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"NOW LEAVES describes leaving and having left. Glossolalia like, against noise, about the bones of a writing, written in tongue graphics legible by reason of the trees with as many words as there are leaves. The percussion of these leaves is f***ing news. The percussion of these leaves is not his news. The percussion of these leaves is not her news. The percussion of these leaves is definitely not their news. NOW LEAVES presents itself as a block. Physically it adopts the scale of a human hand, its weight present, its structure flexible, almost human. The pages fall loosely apart to reveal dense black graphics - letters shaped as tongues, twisted to form barely legible words. Each page inscribed, playing on repetition, the word 'leaves' repeatedly tongued. The successive pages form statements, occasionally benign - it starts LEAVES FOR LEAVES - but as the pages turn a more visceral violence exudes from the pages - SLAVE LEAVES HAPPY LEAVES, FUCKING LEAVES LOST LEAVES KILL LEAVES, BLOODY LEAVES POSITION LEAVES. Whilst visually arresting, the experience of reading Dean's book reduces reading to the physical intimacy of your own mouth; as you to attempt to read the barely decipherable words to take pleasure in the babble, you feel your eyes contort as your own tongue does trying to shape the words, tempted to twist, stretch or replicate the graphic tonguing on the page." --Michael Dean.

kunst --- 7.071 DEAN --- artists' books --- kunstenaarsboeken --- woord en beeld --- concept art --- conceptuele kunst --- Groot-Brittannië --- Dean Michael --- eenentwintigste eeuw --- Dean, Michael

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Available for a limited time, this artist's book by renowned visual artist Tacita Dean explores her chance encounters with objects in the archives of the Getty Research Institute. As the Getty Research Institute artist in residence in 2014-15, Tacita Dean was asked to define a subject and identify a path of research. What she proposed instead was a project titled "The Importance of Objective Chance as a Tool of Research." Her idea was to allow chance to be her guide. Dean researched randomly, picking out boxes from the collections without knowing their contents, meandering through objects and images from sources as varied as medieval alchemy books to twentieth-century artist letters. Monet Hates Me features reproductions of fifty artworks she created from Getty's archival holdings along with enlightening texts that expand on her method of research and illustrate her encounters with the archives.https://www.amazon.com/Monet-Hates-Me-Tacita-Dean/dp/160606777X

Assemblage (Art) --- Multiple art --- kunst --- fotografie --- archieven --- archivering --- onderzoek in de kunsten --- artistiek onderzoek --- Dean Tacita --- eenentwintigste eeuw --- 7.071 DEAN --- Art, Multiple --- Multiples (Art) --- Art, Modern --- Dadaism --- Found objects (Art) --- Dean, Tacita, --- Getty Research Institute --- Getty Research Institute for the History of Art and the Humanities --- Library resources