fears a storm. Should he risk the powerful machinery he is in charge of against the unknown? It may destroy him and the mill in the process.
In Turndust, I was able to use the windmill as a complex metaphor to discuss this in depth. Linguistically, wind-milling offers a range of interesting terminology that help give the writing texture and a specificity that helps me to distance the explicit description of visual events, cloaking them in language. Visually, the structure of the windmill itself is full of wood, beams, gears and a sense of a structure built to withstand enormous forces. A windmill is “built like a tank”. But the windmill also contains the means of its own destruction.
reviewing opportunity
Every month I will feature an artists' book in this column. At the moment I am featuring my own. If you would like me to feature one of yours, with a very brief review/description, please get in touch.