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HISTORY: VOLUME 2 MTL
Overview
Consider this: The book, not the gallery, may be the best place to experience collage. This sentiment has broad implications for how collage artists work and how their work is received by an art world whose orientation is decidedly fixed on the gallery wall. Can the book provide the functions that the exhibition has historically provided to artists? Unlike an exhibition where original work is on display, a book depends on reproduction for its distribution. Will the public accept a book as an experience of artwork or even as an object of art in and of itself? And if we accept the book as being on par with the exhibition, how does that affect how we think of the history of art publishing that has come before? These are the questions we will explore at the COLLAGE::BOOKS Symposium, a day-long meeting of artists and art professionals interested in the book as art practice, art work, or as a vehicle for diffusing and sharing ideas about art.
Program
Collage and the Book
The day begins with a session in which we frame the conversation about collage and the book. Ric Kasini Kadour presents an overview of the various types of books collage artists make. He compares the book against the exhibition as a means of diffusion and offers a taxonomy of various books and publishing activities. He concludes with a discussion of the role of the book in art practice, for art professionals, for viewer or collector.
Artist Presentations
The bulk of the day is made up of presentions from collage artists of their book projects.
Strategy Session
In the final session, we identify strategies for supporting the book as a means of distribution. The final session will be structured in a way that articulates general strategies and recommendations to artists, galleries, art centers, museums, libraries, and booksellers.
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The Book as a Place of Collage
The companion to COLLAGE::BOOKS, a symposium about the role of publishing in collage, considers as a point of departure that the book, not the gallery, is the best place to experience collage. In this book, Kolaj Magazine Editor Ric Kasini Kadour investigates this idea using examples from the magazine's collection of collage books and work by presenters are the symposium, Kadour traces the history of collage publishing, offers a taxonomy of various publishing activities, and discusses the function of the book in art practice, for art professionals, for viewer or collector. The book includes a statement identifying strategies for supporting the book as a means of distribution and (like exhibition) as a viable and respected part of an artist's practice.
About Kolaj Institute
The mission of Kolaj Institute is to support artists, curators, and writers who seek to study, document, & disseminate ideas that deepen our understanding of collage as a medium, a genre, a community, and a 21st century movement. We operate a number of initiatives meant to bring together community, investigate critical issues, and raise collage’s standing in the art world.
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About Kolaj Magazine
Kolaj Magazine is a quarterly, printed magazine about contemporary collage. We are interested in how collage is made, how collage is exhibited, and how collage is collected. We are interested in the role collage plays in contemporary visual culture. Kolaj is a full colour, internationally-oriented art magazine. Kolaj is published in Montreal, Quebec by Maison Kasini.
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