The Book of Laughing and Crying
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Author(s)
Mosely, Tim
Griffith University Author(s)
Year published
2012
Metadata
Show full item recordAbstract
This work of art criticism contributes to the emerging critical field of 'Artists Books'. Prominent scholars within the field have called for the development of a critical terminology and descriptors of the field that are drawn from theoretical and historical frameworks. Within the responses to this call in 2005 the 'haptic' was nominated as a potential source that can contribute to the said emerging critical discourse. Initial reaction within the literature to 'the haptic' has been dismissive or minimal. However this work of criticism reconsiders the haptic. It is an initiation of an investigation that relates the haptic ...
View more >This work of art criticism contributes to the emerging critical field of 'Artists Books'. Prominent scholars within the field have called for the development of a critical terminology and descriptors of the field that are drawn from theoretical and historical frameworks. Within the responses to this call in 2005 the 'haptic' was nominated as a potential source that can contribute to the said emerging critical discourse. Initial reaction within the literature to 'the haptic' has been dismissive or minimal. However this work of criticism reconsiders the haptic. It is an initiation of an investigation that relates the haptic to artists book practice and criticism. Its primary roles are, firstly to identify the established theoretical and historical framework of the critical discourse of the haptic. Secondly it identifies descriptors and terminology applicable to artists book practice and criticism within that discourse. And finally it instigates the use of those descriptors and terminology within the criticism of an artists book. This work emerged from a paper presented at the IMPACT 7 conference in Melbourne 2011. The refereed journal it is published in was established to support artists book practice and seeks to contribute to the emerging critical discourse of the field.
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View more >This work of art criticism contributes to the emerging critical field of 'Artists Books'. Prominent scholars within the field have called for the development of a critical terminology and descriptors of the field that are drawn from theoretical and historical frameworks. Within the responses to this call in 2005 the 'haptic' was nominated as a potential source that can contribute to the said emerging critical discourse. Initial reaction within the literature to 'the haptic' has been dismissive or minimal. However this work of criticism reconsiders the haptic. It is an initiation of an investigation that relates the haptic to artists book practice and criticism. Its primary roles are, firstly to identify the established theoretical and historical framework of the critical discourse of the haptic. Secondly it identifies descriptors and terminology applicable to artists book practice and criticism within that discourse. And finally it instigates the use of those descriptors and terminology within the criticism of an artists book. This work emerged from a paper presented at the IMPACT 7 conference in Melbourne 2011. The refereed journal it is published in was established to support artists book practice and seeks to contribute to the emerging critical discourse of the field.
View less >
Journal Title
The Blue Notebook
Volume
6
Issue
2
Publisher URI
Copyright Statement
© 2012 Impact Press. This is the author-manuscript version of this paper. Reproduced in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version.
Subject
Creative arts and writing
Art history, theory and criticism
Art criticism