In Memoriam Tom Phillips

This past Monday, November 28, 2022, the highly-acclaimed British visual artist Tom Phillips died after a long illness. He was 85 years old. Phillips was a prolific artist in a broad range of disciplines: he was a painter, printmaker, book artist, illustrator, collagist, musician, translator, concrete poet, curator, and composer and librettist of operas. He is perhaps most widely remembered, however, for his several editions of an altered book he titled A Humument, several editions of which we hold (shown below).

We are especially honoring his memory today with this display of original etchings from Phillips’s large 1979 portfolio collection 1263 Heads: I Had Not Known Death Had Undone So Many, printed in an edition of 110 copies with each plate signed and numbered by the artist. The title is an allusion to lines in Dante’s Inferno, where the poet observes a procession of souls damned to hell. This suite of prints is often called “The Dante Folio.” Not long after the portfolio’s publication, Phillips published his own limited-edition translation of the Inferno, illustrated with his original prints, in 1983.

the universal thump —what will compare with it? because in this world, head winds are far more prevalent than winds from astern part of the grand programme of Providence drawn up a long time ago. 

 Found Poem Moby-Dick, Loomings (p. 6 of the Moser edition)

[David Reader]

Tom Phillips, A Humument, [p. 43 from Tetrad Press Edition], Tetrad Press, London, 1971 [Granary Books, New York, NY]

Excerpts from Tom Phllips' A Humument, an altered version of the novel A Human Document by W H Mallock.

Phllips on the book:

It is a forgotten Victorian novel found by chance … plundered, mined, and undermined its text to make it yield the ghosts of other possible stories, scenes, poems and replaced the text [he'd] stripped away with visual images of all kinds.

It was also adapted into a 1969 opera titled Irma with the help of Gavin Bryars and Fred Orton, about which Michael Nyman wrote:

Phillips suggests that perhaps one should treat the indications in the score 'as if they were the only surviving fragments of an ancient opera, or fragments of eye and ear witnesses' accounts of such', and, given no knowledge of the performance tradition of the time, one should reconstruct a hypothetical whole which would accommodate them economically, 'would be an appropriate basis of approach to a production'.

I’m always interested in new things to read. Among the texts I’m hoping to get to: Walter Abish’s 99: The New Beginning, Kathleen Hill’s Who Occupies This House?, William Vollmann’s The Rifles and the photographic supplements to Imperial, Ivan Vladislavic’s collaborations, Jennifer Egan’s Goon Squad (and website), Christoph Benda, Minae Mizumura’s A True Novel, Louis Aragon’s Paris Peasant, Leslie Scalapino’s Dahlia’s Iris: Secret Autobiography + Fuction, John Berger and Anne Michael’s Railtracks, Claude Cahun’s Disavowal; Debra di Blasi’s The Jirí Chronicles, John Holten’s The Readymades, Thomas McGonigle’s Going to Patchogue, Hannah Weiner’s Open House, Roberto Bolaño’s story “Labyrinth,” Teju Cole’s “Blind Spot,” Michael Cawood Green’s Sinking,” Lydia Davis’s Cows, Tom Phillips’s A Humument: A Treated Victorian Novel, Jen Bervin’s Nets, Herta Müllers’s experiments; the Schloegel Archive.

Friday Night Flicks: Tom Phillips

Friday Night Flicks: Tom Phillips

The world lost Tom Phillips on November 28, 2022. One of his best known works is undoubtedly A Humument — the result of fifty years of altering the pages of a Victorian novel. In this video, Phillips talks a little about the work.     If you would like to spend a small part of your weekend learning more about the work, here’s an article written a decade ago by Adam Smyth for the London Review of…

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( strahov via geof huth on fb / via )

Bureau of Linguistic Reality.

"LXXVI

I had been hungry all the years; My noon had come, to dine; I, trembling, drew the table near, And touched the curious wine.

'Twas this on tables I had seen, When turning, hungry, lone I looked in windows, for the wealth I could not hope to own.

I did not know the ample bread, 'Twas so unlike the crumb The birds and I had often shared In Nature's dining room.

The plenty hurt me, 'twas so new,-- Myself felt ill and odd, as berry of a mountain bush Transplanted to the road.

Nor was I hungry: so I found That hunger was a way Of persons outside windows, The entering takes away."

--Emily Dickinson

Rewilding the Novel.

"I have/ my clothes/ of inflection// on/ my// envelope of/ death" --A Humument

My Daughter's Name was Flame.

Typography contemporary design

Tom phillips a humument pdf writer

 TOM PHILLIPS A HUMUMENT PDF WRITER >>Download vk.cc/c7jKeU

  TOM PHILLIPS A HUMUMENT PDF WRITER >> Read (Leia online) bit.do/fSmfG

           In this eccentric and unpredictable memoir, one of the twentieth century's most intellectually nimble artists shares his view of the world, of America and his Avaliação: 3,8 · ‎60 votos de M Portela · Citado por 22 — nhc.rtp.nc.us/news/mcgannlecture.pdf). No segundo caso, a edição O pintor inglês Tom Phillips produziu em A Humument um dos exemplos máxi-. Matt Mullican, Tom Phillips, Martial Raysse, Paula Rego, Julião Sarmento, artista e editor Henri Chopin. sua longa obra Humument, um trabalho de. Tom Phillips: “A Humument: A Treated Victorian Novel” Gauss PDF. Against Expression, An Anthology of Conceptual Writing. Critical Writing. 5018 records A Humument app by Tom Phillips as a work of liberature: between text and embodiment · Anna Nacher PDF, 11.06.2022. of two paradigms 'Scotland's National Collections and the Digital Humanities' workshop series #2 Tom Phillips, A Humument (1970, 1986, 1998, 2004, 2012…) Enciclopedismo em Livros de artista [manuscrito] : um manual de Tom Phillips reencanta o livro, e demonstra que um romance Humument também é uma.

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A Humument by Tom Phillips

Tom Philips, A Humument

Page 289, 292, 367

Caviarder comme...

Tom Phillips #inspiration

Hi =) I recently had the opportunity to meet David Tennant and was excited to have him sign my copy of Good Omens. A friend remarked that it seemed disrespectful to have anyone but the author sign a book. I have decided my friend is a busybody, who should mind her own paperback collection. Am I wrong?

It’s your book. You own it. You paid for it (or perhaps were given it). Nobody else gets to tell you what to do with your book. There are no book rules except those that you, as book owner, impose.

So of course you can get David Tennant to sign your book. It will make David happy to do so, and make you happy as well. I don’t mind at all, and Terry is in no position to complain any more. (Joke. He wouldn’t have minded.) 

You can get your class at school to sign a book you love for you. Or you can colour it in. You can even fold down the corners of the pages if you need to, or read it in the bath.  Or make it into something like a humument. 

Your book.

Tom Phillips, A Humument, [p. 42 from Tetrad Press Edition], Tetrad Press, London, 1971 [Granary Books, New York, NY]

Blackout Poetry Art Day

Blackout Poetry Art Day #poetry #photography #art

Putting Art in the World by Maria L. Berg 2022 This is it, the penultimate post of my daily photos and poetry. It’s fun that I will reach day 100 on a Stream of Consciousness Saturday. Yesterday, I got a rainbow of both chisel tip and thin Sharpies for putting words on the world, so I thought I would continue my found poetry project with some blackout poetry. I’ve seen some blackout poems that…

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Phillips’s masterpiece remains a treated book series titled A Humument (1966–2016). In 1966, at random, he purchased a secondhand copy of the 1892 novel A Human Document by the economist and writer William Hurrell Mallock. In these pages, Phillips painted, drew, and collaged onto the text.

In some cases the text peers out through demarcated speech bubbles, thereby creating a new narrative from the original about the challenges of art-making. The first iteration was complete in 1973, with several more editions published over the last 30 years, each time with revisions.