“The Last Book kindles creation-fires of a new kind; it marks the birth of the technological illuminated manuscript. With texts by Mary Gaitskill, drawings by Davina Semo, videos by Leslie Thornton, and sound by Greg Landau, this hybrid folio demands to be man-handled with care, to be rewound and fast-forwarded, to be read and touched. This jeweled and inlaid vellum reveals the book as fetish, book as master controlling and prescribing our movements, book as monster: it inaugurates a novel reading ritual–part riot, part cutting-arcane. The book at last dead? Long Live the Last Book!”
-Gabriela Jauregui, author of Controlled Decay

The Last Book: This Ain’t Your Grandson’s Kindle

On April 26, 2009 The Last Book was performed at the Schindler House, MAK Center for Art and Architecture, Los Angeles. For this project, the haudenschildGarage, Spare Parts produced an homage to “the book” in the age of the conquest of the Kindle. Steve Fagin wished to resuscitate the magnificence of the illuminated manuscript as the world turned toward darkness. Perhaps electronic technology could be used, not to leave the book on the dustbin of history, but to reconstitute a forgotten past where words and images danced in each other’s arms.

To this end the haudenschildGarage constructed a one of a kind book that included text, drawings, moving images and sounds. Its construction in the medieval, supersized tradition consisted of three illuminated folios each eighteen and a half inches high, thirteen inches wide and three inches deep.

To make this more than a dirge for the dead, a proper Joycian Wake, we incorporated into our project the live and kicking writing skills of Mary Gaitskill (Two Girls Fat and Thin), the macabre visual lyricism of Leslie Thornton (Peggy and Fred in Hell) and YouTube, the MySpace-with-a-twist drawings of Davina Semo, the retro-futurist music mix of Greg Landau, and as the piece de resistance, Shanghai’s notorious and ever so talented bad girl author Mian Mian as one of our readers with Monica Jovanovich-Kelley and the Kindle.  This bouillabaisse was concocted by Steve Fagin.

Other Last Book participants included Eloisa Haudenschild (producer and line producer), Monica Jovanovich-Kelley (stage manager), John DeMerritt (book binding), Joel Swanson (graphic design), Tad Linfesty (easel and book fabrication), Jim Nisbet (book fabrication), William Brent and Marco Llanos (electronics/technical coordination), Hsiufang Chen and Kate Wall (printing), Alastair Johnston, Teddy Cruz, and Alan Rosenblum (consultants), and Patricia Montoya (video assistant). The Last Book performance photography by Yvonne Venegas and video documentation by Merve Kayan.

The haudenschildGarage wishes to thank Kimberli Meyer, Director of the MAK Center.

On July 5, 2007 the haudenschildGarage held a FUEL4TALK with Leslie Thornton. Steve Fagin was the moderator and following Thornton’s talk her film Adynata was screened.

Adynata (1983, 30 minutes) is a formal 1861 portrait of a Chinese Mandarin and his wife is the starting point for this allegorical investigation of the fantasies spawned in the West about the East, particularly that which associates femininity with the mysterious Orient. Adynata presents a series of oppositions-male and female images, past and present sounds-which in and of themselves construct a minimal and fragmentary narrative, an open text of our imaginations, fears and fantasies.

About the Participants

Leslie Thornton

Leslie Thornton’s short films combine original and archival footage, video and still images, and digital media in their investigation of the collision (and collusion) of these modes. The play that she exercises between abstract and referential imagery allows her to address moral and ethical issues as they pertain to events and as they relate to the role of art and media. By editing together controversial or transgressive material, she creates discursive cinematic spaces in which to consider humanity’s inexplicable behaviors, as do fellow avant-garde filmmakers Chris Marker and Chantal Akerman. Yet Thornton’s signature inclusion of sublimely beautiful footage pitted against the tragic lends her oeuvre what she describes in an interview in Afterimage as an “ambiguity of intentions” inspired by a favorite film, Luis Buñuel’s Land without Bread (Tierra sin pan; Las Hurdes) (c. 1932).

Thornton has long been considered a pioneer of contemporary media aesthetics, working at the borders and limits of cinema, video and digital media. Such seminal works as her ongoing series Peggy and Fred in Hell (1985- ) operate in the interstices between various media-forms, often using simultaneous, interacting projections of film and video to address both the architectural spaces of media, and the imaginary spaces of the spectator’s involvement. Thornton uses the process of production as an explorative process, a collective endeavor “position(ing) the viewer as an active reader, not a consumer.” She is a contemporary of such fellow explorers as Chris Marker, Chantal Akerman, Gary Hill, Michael Snow, Alan Sondheim and Harun Farocki, all artists who are opening up new spaces for media, re-mapping its boundaries within the projective spaces of the museum or gallery as well as within the public spaces of the cinema, television and internet transmission. Thornton’s career to date has been a unique and unusual one. She was one of the first artists to bridge the boundaries between cinema and video, to explore their complicities and resistances, and to embrace their differences as positive, and even complementary, attributes. Thornton’s complex articulations are both edifying innovations in media form and content and tacit deconstructions of the principles, presumptions and promises of technically reproducible artworks. Her projects are ongoing and provisional, and she had been unafraid to return to, and rework, and rethink, issues, topics, subjects.

Steve Fagin

Steve Fagin (stevefagin.net) is Professor of Visual Arts at the University of California, San Diego, and has produced a series of feature length videos including The Amazing Voyage of Gustave Flaubert and Raymond Roussel, The Machine That Killed Bad People and TropiCola. These films have been featured prominently at museums, international film festivals, art biennials and have been screened on Bravo International in Latin America, Canal + in Europe and PBS in the United States. His work has had a retrospective at the Museum of Modern Art, New York and is the subject of a book from Duke University Press, Talkin’ With Your Mouth Full: Conversations with the Videos of Steve Fagin. The work has been presented at both the Museum of Modern Art, New York and the Whitney Museum of American Art, New York in many contexts including both of their summary shows of the essential art of the twentieth century. From 2005-2009 he worked as creative consultant for the haudenschildGarage and commissioning editor of the hG, Spare Parts projects. The Last Book, an hG, Spare Parts project, was conceived and directed by him. Currently he is working on a feature film, A Cloud of Hope, about the independence movements in Africa, circa 1960 and on a series of “smart phone pieces”, both as commissioning editor and as one of the artists for LACMA.

On July 5, 2007 the haudenschildGarage held a FUEL4TALK with Leslie Thornton. Steve Fagin was the moderator and following Thornton’s talk her film Adynata was screened.

Adynata (1983, 30 minutes) is a formal 1861 portrait of a Chinese Mandarin and his wife is the starting point for this allegorical investigation of the fantasies spawned in the West about the East, particularly that which associates femininity with the mysterious Orient. Adynata presents a series of oppositions-male and female images, past and present sounds-which in and of themselves construct a minimal and fragmentary narrative, an open text of our imaginations, fears and fantasies.

About the Participants

Leslie Thornton

Leslie Thornton’s short films combine original and archival footage, video and still images, and digital media in their investigation of the collision (and collusion) of these modes. The play that she exercises between abstract and referential imagery allows her to address moral and ethical issues as they pertain to events and as they relate to the role of art and media. By editing together controversial or transgressive material, she creates discursive cinematic spaces in which to consider humanity’s inexplicable behaviors, as do fellow avant-garde filmmakers Chris Marker and Chantal Akerman. Yet Thornton’s signature inclusion of sublimely beautiful footage pitted against the tragic lends her oeuvre what she describes in an interview in Afterimage as an “ambiguity of intentions” inspired by a favorite film, Luis Buñuel’s Land without Bread (Tierra sin pan; Las Hurdes) (c. 1932).

Thornton has long been considered a pioneer of contemporary media aesthetics, working at the borders and limits of cinema, video and digital media. Such seminal works as her ongoing series Peggy and Fred in Hell (1985- ) operate in the interstices between various media-forms, often using simultaneous, interacting projections of film and video to address both the architectural spaces of media, and the imaginary spaces of the spectator’s involvement. Thornton uses the process of production as an explorative process, a collective endeavor “position(ing) the viewer as an active reader, not a consumer.” She is a contemporary of such fellow explorers as Chris Marker, Chantal Akerman, Gary Hill, Michael Snow, Alan Sondheim and Harun Farocki, all artists who are opening up new spaces for media, re-mapping its boundaries within the projective spaces of the museum or gallery as well as within the public spaces of the cinema, television and internet transmission. Thornton’s career to date has been a unique and unusual one. She was one of the first artists to bridge the boundaries between cinema and video, to explore their complicities and resistances, and to embrace their differences as positive, and even complementary, attributes. Thornton’s complex articulations are both edifying innovations in media form and content and tacit deconstructions of the principles, presumptions and promises of technically reproducible artworks. Her projects are ongoing and provisional, and she had been unafraid to return to, and rework, and rethink, issues, topics, subjects.

Steve Fagin

Steve Fagin (stevefagin.net) is Professor of Visual Arts at the University of California, San Diego, and has produced a series of feature length videos including The Amazing Voyage of Gustave Flaubert and Raymond Roussel, The Machine That Killed Bad People and TropiCola. These films have been featured prominently at museums, international film festivals, art biennials and have been screened on Bravo International in Latin America, Canal + in Europe and PBS in the United States. His work has had a retrospective at the Museum of Modern Art, New York and is the subject of a book from Duke University Press, Talkin’ With Your Mouth Full: Conversations with the Videos of Steve Fagin. The work has been presented at both the Museum of Modern Art, New York and the Whitney Museum of American Art, New York in many contexts including both of their summary shows of the essential art of the twentieth century. From 2005-2009 he worked as creative consultant for the haudenschildGarage and commissioning editor of the hG, Spare Parts projects. The Last Book, an hG, Spare Parts project, was conceived and directed by him. Currently he is working on a feature film, A Cloud of Hope, about the independence movements in Africa, circa 1960 and on a series of “smart phone pieces”, both as commissioning editor and as one of the artists for LACMA.