Margot Lovejoy ~ New York

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Margot Lovejoy: " My bookworks are based on the concept of montage in which meaning is conveyed through a system of contrasting, disparate images viewed simultaneously. The viewer/reader is meant to participate by opening and folding into each other, the chosen pictorial elements to create a dialogue between the conscious and the subconscious through a suggestive structure of signs, symbols and cultural codes. A system of contrasting images appropriated from sources such as art history and the media, juxtapose visual codes, one image acting as a foil for the other without a state of narrative closure being reached. Rather, the spacing between the images prevent the formation of a single photographic "fact" and instead becomes a method for "critiquing" the whole. The viewer/reader is meant to complete the work by seeking the meaning which resides in the contrasts between the images."


Roadside Rituals

By Margot Lovejoy
SUNY, Purchase: In-Sight Press, 2010. Edition of 40.

9 x 6 x 2" wooden box with 30 loose photographs and a 7 x 4.5", 13-page pamphlet. Full color original 8.5 x 5.5" photographs each on a separate strong, glossy card laid in bottom of box. Black grosgrain ribbon pull for lifting photographs. Booklet attached to inside box lid. Laser print title and image tipped on lid of box.

n-Sight Press, Prospectus: "The Invocations artist book project is a compelling photographic journey exploring roadside ritual shrines in southern India. Taken by the artist along the way, these remarkable images demand attention, connection, and understanding. ...

"The photographs are loosely packed and can be removed from the container. Hang them on the walls, share them with others, mail them to friends, or playfully rearrange them with images to find new journey connections between the works."

Margot Lovejoy, Introduction: "Travelling through South India all the way from Madras to Tamil Nadu to Kerala in 1995, I passed every day powerful invocations. They beckoned, they were accessible; they demanded I enter their spiritual environments to rest, to meditate. The works were all so intense in form and color they could not be resisted or overlooked. Each had a compelling quality of personal expression which seemed to transform these humble roadside structures into powerful works of art. I found myself so fascinated that I kept stopping the car and speaking to families who created them, asking permission to photograph their constructions."

Lovejoy also reminds us of "the ideas of Joseph Beuys ... his energetic championing of the healing potential of art and the power of universal human creativity."


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The Book of Plagues
By Margot Lovejoy
Philadelphia, Pennsylvania: Borowsky Center for Publication Arts, 1994. Edition of 500.

11 x 11"; 44 pages. Fold-out book with smaller 20 page book in the center. Printed on white Mohawk superfine acid-free archival paper. Duotone and tritone printings. Pre-process produced with Clifton Meador at the Center for Editions, SUNY Purchase, New York. Digitally processed at SUNY on the Macintosh Quadra using Quark XPress and Photoshop software with film output on the Agfa Compugraphic. Printing by Lori Spencer at the Borowsky Center.

Publicity card: "AIDS provokes a confrontation with the body. The Book of Plagues provokes a confrontation with AIDS. It addresses contemporary issues which resonate powerfully with the past. From the fourteenth-century Black Death to today's AIDS crisis, public reaction has been remarkably the same: a widespread sense of panic and fear; of blaming and victimizing the stricken ones; and government indifference to adequate funding for research and caring assistance.

"Constructed to open outward, the page structure creates a montage of juxtaposed historical images which frame the contemporary as they unfold in the second half o the book. At its very center is a smaller book containing essays by Margot Lovejoy, Dorothy Levenson, and Paula A. Treichler.

"Today's epidemic conditions force a new analysis of sexual difference and of the construction of identity. AIDS has brought to the fore one of the most important issues of our time - the change in sexual categories. With AIDS, the private has become necessarily public, as victims of the disease battle for visibility, political power, and change.

"As old scourges – tuberculosis, cholera, venereal diseases – resurge in the current global and economic collapse, this bookwork insists on the need to respond to the present danger."

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paradoxic mutations
By Margot Lovejoy
Philadelphia, Pennsylvania: Borowsky Center for Publication Arts, 1994. Edition of 500.

5.13 x 15.25"; 44 pages. Printed on white Mohawk Superfine acid-free archival paper. Duotones and triple color prints. Pre-press digitally processed with Clifton Meador at the Center for Editions, SUNY Purchase, on the Macintosh Quadra using Quark XPress and Photoshop software. Printed by Lori Spencer at the Borowsky Center. Fold-out cover.

Publicity card: "This richly visual bookwork intersects the polarities between the past (modernist idealizations and paradoxes of truth, beauty, freedom) with the present's postmodernism hybridized climate of mutations and artificial simulations. Are the conventional intellectual and biological dimensions we have always known about to be invaded by a plague-like viral infection - to produce a novel, unpredictable species? Are we confronting a future where conditions of human origin are in danger of being replaced through technological strategies? Will we create cyborgs - half human, half machine - objects of fear because they are empty of a spiritual core, without knowledge, without wisdom and compassion? 'paradoxic mutations' explores the new frontiers where boundaries of the self, of memory, and of identity have been violated.

"A special feature of this visual book is its fold-out character, opening out layer after layer of images which can be seen as a totality. When opened, the pages reveal more visual connections to each of five themes. When the book is turned over, a new set of images are presented for opening and relating to each other."

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Margot Lovejoy Out of Print Titles:  

a montage book

By Margot Lovejoy
SUNY, Purchase: Center for Editions , 1991. Edition of 500.

9 x 9"; 44 pages. Case-bound with laminated cover. Printed on acid-free archival paper, white Mohawk Superfine. Printed using a specialized approach to offset lithography, making use of duotones, double printings, and color-toned matte varnishes. Three die cuts used to create the outer shape of the book pages, which are again folded and cut. Pocket on front pastedown for a accompanying mask. Includes brochure with statements regarding the textual historical themes. Printed and produced by Clifton Meador, Center for Editions at SUNY Purchase.

Prospectus: "Labyrinth is a montage work created with die-cut elements which can be folded inwards and outwards. It provides the reader with a double-sided mask — literal and figurative — to give perspective both from the dominant male and subversively female points of view.

"Labyrinth is based on ten historical themes related to the male-female balance of power. The mythical labyrinth — an archetypal image that captures the imagination with its many associations and themes of entrapment and escape, reason and intuition, consciousness and the unconscious, dream and reality, truth and appearance — signals the world's complexity. The thread given to Theseus by Ariadne represents a key to knowledge and truth used for safe passage along the path of life. Theseus makes use of it for his own ends, but ultimately betrays his relationship not only to the woman but to her uniquely feminine knowledge and power, an action that comes to stand for the loss of matriarchal wisdom and the establishment of an unbalanced matriarchal Western civilization."

"The way we see ourselves defines our limitations and our potential."
"Developing a new way of seeing is a dramatic and powerful event.

Judith a. Hoffberg, Umbrella: "A rare treat in bookmaking, LABYRINTH attempts to explore the power of the media to control cultural identity, by ... exploiting the historical, spiritual, and cultural icons of the past and present in a visual way — in order to create an interactive bookwork, a one-to-one experience, using appropriated imagery. By emphasizing the interactive potential, Lovejoy creates a new rhythm of the page, a sequencing which uses theatrical and dramatic means to create a challenging intellectual, as well as emotional reaction to a very serious issues of our times."
$75 (SOLD)

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a monument to the victims of domestic violence

By Margot Lovejoy
Charleston, South Carolina: In-Sight Press, 2011. Open Edition.

8.25 x 6"; 46 numbered pages. Perfect bound. Softcover. Glossy wraps.

Publicity card: "The Parthenia memorial in the form of an exhibition, participatory website, and book is a way of bearing witness to the growing awareness that violence against women has reached the proportions of a global war. Like any war memorial, it is meant to serve not only as a remembrance of suffering, but as a place where grieving and renewal can take place.

"When seen in their totality, statistics gathered from around the world reveal the monstrous dimensions of the plight of women. It is clear they are not victims of random violence. Women are targets of dominance. Domestic violence is a 'silent' war crime because it most often happens within the confines of the family situation. Abuse of all kinds, including psychological or physical assault, rape, incest, murder, infanticide of girl children and cruel neglect. Society's tacit acceptance of acts of violence against women remains a powerful obstacle to progress and stands as constant reminder to women of their low status. This small book contains chosen submissions from domestic violence victims first displayed at the Queens Museum [New York]."
$15 (SOLD)

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Page last update: 12.16.14



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