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Artists’ Publications

THE CONFIGURATION OF ARTIST, gallery/museum, and catalogue represents a symbiotic confluence of interests (as Seth Siegelaub proved, printed evidence can carry an exhibition on its shoulders into history) and suggests on infinite number of interactive possibilities. Some of the results are fully realized artists’ books, some ore sheep packaged in a thin layer of creative clothing, and some are hybrids that, in the hands of someone passionate about the book as medium, can be amazingly successful.

An example of the latter is Anselm Kiefer’s 1987–89 American museum catalogue, for which the artist created 35 sequential pages of spectral gray and silver that form a prologue to what otherwise would have been a handsome but conventional catalogue. Likewise, in Christian Boltanski: Lessons of Darkness (for a traveling exhibition, 1988), sandwiched between the introduction and catalogue essay is

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