Book Objects and Loose Page Sculptures
In the early 1960s, published by Something Else Press, Knowles composed the Notations book of experimental composition with John Cage and Coeurs Volants and a print with Marcel Duchamp. She also traveled and performed throughout Europe, Asia and North America. In 1963, Knowles produced one of the earliest book object, a can of texts and beans called the Bean Rolls. In 1967, Knowles and James Tenney produced the computerized poem The House of Dust. A sound installation for a House of Dust public sculpture was produced by Max Neuhaus.
In 1967, Knowles created the Big Book, an 8-foot-tall (2.4 m) book of environments organized around a spine, which opened at the Frankfurter Buchmesse and toured through Europe. The book was eventually destroyed. In 1982, with the help of Franklin Furnace, Knowles produced a second large-scale book called The Book of Bean. Several pages of this book can be found at Museo Vostell in Extremadura, Spain. In 1985, Knowles created a smaller book of tactile languages called A Finger Book of Ancient Language. This book consisted of seven 11-inch-high (280 mm) pages all in braille and was shown at the Lighthouse for the Blind in New York. She has also produced and written several books of experimental text and poetry.
Knowles' 1983 book Loose Pages, originally produced in collaboration with Coco Gordon, consisted of pages made for each part of the body. In her other page sculptures, the audience physically stands in the page and enters it with one or more body parts. Her 1989 Mahogany Arm Rest and 1992 We Have no Bread invited the viewer to engage directly with their four to five meter pages.
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Famous quotes containing the words book, objects, loose and/or page:
“Common sense should tell us that reading is the ultimate weapon—destroying ignorance, poverty and despair before they can destroy us. A nation that doesn’t read much doesn’t know much. And a nation that doesn’t know much is more likely to make poor choices in the home, the marketplace, the jury box and the voting booth...The challenge, therefore, is to convince future generations of children that carrying a book is more rewarding than carrying guns.”
—Jim Trelease (20th century)
“As a medium of exchange,... worrying regulates intimacy, and it is often an appropriate response to ordinary demands that begin to feel excessive. But from a modernized Freudian view, worrying—as a reflex response to demand—never puts the self or the objects of its interest into question, and that is precisely its function in psychic life. It domesticates self-doubt.”
—Adam Phillips, British child psychoanalyst. “Worrying and Its Discontents,” in On Kissing, Tickling, and Being Bored, p. 58, Harvard University Press (1993)
“A slight digression: that bit about my mother was a deliberate lie. In reality, she was a woman of the people, simple and coarse, sordidly dressed in a kind of blouse hanging loose at the waist. I could, of course, have crossed it out, but I purposely leave it there as a sample of one of my essential traits: my light-hearted, inspired lying.”
—Vladimir Nabokov (1899–1977)
“There is then creative reading as well as creative writing. When the mind is braced by labor and invention, the page of whatever book we read becomes luminous with manifold allusion. Every sentence is doubly significant, and the sense of our author is as broad as the world.”
—Ralph Waldo Emerson (1803–1882)