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If to describe artist\u2019s books in the simplest terms, we may consider \u201creadable artworks\u201d. Due to their readability and shareability, artist\u2019s books ought to be classified as books, thereby distinguishing themselves from other works of art; meanwhile, their other attribute of being an artwork also endows them with extensibility and interactivity.<\/p>\n\n\n\n
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As a sequel to The Codices of the Masters (published in 2020), this book is titled The Wonderland of Artist\u2019s Books . The soft texture of the pages feels as smooth as silk. The cover image, selected from one of the artworks in the book, shows a hand holding a scalpel, embodying the concept of \u201chandmade\u201d. I often reflect on how creating a book is akin to a surgeon performing a dissection, as we need to meticulously analyze every detail within the book and strive to find a coherent narrative logic for a clear reading framework. The title page, preface, and table of contents are all printed in silver ink on 60g black paper, forming a sense of unity. The 50 artist\u2019s books introduced this time are arranged rhythmically based on their sizes, resembling a real exhibition on paper. Thin black sheets are used as separators between the books for easy reference. The introduction to each book (printed on 35g thin paper), is attached independently to the corresponding black page. Such a loose-leaf design also derives from my real experience of flipping through these artist\u2019s books.<\/p>\n\n\n\n
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The back cover features an illustration inspired by the 50th artist\u2019s book Philobiblon . The illustration contrasts with the photography on the front cover, as they stand for two different artistic creation languages. Besides, the black and white backgrounds respectively of the front and back covers also create a three-dimensional black-and-white space.<\/p>\n","protected":false},"excerpt":{"rendered":"
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