By Sinead Fletcher
- Sinead Fletcher is a third year fine arts student at the University of Johannesburg who recently took part in the Arts Writing course facilitated by Robyn Sassen.
“MAKE YOUR OWN book, Buzzy,” was the instruction that a three-year-old Buzz Spector remembers most clearly as the trigger that started his illustrious career as a book artist. Arguably one of the superstars of the Booknesses Colloquium and Exhibition – currently on show in Johannesburg – Spector spoke to My View whilst he was in South Africa for the opening and conference hosted at the end of March.
His mother’s instruction came with his first 16-page, brown craft paper book that was sewn with red yarn. This was the paper in which his three-year-old’s sister’s diapers, freshly delivered from the laundry came wrapped in. Spector explains that this moment and this investment of a kind of creative autonomy, planted the seeds of interest which began his exploration and fascination with the book.
These days, armed with qualifications in the field from the Southern Illinois University in Carbondale, and the University of Chicago, Spector, who is currently a professor of art at the Sam Fox School of Design and Visual Art at Washington University in St Louis, enjoys exploring the making of artists books by way of altering already established archival, record keeping encyclopaedias and almanacs, which boast graphically and typographically identical layouts. Working with great writing – philosophical or fiction – is a difficult process, he says, as it requires him to explore and read the texts carefully and deeply.
Not every book that makes for great reading served his purposes though. Many do not “suit my method,” he says, explaining that he can go many years before finding books which are suitable for his forms of book alteration. The criteria which Spector follows to find his ideal book include the institutional nature of the text, the quality of paper that the text is printed on, the sturdiness of the binding, the physical properties of the dust jacket and the presence or absence of mould or mildew.
“All of these concerns, from root materiality to critical reading, have to be in play for the work to begin.”
Spector knows South African art making well. He considers Willem Boshoff, who he’s known since 1995 a “kindred spirit”. Articulating great admiration for the work of William Kentridge, Spector also mentioned that recently he has become more aware of books made by artists such as Stephen Hobbs and Stephan Erasmus.
Having worked at a few paper mills, over the years, including Dieu Donné in Brooklyn, New York, Spector says he has been “impoverished” with his selections of paper thus far and is now “looking for the buffet” after being exposed to the work of Mary Hark and other young South African artists.
Describing the Booknesses Colloquium as having had a quality of urgency that showed both in the enormous emotional investment of professionals associated with the University of Johannesburg people – David Paton especially – and in artist book collector Jack Ginsberg’s desire to enable the exhibit to spark a transformative social interest in South Africa, he said this urgency was reflected a sense of caring and desire which, within the international community, he explains, “promotes urgency in reawakening our interest to go out and promote our practise.”
Spector spoke of the multiple panels in the Colloquium, which focused on a rich mêlée of books-related issues, including the notion of the book’s relevance to culture as well as the problem of the book being exhibited as a stillness of form whose “meaning arises in motion.”
- The Booknesses exhibition, comprising the collection of Jack Ginsberg and curated by David Paton, is on show at the FADA Gallery on the Bunting Road Campus of the University of Johannesburg and the UJ Gallery on the Kingsway Campus, until May 5. Contact David Paton on: firstname.lastname@example.org or 082 888 4859. Or visit website: http://www.theartistsbook.org.za/