Editing Artist's book (section)

=== Russian Futurism, 1910–1917 ===
[[File:TransrationalBoog-Rozanova.jpg|thumb|right|160px|''Transrational Boog'', 1914, by [[Olga Rozanova]]]]

Regarding the creation of artists' books, the most influential offshoot of futurist principles occurred in Russia. Centered in [[Moscow]], around the [[Gileia]] Group of ''Transrational'' (''[[zaum]]'') poets [[David Burliuk|David]] and [[Nikolai Burliuk]], [[Elena Guro]], [[Vasili Kamenski]] and [[Velimir Khlebnikov]], the [[Russian futurists]] created a sustained series of artists' books that challenged every assumption of orthodox book production. Whilst some of the books created by this group would be relatively straightforward typeset editions of poetry, many others played with form, structure, materials, and content that still seems contemporary.

Key works such as ''Worldbackwards'' (1912), by Khlebnikov and [[Kruchenykh]], [[Natalia Goncharova]], [[Larionov]] [[Rogovin]] and [[Tatlin]], ''Transrational Boog'' (1915) by Aliagrov and Kruchenykh & [[Olga Rozanova]], and ''[[Universal War]]'' (1916) by Kruchenykh used hand-written text, integrated with expressive lithographs and collage elements, creating small editions with dramatic differences between individual copies. Other titles experimented with materials such as wallpaper, printing methods including carbon copying and hectographs, and binding methods including the random sequencing of pages, ensuring no two books would have the same contextual meaning.<ref>The Russian Avant-Garde Book, Rowell & Wye, MOMA, 2002</ref> Marinetti visited in 1914, proselytizing on behalf of Futurist principles of speed, danger, and cacophony.<ref>Although his visit didn't go particularly well, with key members of Cubo-Futurism feeling distinctly patronized by his pronouncements. See Collaborating on the Paradigm of the Future by Margarita Tupitsyn {{cite web |title=? |url=http://findarticles.com/p/articles/mi_m0425/is_n4_v52/ai_14970133 |url-status=dead |archive-url=https://web.archive.org/web/20041026224557/http://www.findarticles.com/p/articles/mi_m0425/is_n4_v52/ai_14970133 |archive-date=2004-10-26}}</ref><ref>The Russian Avant-Garde Book, Rowell & Wye, MOMA, 2002, p11</ref>

Russian futurism gradually evolved into [[Constructivism (art)|Constructivism]] after the [[Russian Revolution (1917)|Russian Revolution]], centered on the key figures of [[Kazimir Malevich|Malevich]] and [[Tatlin]]. Attempting to create a new proletarian art for a new communist epoch, constructivist books would also have a huge impact on other European avant-gardes, with design and text-based works such as [[El Lissitzky]]'s ''For The Voice'' (1922) having a direct impact on groups inspired by or directly linked to [[communism]]. [[Dada]] in Zurich and Berlin, the [[Bauhaus]] in Weimar, and [[De Stijl]] in the Netherlands all printed numerous books, periodicals, and theoretical tracts within the newly emerging [[International modernism|International Modernist]] style. Artists' books from this era include [[Kurt Schwitters]] and Kate Steinitz's book ''The Scarecrow'' (1925), and [[Theo van Doesburg]]'s periodical ''[[De Stijl]]''.