Supports et acteurs de la création texte/image (XXe–XXIe siècles) / Materials and Agents of the Text/Image Creation (20th–21th Centuries)
Edited By Isabelle Chol and Jean Khalfa
The heart of the reflection in this book is the diversity of aesthetic possibilities of the book as material support, from the late nineteenth century to contemporary experiments. The page, the sheet and the book go well beyond the codex and the bound book, in the heterogeneity of their materials, forms and formats (fans, leporellos, poster collections, upright books, book sculptures, exploded books, electronic books, etc.): they are active supports in the design and reception process. This book observes the process of composition and distribution of works in their material singularities, including the role of the different stakeholders in the design of the book, not only the writer and the artist but also the typographer, bookbinder, publisher or gallery owner, each playing a multiplicity of roles. Such porous borders between roles and crafts generate porosity between the literary and artistic genres.
Indian Ink: Francesco Clemente, Allen Ginsberg and the Kalakshetra Press
When Francesco Clemente first travelled to India in 1973, his art was transformed by the vibrant, regenerative culture of images he discovered proliferating from temples to the streets; and this distinctive sense of a living tradition was something he found carried over into the life of images in print:
Technology of printing might be similar everywhere – technology is technology – but the tones, textures, shades and smells of the printing ink is different … that is where Indian popular culture in print is very much its own.1
The popular publications, including calendars, posters, story books and prayer books, with their intense colours and handmade papers, not only fed into Clemente’s artwork, but inspired numerous book projects too. Within ten years of his initial visit Clemente would be engaging Indian publishers to produce small-scale editions reproducing his artwork, and books in collaboration with writers: and these individual qualities of print and manufacture which he identifies lend a further collaborative dimension to these projects. Here the focus will be on two of Clemente’s most substantial book projects that were printed in India in the 1980s and 1990s: White Shroud, an edition of the poem by Allen Ginsberg; and the Hanuman Books, a series of fifty miniature titles published over seven years. ← 105 | 106 →
Whilst India offered a fresh start for Clemente’s art, it also provided certain attractive continuities with his Italian heritage, and specifically with those aspects of the European past that he regarded as dead...
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