Artist Book

N/A

The different methodologies leading to the fulfillment of the curricular unit program will be:
– Theoretical component: oral exposition oriented to the planned contents using the projection of images;
– Theoretical-practical component: study and presentation of solutions for the realization of problems and also the search for new solutions;
– Laboratory practice component: monitoring and guidance in the students’ work.

The assessment in the curricular unit will take place, at the student’s option, in the following modalities:

– Continuous evaluation;
– Exam.

The evaluation in those modalities will obey criteria that will be explained in the statements, according to the following components and weights:

Continuous evaluation
– Practical assignments – 100% weight in the global assessment.

Exam
– Written test: 30%
– Practical work: 70%

3.1 – Understand the historical process leading to the artist’s book;
3.2 – Learning to see more than looking, and acquire the ability to translate thoughts and express desires in the creative act of an object-book;
3.3 – Establish correspondences and analogies between texts and images, directly inspired by the digressions of personal experiences;
3.4 – Experience the book as possible dialogues between texts, images, and the most diverse artistic techniques;
3.5 – Knowing how to differentiate the various types of artist’s book;
3.6 – Acquisition of essential technical, methodological and theoretical skills for the conceptualization and realization of a personal project.

4.1 – Historical and conceptual contextualization of the artist’s book;
4.2 – The William Blake case;
4.3 – Discovery of the book as landscape or anatomy;
4.3 – The different aspects of the material and aesthetic nature of the artist’s book;
4.4 – The various forms of the artist’s book: illustrated book, painter’s book, object book;
4.5 – The architecture of the artist’s book: accordion (leporello), book roll, sculpture-book, image-book, installation-book, monster-book, poor-book, etc.;
4.7 – Concept of uniqueness and multiple. Walter Benjamin and the “Work of art in the age of technical reproducibility”;
4.8 – Construction of scenarios for the artist’s book from drawings, watercolors, collages, engravings, monotypes, etc. linked by an idea and accompanied by texts;
4.9 – Composition and layout;.
4.10 – Graphic research around writing (tools, rhythm, typography, readable/visible).
4.11 – Techniques and methodologies for the conceptualization and realization of a personal project.

• - Practical work - 70.0%
• - Frequency - 30.0%

• - Practical work - 100.0%

NAO

– Antunes, M. (1992). Livro de Artista. Câmara Municipal de Lisboa.
– Benjamin, W. (1992). Sobre arte, técnica linguagem e política, Relógio D’Água.
– Brogowski, L.(2010). Éditer L’Art, Le Livre d’Artiste et L’Histoire du Livre. Les Éditions de la Transparence.
– Buarque, I. (1998). Livro de Artista. Lisboa, Sociedade Nacional de Belas Artes.
– Bury, S. (1995). Artists’ Books: The Book As a Work of Art, 1963–1995, Scolar Press.
– Chamchinov, S. (2010). Le livre d’artiste : phénomène d’expérience plastique, poétique et typographique », in Esthétique du livre, Presses universitaires de Paris.
– Drucker, J. (1995). The Century of Artists’ Books, Granary Books
– Guy, B. (1991). Art is Books. Hasselt, Culturele Aangelegenheden.
– Mayer, R. (2002). Manual do artista. Martins Fontes.
Starobinski, J. et al (2010). Le Livre libre. Essai sur le livre d’artiste, Buchet-Chastel.