The Book as Art: According to Accordions

Online Exhibition

This exhibition features accordion books that open and close like their namesake musical instruments. Part of “The Book as Art,” a series of online exhibitions that introduces the boundless creativity artists use to transform and reinvent books as we know them. 

Genie Shenk, Dreamlog, 1995-1996; Japanese mulberry paper, found paper, acrylic, gouache, ink, 2 x 2 x 12 in.; National Museum of Women in the Arts, Gift of the artist; © 1995-1996 Genie Shenk

Overview

Inspired by the 1,000+ collection of artists’ books at the National Museum of Women in the Arts, this series of online exhibitions, organized by book format, introduces the boundless range of mediums, techniques, and topics artists explore to transform and reinvent books as we know them.

What Is an Accordion Book?

Accordion books zig, zag, open, and close, recalling their namesake musical instruments. Originating from an effort during the Tang dynasty (618 to 908 CE) in China to make unwieldy scrolls more manageable, this basic format is easy to adapt, embellish, and incorporate into other artist book types.

A colorful, accordion-style pop-up book is open on a white surface, displaying illustrated pages with text, festive images, and pop-up elements, including a white glove in the center.
Pat Oleszko, Glove Story, 1996; Lithograph, scanned photographs, linen, cotton gloves, 15 1/2 x 15 1/2 in.; National Museum of Women in the Arts, Museum purchase: United States Department of Education Fund; © Pat Oleszko

Karen Kunc

On This Land

In On This Land, images by Karen Kunc (b. 1952) suggest landscape, open farms, and contrasting sky, while a poem by Lenora Castillo (b. 1950) tells of dislocation from Mexico to Nebraska, the strangeness of a new place, and the gradual acceptance of austere beauty. Hand-printed woodcuts and letterpress-printed text form a tactile and colorful interpretation of earth and human presence.

An accordion-style artist book with colorful abstract drawings and handwritten text on cream pages, displayed open in a zigzag shape. A brown cover stands at one end with the words "The Red Land" in gold.
Karen S. Kunc, On This Land, 1996; Woodcut on paper and walnut stain on flax paper, 5 1/4 x 7 1/2 in.; National Museum of Women in the Arts, Purchased with funds provided by the Library Fellows of the National Museum of Women in the Arts; © Karen Kunc

Genie Shenk

Dreamlog

Interested in dreams since childhood, Genie Shenk (1937 to 2018) created Dreamlog as part of a series of daily documentations compiled since 1982. The artist inscribed the titles by hand, and the circles and squares create a repeating mandala pattern. She feels that the spontaneous marks come from the same deep source as the dreams themselves. The two-inch-square pages extend to 61 feet long!

An accordion-style artist’s book is open, displaying pages with colorful abstract circular designs and handwritten notes, including dates in August. The book stretches out in both directions against a white background.
Genie Shenk, Dreamlog, 1995-1996; Japanese mulberry paper, found paper, acrylic, gouache, ink, 2 x 2 x 12 in.; National Museum of Women in the Arts, Gift of the artist; © 1995-1996 Genie Shenk

Donatella Franchi

A Clotilde

Near the end of her mother’s life, Donatella Franchi (b. 1942) used books to help re-create their relationship. Inspired by the images of her mother’s hands on pages and Portrait of a Noblewoman with a Young Girl by Lavinia Fontana (1552 to 1614), which depicts a mother passing a red-bound volume to her daughter, A Clotilde celebrates a lifelong reader.

A small, brown box stands behind an accordion-style photo book and an open booklet, both displaying photos of hands holding books or turning pages, all set against a plain, light gray background.
Donatella Franchi, A Clotilde, 2009; Museum board, photographs, ink, 8 x 8 1/2 in.; National Museum of Women in the Arts, Gift of Lynn M. Johnston; Photo by Lee Stalsworth

Leah Michelle Geiger

The Reptilian Brain

In The Reptilian Brain, Leah Michelle Geiger (b. 1971) explores what distinguishes the human brain from its avian and reptilian counterparts. Though remnants of the primitive brain activate in periods of high stress (fight or flight), she supposes a third option where the need to flee or charge may bend to reason and make way for peaceful coexistence.

A six-panel accordion-style book with brownish pages, featuring handwritten text, sketches, and illustrations, including abstract shapes and a bird, displayed open on a white background.
Leah Michelle Geiger, The Reptilian Brain, 2003; Encaustic panels, paper, feathers, quail egg, brass hinges, 3 1/2 x 6 in.; National Museum of Women in the Arts, Gift of the artist

Laura Davidson

Art History Lessons

Art History Lessons is about the experiences of artist Laura Davidson (b. 1957) during a year of treatment for breast cancer. Using slides of frescoes by Giotto di Bondone bookended by vintage postcards depicting sculptures of women, the pages, representing melancholy, anger, hope, and peace, reflect her shift from a place of fragility to one of strength and confidence.

An open accordion-style book with four panels. On each panel is newsprint over which is a black and white photograph of a person. Under each figure is written, from left to right: melancholy, anger, hope, peace.
Laura Davidson, Art History Lessons, 2005; Wood, metal, lantern slides, postcards, travel guide pages, 5 x 18 in.; National Museum of Women in the Arts

Clarissa Sligh

What’s Happening with Momma?

For What’s Happening with Momma?, Clarissa Sligh (b. 1939) used her family album and a child’s perspective to critique the construction of family photos. Negatives were pieced together and printed to create a small, safe, ephemeral space. Opening the door reveals accordion steps adhered to the interior, which houses a fearful story based on a memory of her younger sister’s home birth.

An open accordion-style book in the shape of a house. On each page is a black and white graphic background and a washed-out black and white photograph. Beneath each image is typed text on accordion folded paper.
Clarissa Sligh, What's Happening with Momma?, 1988; Silkscreen and letterpress on paper, 6 1/2 x 11 1/2 in.; National Museum of Women in the Arts, Gift of Clayre Baessler Liammari; © Clarissa Sligh

Lois Morrison

Endangered Species

Lois Morrison (b. 1934) imitated a 1934 storybook to create something beautiful that reveals a dark surprise upon closer examination. In Endangered Species, pop-up flowers disclose tragedies of children in the favelas of Brazil, child soldiers in ravaged Uganda, victims of infanticide in China, and victims of violence and drug addiction in the United States.

An accordion-style pop-up book is open, revealing six colorful, intricate 3D paper flower sculptures, each on a separate page, arranged in a row against a plain background.
Lois Morrison, Endangered Species, 1999; Cloth over board, color-copied drawings, Gocco prints, paper, color pen, 7 x 9 in.; National Museum of Women in the Arts, Gift of Lois Pollard Price; © Lois Morrison

Claire Van Vliet

Circulus Sapientiae (Circle of Wisdom)

Circulus Sapientiae by Claire Van Vliet (b. 1933) is a celebration of the 900th birthday of Hildegard von Bingen (1098 to 1179), a medieval abbess who was a composer and poet. Latin texts of 12 songs from von Bingen’s Symphony of the Harmony of Celestial Revelations anchor the seven-spread accordion. A CD of ten hymns performed by Anima, a Vermont-based ensemble, is included.

An accordion-style pop-up book made of paper displayed upright and open. The central portion has flames made of paper that extend beyond the top edge of the book. In front of the book there is a CD coming out of its golden holding case.
Claire Van Vliet, Circulus Sapientiae (Circle of Wisdom), 2001; Pulp painting on handmade paper, CD, 5 1/2 x 12 in.; National Museum of Women in the Arts, Museum purchase: Library and Research Center Acquisition Fund; © Claire Van Vliet

Kazuko Watanabe

The Diary of a Sparrow

When Kazuko Watanabe (b. 1949) translated her grandfather’s journals, called The Diary of a Sparrow, she discovered the history of a people living within a small stretch of land, their lives tossed by war and the encroachment of the modern world. Wishing to convey the rich and thoughtful journey to a wider audience, she designed this book to unfold like a small Japanese house.

An accordion-style artist’s book is unfolded, displaying pages with illustrations and text on a white background. The pages alternate between colorful drawings and written passages, with the book covers at either end.
Kazuko Watanabe, The Diary of a Sparrow, 1999; Multiple-plate color etchings, computer-manipulated photoetched images, handprinted on European and Japanese paper, 9 1/4 x 7 1/2 in.; National Museum of Women in the Arts, Purchased with funds provided by the Library Fellows of the National Museum of Women in the Arts; © 1999 Kazuko Watanabe

Pat Oleszko

Glove Story

Glove Story is a play, a ploy, a costume drama, and a pun-ridden metaphorical plow through contemporary personal relations. Pat Oleszko (b. 1947) introduces Ms. Glove Lee, a gossip columnist responding to letters that arrive from characteristically adorned gloves. In the course of her generosity, Glove Lee advises a certain Lone Lee. They meet, and it is, of course, glove at first sight.

An open art book displays colorful collage illustrations of hands, with text scattered across both pages. A white glove lies in front of the book on a white surface. The background is plain and uncluttered.
Pat Oleszko, Glove Story, 1996; Lithograph, scanned photographs, linen, cotton gloves, 15 1/2 x 15 1/2 in.; National Museum of Women in the Arts, Museum purchase: United States Department of Education Fund; © Pat Oleszko

Exhibition Sponsors

This online exhibition series is created with gratitude to Curator Emerita Krystyna Wasserman, who assembled the museum’s rich collection of artists’ books during her 30-year career.

Text is adapted from object labels from the special exhibition The Book as Art: Artists’ Books from the National Museum of Women in the Arts (October 27, 2006, to February 4, 2007).

Inspired to teach someone how to create an artist’s book or to make one yourself? Check out NMWA’s Art, Books, and Creativity Curriculum.

Online exhibition team: Traci Christensen, Deborah L. Gaston, Adrienne L. Gayoso, Alicia Gregory, Ashley W. Harris, Mara Kurlandsky, Elizabeth Lynch, Adrienne Poon, and Emily Shaw.

Photos by Lee Stalsworth unless otherwise noted.