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:
“To me a book is a message from the gods to mankind; or, if not, should never be published at all.... A message from the gods should be delivered at once. It is damnably blasphemous to talk about the autumn season and so on. How dare the author or publisher demand a price for doing his duty, the highest and most honourable to which a man can be called?”
—Aleister Crowley (1875–1947)
“The objects of a financier are, then, to secure an ample revenue; to impose it with judgment and equality; to employ it economically; and, when necessity obliges him to make use of credit, to secure its foundations in that instance, and for ever, by the clearness and candour of his proceedings, the exactness of his calculations, and the solidity of his funds.”
—Edmund Burke (1729–1797)
“Thou madest loose grace unkind;
Gavest bridle to their words, art to their pace.
O Honour, it is thou
That makest that stealth, which Love doth free allow.”
—Torquato Tasso (1544–1595)
“I asked myself, “Is it going to prevent me from getting out of here? Is there a risk of death attached to it? Is it permanently disabling? Is it permanently disfiguring? Lastly, is it excruciating?” If it doesn’t fit one of those five categories, then it isn’t important.”
—Rhonda Cornum, United States Army Major. As quoted in Newsweek magazine, “Perspectives” page (July 13, 1992)