I like the idea of a book telling a story that isn’t in a linear format. This keeps the reader/viewer guessing and thinking. It also makes them think as well as put a little effort into trying to figure out the little bit of mystery left by the artist. It makes a lot of sense that time is an uncontrollable factor in the hands of the viewer (regarding the speed the book is read or flipped through). If there is no particular order to pages, then the artist has the ability to direct the viewer’s eye and essentially control their experience. This is a great concept because it opens up so many possibilities for book makers. There are no rules, which is great for creative souls.
Edward Ruscha’s Every Building on the Sunset Strip (1966) is particularly interesting to me because of the use of time. The book is made up of these sequential pictures that he took while driving. The time that it took him to get these photographs is another element of time that adds to the dimension of his work.
Robert Morris’ Continuous Project Altered Daily 1969 is also an example of this added element of time. He documented all of his process work from projects he was working on, which is always fun for the artist and also for the viewer. The accordion shape is appropriate for this type of work, but in my own taste I might’ve tried something a little more original. Maybe instead of folding it back and forth he could’ve just rolled it up like a scroll.
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